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At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Paralyzed after contracting polio as a child, a 38 year old man becomes set on losing his virginity with the help of a sex therapist in this comedy-laced drama. This is a film that could have easily been a misfire in the wrong hands, but director Ben Lewis (a victim of polio himself) treats the subject with just the right sensitivity; the film is seldom sentimental and avoids deriving humour from the protagonist's attempts to copulate. There are several laughs here, but they mostly come from the protagonist's good-humoured approach to life, joking about moving furniture and making everyone laugh rather than pity him. The film's biggest plus is the casting of John Hawkes who makes the main character both funny and relatable, especially when nervous, while convincingly playing three quarters of his actual age (!). William H. Macy and Helen Hunt are very good here too, though in both cases their characters are a tad underwritten. Some of the funniest bits come from Macy's worried glances around his church as others pray while Hawkes spills his experiences in graphic detail, yet it may have been nice to get more grasp on his internal dilemma, having advised Hawkes that he can copulate outside of marriage in his case. Hunt has a fairly well written character, but the scenes with her husband and son feel odd with a lot left unsaid (do they approve of her career?). Whatever the case, this is more a film about the Hawkes character. It is an inspirational story for sure, and all the more powerful due to Lewin making the film more funny than it ever is maudlin.

It must be an agonising existence for people in Mark O'Brien's situation, to have the full sensations of touch and feel but not the ability to utilise them in any way. Instead they are at the mercy of an assistant 24/7, and should these helpers slip away or be inattentive for even a second, they are further than helpless. When one is in this position the torture may be more than just physical; the mental toll of endless pleases and thank yous day in and day out must strip away all pretenses of dignity. Mark recounts, that along with a strong dosage of his Catholic upbringing, this has led to a crippling shame about his naked body and virginity in his 30s. So for all the platitudes in the opening of footage of a young Mark, beaming and bouncing and about to be struck with a lifelong debilitating condition, for all the singing of courage and perseverance in the face of hardship, it means squat. John Hawkes plays Mark O'Brien in a role that is oral as it is physical. We sense that those who are stuck in an iron lung for a lifetime must fiercely over-compensate in another area in order to avoid completely sinking into self-pity, so he does so through humour. This is a relatively common humanising device seen in these types of biopics about people with disabilities - when he bitches and moans in his narration about the less than stellar level of care from his dumpy assistant, it shows us that his character is just like any other person, and not some angelic, persevering figure set up for fetishisation. Hawkes also seems to be soberly aware of the power-imbalance of the relationship, which is a useful and sometimes regretful fact that he must confront at times. The first time he falls in love with Amanda, one of his carers, and the first time he utters those fateful three words to her, is voiced as a conscious effort to avoid sounding pitiful and to implore her to look past his condition. But Hawkes is also good enough to make the statement doubtful within himself, and we can see a lifetime of conflict and loneliness in his eyes. Marks' character is airy and mostly unexplained, but her reaction to this confession is a moment of such great subtlety. She returns the same smile that she has worn genuinely for the duration of their relationship, and then her face creases up in regret as she realises what he is doing and how she cannot say the same with his amount of conviction. But if Lewin can tap into the naturally humorous outlook of Mark then he overextends and tries to force this into other situations. Mark is wheeled into other homes and begins his interviews concerning how those with disabilities navigate the already tricky boundaries of sex and adulthood. What should be serious anecdotes are given the mockumentary treatment, the frankness of the dialogue hanging in the awkward silence as Vera averts her glance. You half expect the camera to tremble a touch more and slightly zoom out. This insulting treatment from Lewin seeks to create embarrassment where there is none, and only reaffirms the sneaking suspicion that for every Mark O'Brien that is given star treatment there are other minorities that can be freely thrown under the bus. And to assist this process the film takes several liberal leaps where the extent of Mark's religious guilt and self-blame is narrated back to us via Cheryl's post-session notes. Because the blossoming romance is chiefly internalised and implied off-screen, its impact is softened. But it is the ideal that is problematic in itself. Here is what Mark writes himself, in the article that much of the film is based upon: "In re-reading what I originally wrote, and my old journal entries from the time, I've been struck by how optimistic I was, imagining that my experience with Cheryl had changed my life." And yet Lewin has completely gone against this feeling, and presented what is akin to an adolescent fantasy, where Mark extrapolates his first sexual experiences into a revelatory and life-changing moment and something that builds a cherished relationship. No matter how good Hawkes and Hunt might be, the brief connection is based on naivety taken completely seriously, and the end result is something entirely removed from reality. So in the end it is Macy's Father Brendan that feels the most genuine. He has an acute awareness of the priest's role, but also radiates kindness, goodwill, and most importantly of all, common sense.

The struggle of personal enrichment in life is a confusing path for many people. It really takes concentration and self-control in the individual to think about what they want and what moves them to have this desire. This particular journey is more difficult for others who have specific limitations. When a person has a healthy and able body, they have the power to do anything they set themselves and minds to. For people who have physical disabilities, this power is capped off depending on where their disability lies. For people with Poliomyelitis or Polio for short, their limitations lies in the physical reality. Every sensory and mental activity remains unchanged, but the strength to move certain muscles have vanished. In today's time, doctors have helped in the prevention of this life changing disease and in most cases things end up fine. However, there are still people that become infected and lose the required muscle control to function normally. This is the story of man with that disease who tested his destiny.Based on an article written by Mark O'Brien and adapted by Ben Lewin as writer/director to this film, this biopic tells the emotional journey of man just looking to achieve a small accomplishment. Renowned poet Mark O'Brien (John Hawkes - Identity (2003) and American Gangster (2007)) has been a polio victim since he was six years old. Paralyzed from the neck down, living in an iron lung machine day-in-day-out, and tired of caretakers who look at him like he's a chore, decides one day that it's time for a change. The biggest change he wants is to lose his virginity. Seeking advice he goes to Father Brendan (William H. Macy) to see what he should do. At first he thinks he's onto something when his new attendee Amanda (Annika Marks) really enjoys his company, but it turns out he got too attached. Making calls he's given contact information to Cheryl (Helen Hunt - What Women Want (2000)), a professional sex surrogate and therapist Vera (Moon Bloodgood).Scriptwise, writer/director Ben Lewin has created such touching story. Considering the last script he was ever credited for was back in 1994, that's very impressive. Most of the time when writers and directors have that long of a hiatus, they are no longer in touch with what is currently trending with contemporary audiences when they return. Each lead and main supporting character are exceptionally developed and charming simultaneously. John Hawkes as Mark O'Brien sounds feeble but he does have an energetic spirit for a man who can only move his head. He's even got a bit of a foul mouth. William H. Macy as Father Brendan is comical because of his profession and trying to accept O'Brien's situation at the same time. How many times do priests have to listen to that kind of a story - one that goes against the teachings of god? Even Moon Bloodgood's role that is initially not the most talkative to O'Brien warms up to him.Helen Hunt as O'Brien's surrogate is astounding. To play such a revealing role (and at being close to 50 at the time) is extremely courageous. Aside from her profession though, she makes her role very appealing through her personality and analytical skills too. Her chemistry with Hawkes is quirky at first but does develop into a touching connection with each other. The only problem in Lewin's script is that Hunt's role doesn't make a lot of sense, pertaining to her life. For her profession, one would think she would live solo, but no. She has a husband (Adam Arkin) who is aware of what she does and isn't very concerned and also has a son (not mentioned if he knows). It's a bit odd to be honest. Controversial indeed. How does a family stick together through that,...beats me. This is it though. What's also great about Lewin's writing is that he also covers how and why getting too attached to someone can be harmful. One can be so caught up in it that they forget it's business.This is why situations like these are difficult to handle. An experience like that is so personal that realizing that it's not real can be very destructive to one's self esteem. The camera-work by Geoffrey Simpson (Life (1999)) was well done. Every scene was brightly lit and completely displays to its audience what they should be seeing. This is from the point of where viewers are introduced to O'Brien in the iron lung, to his travels, where people take of him and when he spends time with others. The more sensual scenes between Hawke and Hunt are pretty graphic but much is hidden too. The music is another step up. Composer Marco Beltrami worked on this project and although his score is much shorter in entirety, it is nothing like his other prior works. Beltrami has a main theme and instead of relying on full orchestra, he calls upon plucking cellos, piano and some synth soundscape. Beltrami is usually bombast in his horror scores but this is a complete 180 change that should be heard.Helen Hunt's character is really the only one who has a strange lifestyle throughout the film, which makes it questionable but other than this, all characters (including hers) are highly developed. Every scene is well lit, the script is remarkably touching, the actors all perform well and the music by usual horror composer Marco Beltrami demonstrates his capability that he can create music for other genres as well with a very simplistic yet emotional score.

I stumbled on this film while flicking through the TV channels late at night, and it captivated me. I am not a fan of Helen Hunt but I think this is her best film, and the role suited her perfectly. She has an amazing lack of inhibition about her body and about sex scenes, which rang true for her character. John Hawkes, as polio victim Mark O'Brien, is outstanding. It's hard to believe it's the same actor who was Jennifer Lawrence's deadbeat, but ultimately heroic, uncle in the movie Winter's Bone. What Hawkes does here is to completely emulate O'Brien's physically helpless, twisted body, and also the wry humour and fierce determination that enabled him to survive for probably years longer than many people with his condition. It's true that William H. Macy's priest character is a little clichéd -- he's the affable, totally supportive friend from central casting. But Macy works hard, like Hawkes, to inhabit his character, and ultimately he succeeds. He plays a huge role in encouraging O'Brien to gain some sort of emancipation from his terrible boxed up life. And some of Macy's scenes in which Hawkes confesses all the intimate details to him are very funny. Most of the other supporting actors are great, too. I didn't entirely find the girlfriend character at the end very convincing. She was under-written and there's no time to find out anything about her. But overall, Ben Lewin's script and direction are perfectly clear, without a word or scene wasted. The level of sex and nudity was unusually high for an American film. It was more European in that regard, but it was not gratuitous, and after all the movie is about sex. So everyone concerned dealt with some difficult subjects extremely well, with humour, respect, dignity and meaning.