(2012)

Critic Reviews

60

Metascore

Based on 16 critic reviews provided by Metacritic.com
90
Depictions of custody battles have become a cinematic staple, but few register with the heartfelt emotion of Any Day Now.
75
Its most redeeming quality is that it isn't so quick to neuter its queer characters into a package-friendly "gay couple" aesthetic a la Modern Family.
75
The biggest strength of the movie is the chemistry between Cumming and Isaac Leyva, a first-time feature film actor with Down syndrome, who does as much to make these scenes work as the experienced actors he's sharing scenes with.
75
The takeaways of the film are horror and hope: horror that institutionalized homophobia was so pervasive, hope that that intolerance is a thing of the past.
63
Things go awry in the last act, as the movie stops dead for more songs and a tragic coda that seems forced and trite, rather than the three-hankie finale we've all earned. Still, Cumming is wonderful.
60
It's one thing to call a film about homophobia and human rights Any Day Now; it's another to actually have your character sing "I Shall Be Released" in full at the end. The intent is righteous. The dramatic overkill is deadly.
60
Rousing as a tale of saintly gays against the system, Any Day Now is less stirring as cinema.
55
Cumming always gives good value, and his regular bursts into cabaret numbers are certainly an added bonus. Yet this instinctively ironic actor doesn't seem best suited to play the movie's most sentimental creation. A mouthy, heart-of-gold construct, Rudy dresses like Ratso Rizzo and comes on like The Fonz.
50
The film's title suggests the wry irony of hindsight: We've come a long way, baby, but we're not there yet. Any Day Now could do with a little more of that astringent humor and a little less sap.
42
Like another Tribeca hit given a quiet release, last year's "Puncture," Any Day Now feels the need to take its compelling true story and stack the deck in favor of what we know is the outcome, presenting all obstacles as engineered by sneering, callous villains with disdain for those who would trumpet a more progressive cause.
40
Director Travis Fine gives his period details flourish and lets Cumming and Dillahunt create well-rounded characters, but Any Day Now winds up treacly.

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