Philomena

Philomena is terrific. A winding, emotionally grueling and eloquently told tale of one woman's immense heartbreak, it approaches its delicate subject matter with the boldness of a soldier but the grace of a dancer, balancing the harshness with so much hope for humanity. Judi Dench is to thank for such a nuanced, forthright performance as the titular lead. She stays away from the maudlin by gifting her nervous Philomena with authentic (and developing) courage, a journey we totally buy because Dench's depiction doesn't doesn't condescend nor rely on shorthand. Steve Coogan keeps his signature sarcasm, which still exists here, in check, allowing his Martin to be jaded but not cruel. And when he comes dangerously close to it, he pulls himself back, as decent men do. (He also appears, as Martin, to be continually surprised by Philomena, a subtle but complex discovery to emote, but he does it well.) Together, they share a believable rapport that grows as the film unfolds.

Director Stephen Frears uses flashbacks to tell Philomena's story, and it's deliberate and disciplined enough so as not to annoy. (Flashbacks can be dicey, as many movies prove.) The wrap-up feels ever so slightly rushed, but nothing that distracts. Taking on a subject that may make its villains one-dimensional is tricky, and at times, the villainous nuns here careen dangerously close to caricature, but Frears pulls it off. And beautifully.