Brideshead Revisited

Purists of Evelyn Waugh’s popular novel (and the much beloved British mini-series) may not appreciate the many changes in Jeremy Brock and Bridget Jones’ Diary screenwriter Andrew Davies’ abridged adaptation, but this handsomely produced movie does feature a sparkling turn by Ben Whishaw as the flamboyantly rich Sebastian, who (at least in this version) becomes involved in a love triangle with his sister, Julia (Hayley Atwell), and have-not Charles Ryder (Matthew Goode) after meeting at Oxford. Emma Thompson and Michael Gambon provide stately support as Lady and Lord Marchmain, respectively, but with most of the college bromance left on the cutting room floor, this is a rather sanitized version of a classic “gay” love story. Extras: An uneventful audio commentary that explains a few of the story cuts, some bland deleted scenes and an obligatory making-of featurette. Yawn. B- —Ken Knox

Save Me

When his concerned brother checks him into a “ex-gay” Christian retreat to battle a crystal meth addiction, Mark (Chad Allen) surprisingly takes to their teachings about a “more Godly” sexuality—until he meets Scott (Robert Gant), another conflicted man that shares his attraction. Their romance is handled deftly, even while the occasionally heavy-handed script (from a story by Swoon star Craig Chester and Alan Hines) and the Lifetime-esque touches of director Robert Cary threaten to turn it into one big touchy-feely, non-offensive sermon about the importance of tolerance and compassion. Awwwww. Props go to Judith Light (whose husband, Robert Desiderio, wrote the screenplay) for her solid, restrained turn as the woman that runs the retreat with her husband (an equally solid Stephen Lang). Extras: Unfortunately, none worth mentioning. B —K.K.

Whirlwind

A watchable and wholly undemanding drama, Whirlwind concerns Drake (David Rudd), a stranger who ingratiates himself with five gay friends in an effort to undermine them and their relationships. The core group of “witty, urbane” (yawn) New Yorkers consist of uninspired archetypes: the lothario, the wise man mourning his late lover, the insecure one and the couple looking to move in together. One by one, they are either “seduced” by Drake—or they shun him. Whirlwind falters because it never makes its villain particularly alluring. Furthermore, while Drake’s motive for his bad behavior is obtuse, it’s obvious he is up to no good. A little ambiguity would have aided this character and film immensely. Yet Whirlwind is also spoiled by the attractive cast’s mostly stiff performances and by director Richard LeMay’s absolute lack of style. Shooting everyone and everything in close-up only emphasizes how low-budget (read: amateur) this film is. Extras: Scenes from auditions; a table reading; commentary; slide show; trailer. C- —Gary M. Kramer