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Intelligently scripted, well-crafted and exceptionally acted story of a young gay man finding his way through the adolescent wilderness. The situations that arise, when one finds themselves serving too many masters, are portrayed in a moving, heart warming manner. A great balance of relevant humor and teenage emotional tribulation is struck, without so much as a gram of maudlin melodrama, which normally crops up in films of this nature (especially American ones). In the good ol' USA, teenage development in movies tend to be played for laughs or for mawkish sentiment, which could propel whining into an Olympic event.

In a short summation, Steve Carter, the main protagonist, finds the path to love strewn with thorns. His friend and counsel, Linda, walks the same road. Steve in discovering himself, discovers that anguish is also a companion to love.

GET REAL does just that in such an honest, disarming way, that it exudes originality. The performances and characterizations, are far ranging and finely realized. There's not a weak link in the chain, either in performance, script execution or direction. Innovative and fresh from start to finish. A contemporary classic that is highly recommended.

Steve is a 17 year boy, still in school. He has long since decided he is gay but only meets men in the park for sex. When one of the people he meets in the park toilets turns out to be none other than the hunky head boy, Steve is unsure where he stands. However their relationship grows into lovers and they both balance the feelings brought around by secrecy and feeling like no one understands.

From the sparky opening and good sense of humour, I had expected this film would just be another in the line of Richard Curtis-lite style of British romantic comedies. Indeed it does have this feel to it throughout - it has some good songs on the soundtrack and much of it is funny in that bittersweet way that British rom-coms seem to have claimed as their own. However what made this such a good film is the fact that it is a lot more sensitive and moving than most of this genre ends up being. The plot may well drag a little at times, but it never really seems unrealistic or dull.

The characters are part of the reason it does so well. It is rare in the mainstream to see gay characters portrayed fairly and without caricature - HBO's 6 Feet Under is one of the rare ones, but this does as well. I wish that all those who hold up `Will & Grace' as a milestone in gays in the mainstream could all sit and see how much better it is when done like this! The dialogue is good and none of the characters are fake or pointless. Of course some react the way you expect them to, but the fact that they have been drawn well stops them being lazy - just broad. The film is weak in some pretty important areas however. The main one being the lack of relationship between Steven and John - I never saw them together and all they had in common is their sexuality.

The cast do pretty well with the characters, even if some of them are being held up by the good script. Silverstone is great in the lead - he gives a really low key performance that even extents to his `speech' scene - where he could have really hammed it up some. Gorton is not as good but does do sterling work. The support cast are mixed although all do their jobs ably enough.

Overall this is a great little film that will never get the same success as the Richard Curtis comedies from which it borrows a bit of it's style, however the script is really strong and it is quite unarming in how well it deals with the issues without cliché or lazy caricature of characters.

WOW!! Id never even heard of this movie until I just happened to turn it on this morning at 6am. The memories it brought back, the pain it evoked, the ultimate triumph at the end. Not a dry eye in the house, and I'm the only one here!!! I was shocked to read it's not won any big awards (but then again, that's probably why I haven't heard about it) It certainly deserves them!!! I'm so torn up inside remembering my father finding out I was gay. It was the only time I ever saw him cry. 2 days later he had me admitted to a mental hospital. I idolized my dad, and I still do. He just couldn't understand. I don't blame him, but it was so painful. I was only 14. This movie is a must see for a number of reasons. Those reasons will become known only to you when you let them in.Whoever you are. A son, a dad, a friend. A boy who's confused and scared. Don't miss it.

I have just watched this film as part of Film 4's British Connection. I felt this film was an excellent exploration of homosexuality in the heart of Middle Class Britain. I lived close to the film's location Basingstoke when this was made and am the same age (give or take a year) as the main character, Stephen. Whilst never being as confident in my sexuality as Stephen, I really connected with the story told, his relationship with his parents and the scatter-shot but inadvertently appropriate use of homophobic abuse by the bullies.

Also thought the excellent flashes of dialogue uplifted the film such as "Whenever I see that badge (Head Boy) I wish it were an invitation." Priceless. The performances are almost perfect through out (I was a little unconvinced by Jon the Head Boy to begin with but warmed to him hugely as the film and love story progressed.) The cinematography is suitably understated and this is not the most cinematic film ever shot, which I feel helps with the realism. Some of the symbolism is quite fantastic, especially the closing shot, which I wont spoil.

I found it to be a much more recognisable film for me than Brokeback Mountain, Not to that films detriment, it is a masterpiece but I may feel closer to this because I have regularly been to the Odean in Basingstoke, but have never herded sheep on a snowy mountainside with Jake Gyllenhall.

It is a simple effective narrative about a subject close to my heart and I recommend it highly.

The lives of gay people are full of the stuff that makes for drama; inner conflicts, self acceptance, conformity, family tensions and many other issues gay people are forced to confront. Whether it's the late start or lack of a tradition, the genre of the gay movie has very little quality on offer. American cinema has been particularly weak in this area. The AIDS epidemic has been handled with more assurance than the inherent ordeals gay people face. There have been many stereotypical, predictable and basically forgettable gay movies over the years. "The Boys in the Band" made over 30 years ago still stands out as a major gay film; indeed a sorry state of affairs.

European cinema has fared far more successfully with matters gay, with such fine works as "Wild Reeds" and the outstanding "Come Undone". It comes as much of a surprise that the stodgy British cinema should have produced some of the landmark gay movies, amongst them the brave "Victim" (1961) made when homosexuality was still against the law and John Schlesinger's fiercely intelligent "Sunday Bloody Sunday" (1970). While "Get Real" is no masterpiece, it certainly is one of the most important gay themed films of the past few years.

Its importance lies in the lesson it so succinctly delivers. It's not a film directed especially at gay audiences and should be seen by all, especially high school audiences for whom it should be compulsory viewing.

The casting of Ben Silverstone was inspired. He manages to be totally convincing throughout, even pulling off the perhaps unlikely speech he delivers in the finale. Brad Gorton as his conflicted love interest has some truly moving moments. Director Simon Shore also elicits fine performances from the secondary characters, in particular Charlotte Brittain in the fag hag, fat friend role. It could have gone very wrong in lesser hands, but Brittain is a joy to watch and brings a lovely sense of humor to the proceedings.

Ultimately it's a truly unpretentious and very moving movie, far more effective than "Beautiful Thing". Don't miss it.