Rites of Passage (1999) User Reviews

Disappointing movie although it started out well

[linzand2 · 5/10 · 21 December 2013]

I found this movie too complicated to be able to enjoy.

It started out enjoyably but then so many characters were introduced I couldn't understand who they were and what relevance they had.

Understood the troopers.

Pity they didn't hang around a bit longer.

Try as I might I cannot write any more.

The whole movie became a mish mash of characters and blah blah.

Such a pity - it seemed to start off quite well.

But then maybe it is me who is too stupid to work it all out! Please accept my review.

What more do you need from me to accept my review.

Julia Bailey

DVD "Extras" Shine

[harry-76 · 6/10 · 15 August 2001]

The advent of the DVD progressing from the VHS brings about a new opportunity for more information to be included in its format. It's quite similar to the LP recording's graduation from its 78 rpm predecessor, with the LPs providing greater space for including more material. Now the DVDs are offering most interesting "extras" in its packaging.

One such "bonus" is the Commentary Track, in which selected production members provide verbal comments as the film plays throughout its entire run. Some of these tracks are excellent, one example being Director Anthony Minghella's for his "The Talented Mr. Ripley." The director there was downright eloquent, and his running remarks are most informative.

In the case of "Rites of Passage" Director Victor Salva joins leading player Jasan Behr for a full-length commentary. This track is almost almost as entertaining as the film itself, as it offers fascinating tidbits about the production--some completely surprising, which makes one appreciate the dedication and effort that it took to bring this indie thriller to the screen.

The commentary doesn't replace the movie, though, which is a fairly successful, if somewhat talky, enterprise. The cast is just fine, headed by the remarkable now-veteran Dean Stockwell, with James Remar and Rob Keith assisting Behr, who in turn offers a solid performance in the lead, difficult role of Cambell.

Watching the movie and then going to the Commentary, one really can appreciate the process behind realizing this final product, shot well under a three week schedule.

It's great to have the advantage which the DVD format now affords. I for one, really appreciate being able to be "let in" on the behind-the-scenes productional details. Of course, it can take away some of the realistic effect the film conveys--rather like being informed of how a magician does his illusions. But it's just an option that one may or may not choose to take advantage of.

As a package deal, "Rites of Passage" is well worth the cost. As a singular film experience, it's a bit wordy effort in which the whole doesn't quite measure up to the sum of its parts. Yet there's no denying the cast works at peak level of commitment and effort in attempting to purge the essence of their characters.

In the meantime, we can be thankful for the new opportunites the DVD format provides. There's great indication this format will eventually absorb the VHS technology -- just like the CDs replaced the LPs in the recording industry. Time marches on. Like, rapidly.

Daddy Issues

[arsamana · 7/10 · 20 July 2021]

Victor Salva's Rites of Passage is about six men; one (Billy) has died of AIDS; one (D. J.) is a lawyer; and the other four are liars with secrets to hide. Two of the four (Del and Frank) are father figures, and then there's Cambell, Del's queer, estranged son who in attempt to win a father figure's approval becomes an accomplice in a prison break.

Also there's a 500-thousand-dollar MacGuffin treasure trove buried in a sawmill, but it's mostly about lies, macho secrets, and striving to gain your father's approval.

Writing, directing, and acting are all all right. Sound mixing is a bit distracting, especially over-board with crickets and chirps, and I don't think they would be intentional or symbolic of anything.

A highly personal project from director Victor Salva is a nicely executed, low-budget independent thriller.

[TheVid · 25 February 2002]

This is basically a character-driven thriller exploring some routine familial issues between a middle-class father and his two sons. I say routine, because the conflicts are reasonably familiar: the father's having a mid-life, extra-marital fling; one son's gay; and the other son's bogged down in his own suburban mediocrity; not to mention that the whole drama takes place overnight in the woods, an almost absurd setting for all the abounding macho bonding. In spite of this theatrical, TV-movie veneer, RITES OF PASSAGE is still a satisfying low-budget feature thanks to a very appealing cast and the mature, sure-handed direction of Victor Salva (POWDER). It's an involving little ensemble drama with an amazing amount of tension and truth. No small mention should be made of Jason Behr, a WB-TV pretty-boy type who really carries the picture with a surprisingly inspired performance; although a lot of sympathy for his character is still a result of his physical appeal, he does a very good job here alongside excellent performers like Dean Stockwell and James Remar. Still, I doubt if a lot of the enthusiasm for this film would be there without Behr's good looks. In spite of what I've read in a few of the other reviews, the little bit of violence and profanity in this picture are of the PG-13 variety; as a matter of fact, it could have been a bit more aggressive with it's sexuality and brutality in order to intensify the motivations culminating in this one-night, boys-to-men catharsis. I'll tell you, though, it's too bad family crises aren't this easily resolved by a boy's night out in the woods.

Nice Story About Father and Sons

[Matt73 · 7/10 · 17 October 2000]

This movie is not bad at all, not very good either though. At least you can learn about the bond between a father and his son who's been keeping a very dark secret. About how they finally accept each other for who they really are. Jason Behr from TV Series "Roswell" did a very good job in portraying one of the sons, with his very convincing acting. The director did a good job in presenting this one-night event movie without making it boring.

A Fool For Love.

[rmax304823 · 3/10 · 9 February 2010]

Two escaped convicts step out of the woods and shoot two campers in the head. That's the first scene, and it made me wince, fearing what was in store. But by the end of the first half hour I was all swept up in the flood of images. Not because I cared in the least about any of the characters but because I was aghast at how execrable the film was and was curious to see how truly low it could sink.

Frank (Remar) and Red (Woolvett) are the ex-inmates. After murdering the two innocent campers they plow through the woods and wangle their way into the isolated cabin of Dean Stockwell and his two sons, the attorney Keith and the estranged homosexual Behr. The escapees at first pretend their car has broken down and they need to use the phone, but they gradually reveal their identities.

Well, it looks like familiar territory so far. "Desperate Hours," or "Funny Games" maybe. But -- hang on -- the gay son is in cahoots with the two. It seems that Stockwell, upon discovering his son in flagrante delicto with another man named Billy, kicked Billy around and threw him out. Billy went on to die and Behr now blames his Dad for the death. And, indeed, Dad is something of a Neanderthal when it comes to paraphilias, the fact that he was just found cohabiting with a secretary notwithstanding.

The grief-stricken Behr just searched and searched, looking for someone else who had known Billy, someone with whom he could share his despair. It turned out to be one of the escapees, and now Behr is determined to see them to their freedom.

It gets all twisted after that. People talk. They talk and talk. They talk continually. And NOT about the two mad killers who just can't wait to put one between their eyes. No -- the dialog goes something like, "You were just so scared of something inside yourself that you even drove away your own SON." That's Behr, the young gay guy, talking to Stockwell. It's as if an afternoon domestic drama had had its genes mixed with a killer thriller in some kind of transformational device or cocktail shaker.

The only real performance is given by James Remar as the more talkative and ominous of the two escapees. And that's mainly because of his gruff but fluid baritone, which sounds like Lance Henrickson's, and his wide guppy-like lips. He's easy on the eyes and ears.

Dean Stockwell has given decent performances, including his inestimable bizarro turn in "Blue Velvet," in which he was my supporting player, but here laziness, advancing years, or slack direction has shaped his every move and every utterance into a stereotype. It's as if he were reading stage directions -- "Look surprised" and "shout angrily" -- and following them literally. There's not a surprise in a cartload.

If the gay son, Jason Behr, ever blinked, it must have been while I was blinking at the same time because I missed it. He has a long neck and just one expression in his instrument. Woolvett as the secondary villain fades into the pine-knot paneled woodwork. The attorney son is Robert Glen Keith. I hope he didn't quit his day job.

The direction is pedestrian, the staging functional without being in the least innovative. Sometimes it's confusing. I lost track of where everyone was supposed to be as the killers are circling around on the cabin's porch and the family has locked itself inside with a shotgun. I also couldn't understand how Stockwell could put a blast through the cabin's door, hit Remar, and knock him in a back flip off the porch, and then Remar could simply stand up, dust himself off, and come up with a cranky riposte like, "Okay. Two can play that game." But why go on? See it if you must.

Not a Favorite

[baileycrawly · 3/10 · 14 October 2020]

I'm a fan of the majority of Victor Salva's works, but this is one of the few that really didn't do it for me. However, that's not to say (and I'll mention it all right off the top) that this feels like a very personal and lovingly constructed film from Victor's perspective. You can sense his heart throughout it and, being an LGBT individual himsef, it feels slightly autobiographical having a gay couple in this film, despite a less than positive reception from the father figure.

My issue with this film is that it plays out like a TV movie. Following the heels of the Disney-helmed Powder that would come out 4 years prior, this is a film of much lower quality all around. It has the heart, but it's wrapped up in too many layers to comfortably get to it; it packs in the melodrama, but it's not sure exactly how to approach it from scene by scene. It's got a thriller element, but it doesn't come in until a little later in the movie, at which point it kind of feels out of place, as if Victor was writing a passion project before realizing one night "oh yeah, they paid me to write a thriller" and shoehorning in a little bit of a more suspenseful arc that, while edited in satisfactorily, still doesn't do anything positive for the film.

There are moments where this film genuinely shines, but for the most part it winds up being too scattered to be truly enjoyable. Had it been honed in a little bit more and had the focus of the film been more clearly defined in the earlier drafts of the script, I think this could've been an incredible film. It could also have done well with no thriller aspects whatsoever. If this were nothing more than a story of love, forgiveness and redemption, it would've been a sappy, Hallmarky film but it would've retained enough charm to give it serious rewatchability.

Nevertheless, I view all of Victor's films as steps along the way in his journey through life, but also in his creative evolution, and I'll always be grateful for the films he's given us (and will, hopefully, continue to give us going forward).

Engaging thriller

[msecour · 8/10 · 30 January 2001]

The theme is old by now: estrangement between a gay son and his father. However, this issue is only a part of a complex web of surprises that creates a very entertaining thriller. This is a beautiful film, not just about sexuality, but about relationships. My wife and I were captivated with the story, sitting on pins and needles waiting to see how it would end. Highly recommended.

A family crisis becomes a police matter when two outsiders crash the party

[sol-kay · 8/10 · 31 August 2004]

( Mild Spoilers) Trying not to give away any important plot-lines in the movie "Rites of Passage" the one thing that impressed me most about Camp Farrady, Jason Behr, was how meek in the biblical sense of the word, and un-violent he was throughout the entire film. Even though Camp was the most hurt abused and betrayed person in it and had every reason to express his painful feeling with combativeness actions. Yet somehow refused to give into them even to the point when his life was at stake.

Growing up gay in a straight All-America family Camp's life was a living hell when as a young boy. He tried to conform when his strict father Del Farrady, Dean Stockwell, tried to "straighten" him out and later when Camp reach early adulthood his dad brutally beat up and chased out of his life Billy, Camp's best and gay friend, when he caught him and Camp embracing outside the family cabin on Christmas eve. Billy was so despondent over the forced break-up of him and Camp that it led to get himself infected with AIDS and later die of that disease.

One afternoon Camp's older brother D.J, Robert Glen Kline, who's a lawyer on a case in Washington State, was about to register at a Tacoma hotel and was told that he's been signed in already by the hotel clerk. D.J realizing that the person signed is really his father Del sees him in the lobby with a woman who he's obviously having an illicit affair with. Del embarrassed at being spotted and D.J shocked at what he saw agree to go to the family cabin in the woods to talk thing out the next day. Unknown to both of them Camp was there too not expecting them to show up.

Camp while he was looking for Billy got in touch with a prison pen-pal Frank, James Ramar, who knew about Billy who was also a pen-pal of his and from Frank he found out that Billy was gone. Frank noticed the address of the letters that Camp sent him and it was where he buried some $500,000.00 in stolen drug money and was using Camp's hurt feelings and emotions to get him to find the loot and take off with it and then leave Camp behind dead.

Frank who broke out of prison with a fellow convict Red, Jalmz Woolvett, who Camp didn't know or expect but in the end found out that he was the one who wrote him those letters that were attributed to Frank that impressed and touched Camp so much. Frank Prearranging to meet Camp at the cabin that he expected to be deserted and then take off, or so Camp thought, with him to Canada to live together as a gay couple. With the unexpected appearance of Del & D.J made things deadly and complicated but at the same time in the end brought both father and son together even though it took a night of horrors to do it.

Unusual film that treats relationships between gays and their parents and siblings with both touching sympathy as well as brutal realism. With Jason Behr really outdoing himself as the tormented but courageous Camp who despite all the abuse he takes in the movie from his father and Frank refuses to lose his humanity and in the end comes out as the most positive as well as tragic person in the film. The final scene in "Rites of Passage" when Camp reluctantly at first embraces his forgiving father and then accepts him is one of the most powerful and emotional scenes I've ever seen in a movie and it's done without a single word of dialog.

Every one in the movie has a story to tell but it's Camp who's story ties them all together and makes "Rites of Passage" the emotional experience of a film that it is.

Big Behr's Right Passage

[NJMoon · 19 March 2001]

It's a pity that RITE OF PASSAGE is not more widely available and never received the praise it deserves. This is a complex film - an unusual mix of thriller and family drama. Queer cinema fans will like this one because of the matter of fact presentation of the sexuality of the leading character Cambell (intelligently played by Jason Behr.) Although this is Behr's film, he's in terrific company throughout, especially with veteran Dean Stockwell as his tough-as-nails dad. Watching these two come to terms (as well as Cam's brother), is the film's main dramatic thrust. The thriller elements are far from ignored, however. There are plot twists and turns a-plenty (only one of which seemed a bit contrived) and the story is a virtual roller-coaster of emotions. If you can get it on DVD, Behr and Salva provide an insightful commentary track and give you a glimpse of some more plot devices (and some super performances) left on the cutting room floor.

For fans of Jason Behr-A MUST SEE!

[[e-mail] · 10/10 · 29 December 2003]

This movie is unusual in the way that it has an all-male cast.

That aspect of the movie drives the mood and intensity from beginning to end.

I thought the father's (Dean Stockwell) turn-around in feelings to be genuinely believable as the film's events cause him to re-evaluate what and who are most important in his life.

James Remar delivers a wonderfully increasingly sinister performance in this film. Although we've seen him in so many roles. He normally doesn't have a character as expanded as this and you get to see what he's really capable of.

And lastly, but not leastly, Jason Behr shines as poor confused and bereft Campbell. He's made so many poor decisions, and yet you just want to put your arms around him and say that everything will be all right.

If you thought Max Evans (Roswell) would always be your favorite character for Jason Behr, Campbell will make you think twice.

This movie is definately a drama. If you are looking for something light and funny, save this movie for another night. If the big box office movies have been leaving you flat lately, this independent movie is a good one to restore your faith that great acting-not a big budget-is what makes a movie really good.

One night can change the past, present, and future forever. . .

[Elysia · 10/10 · 12 May 2000]

Jason Behr and Dean Stockwell deliver amazing performances as a father and son coming to terms with (the son's) homosexuality and (the father's) inability to show love and affection. I purchased this film without knowing much about it, and was pleasantly surprised by a powerful storyline, award winning perormances by Jason Behr, Dean Stockwell, Robert Keith, and talented writing and producing by Victor Salva.

Very Good...

[noangel104 · 15 June 2001]

This was a very good film. The characters are very well developed and you also feel a certain emotion for each one. My particular favorite was the lead character, Campbell Faraday (Jason Behr). This film holds a lot of tension and there are quite a bit of twists also.

If you are in the mood for a good thrill ride, go rent this movie.

**** out of **** stars.

Also recommended: The River Wild

A moving story about self-worth, courage, being different

[dragonfly77 · 10/10 · 8 June 2000]

Rites of Passage is a beautiful and moving story; it features a brilliant, sensitive, and intense performance by Jason Behr.

The character he portrays is homosexual, but the movie is not so much about sexuality as about being different: from what your family wants you to be, different from what society wants you to be, different from most of the people around you in a world in which you're totally outnumbered. It's about self-worth, courage, true strength,and defining your identity.

There's some violence, but there are no gross or graphic scenes; it's all about love, betrayal, trust, family ties . . . Very nice performances all around, but as usual, Jason Behr's performance is in a class by itself. He'll break your heart. Definitely see it.

Intelligent screenwriting and brilliant direction reign

[egsolis-1 · 10/10 · 26 December 2003]

The filmscript for "Rites of Passage" was not only intelligently but skillfully written and brilliantly executed by Mr. Victor Salva who, I understand, comes from the training ground of F. F. Coppola. If this is so it comes as no surprise since he led this project with the same sort of fresh energy and panache! It is my belief that audiences have missed the great 'integrity' with which this film quite simply reeks! Had it been promoted as it might have been I feel that audiences may have lifted this film to its rightful place. Beyond Mr. Salva's seemingly limitless gifts there was, also, the music which gave the film its feeling of extreme intensity and kept me on edge throughout while wringing my emotions simultaneously. And, not the least nor the last brilliant element to add to the whole, there were the actors who treated ensemble acting like an unparalleled "Lucia di Lammermoor" cast of singers singing the sextette with sublime artistry. Seldom in today's market have I seen a film elevate the film medium to such heights of style and art! I really feel that any film buff who hasn't seen "Rites of Passage" has missed one of those lyrical and rare gems which comes our way all too infrequently and leaves the viewer feeling cleansed and good to be alive! Mr. Salva, I salute and thank you and your entire team!!!

Situation Familiar...

[onepotato2 · 8 December 2002]

This movie draws you in then blows it providing plot complications of the "Oh come on!" variety. Someone as telegenic as Jason Behr would not need to write to a felon to find a shoulder to cry on. All he has to do is open his front door and select from the crowd waiting there to do him. Any one of them would put up with any amount of whining he needs to do.

I was in a writing class once and we were asked to write a story called "The Father." That was the only requirement. 12 out of 13 people handed in a story that ended with a father-son hug and the exchange: "I love you son..." "I love you dad." Ugh! It's a scene that facile minds find endlessly satisfying but it's very, very lame. Perhaps this movie gets filmed over and over again because emerging gay teens require their generations hottie in the role of the gay son.

I've never called my brother "Bro." Does anybody?

About refuge

[Vincentiu · 10/10 · 29 December 2006]

A pleading for all love's forms. A radiography of a deep crisis, about lost and vulnerability. About illusions and betrayal, about pardon and new beginnings. The necessity of refuge is the root of this movie. And this refuge is only manner to be yourself. It is in the self -reseach, in the grievous endeavor to self-definition a form of escape and fight with others. A way to a form of interior life who must be the only life. The father's mistress, trip to vacation house, Campbell's letters and memories, the evening's talks and the reactions given strangers, the lessons and the homosexuality are the skin of a single world of resignation. The last desire of each character is to build a real family and the price is always small.

"Rites of Passage" is, like "Ordinary People", a crisis exploration. A subtle exploration of family and his values, attempt to understand humans relationship and self desire.

Mandatory Viewing

[tom ch · 8/10 · 7 June 2000]

This one took me by surprise. In general, I try to stay away from films that mix gay subject matters with violence as the outcome is always the same: It's the gay psychos that need to be locked up. From a cinematic point of view, this particular film is a lesson in how to tell a story. The audience is constantly lead along and played with by the secret one of the sons has. And every time you think you've figured it out, it takes another turn. It takes time to put the puzzle together, but in the meantime it keeps you interested in the story.

The story is complicated by all too human behavior among the protagonists. How does a father feel about his sons? How do the sons relate to their father? Do the sons respect each other? Can past mistakes be corrected? Can prejudices be overcome? While the film does not give you a patent answer for the above questions, it makes you think and, maybe, appreciate what is happening on the screen. What is being told here has happened in millions of families (under different circumstances, of course) and, I fear, will continue to happen for times to come.

The acting is precise and to the point. No excuse is made for any of the characters' behavior. No effort is made to make any of the characters look better than the other. It's five men interacting, each with a different agenda, but sometimes the agendas seem to overlap, and that's what makes this story so interesting. This cannot be put off as just another film with a gay subject matter. There is much more to it, and, maybe, some people will recognize themselves. In times when gay and lesbian lifestyles are so prominently discussed, this film is mandatory viewing for everybody.

There is some hideous violence in this film, but it is secondary (if one can say that about violence). It develops and becomes inevitable out of the circumstances. If left alone nobody would have resorted to physical violence. It's the situation which makes it possible and, perhaps, necessary. Psychological violence - that is another story!

Melodrama so heavy and so obvious it gives me a headache

[jm10701 · 10 June 2012]

I have been spoiled by watching non-American movies. I used to say European movies, but movies from South America, some parts of Asia, and even Mexico are now as good as European movies. What movies from other countries often have that American movies almost never have is subtlety. Whether it's comedy, drama, suspense, sex, or any other genre, American movie makers assume American audiences have to be hit over the head with whatever they're watching or they won't get it.

In this movie, for example, when Son catches Dad with Girlfriend in Hotel, then when Dad and Son catch Younger Gay Son in Cabin, EVERYBODY has to overact, so that the audience will be sure to get the point that bad stuff is happening. Why, oh why does Hollywood think we're stupid? Is it because we are? Maybe. In any case, this movie's drama is far too heavy-handed for me.

In less than ten minutes, I already know everything there is to know about these three characters, and I'm willing to bet the "twists" other reviewers rave about are the same oh-so-predictable "twists" Hollywood has been delighting noise-deafened, brain-dulled audiences with since Witness for the Prosecution 60 years ago. I'd much rather have to take time and figure out for myself what's going on between characters than be hit so hard by the director and actors with such a heavy drama hammer that it leaves me reeling and nauseous.

Interesting new faces

[rbarish · 10/10 · 14 March 2000]

Forget the past, Victor Salva has created a wonderful film to have the world see. Newcomer Robert Glen Keith, as DJ Faraday is someone I think the film industry needs to recognise as a brillant shining light. He and Jason Behr ignite the screen not only with their looks but with their talent. Dean Stockwell and James Remar, the old school actors, must have had a tough time seeing what the new generations had to offer, because I thought the newcomers stole the show.

Heartfelt story, Incredible acting

[Cyndy · 9/10 · 2 December 2000]

When I first heard about this movie all I knew was that it's about a dysfunctional family and escaped prisoners in an isolated cabin. It sounded like a big waste of my time, but as I learned more about the story I felt I had to see it. It took some time to track down a copy to rent, but it was worth it. The story is very moving and I could not stop thinking about it for days. The acting is outstanding all around, but Jason Behr is phenomenal. This is a great movie, but I must admit that I was not thrilled with the last nighttime scenes, but that's my own personal opinion. Watch the movie and judge for yourselves. It's worth the time and effort.

An A+ movie, thriller and suspenseful

[benz5starz · 24 August 2002]

This movie was an A+ as well as a very good suspenseful thriller. I recommend thins movie to anyone ! I feel that all of the actors were perfect for the parts. The deleted scenes on the dvd filled in some of the missing parts that might have made more sense to the plot when watching the movie.

This is a very phenomenal film

[jenniekaye · 10/10 · 15 December 2000]

This movie, in my opinion, if released in the theaters, would have had exceptional feedback. Some people may say that I'm biased, considering Jason Behr is my favorite actor, but that's so not true in this case. Jason does a phenomenal job portraying Campbell Faraday. A young man who is hurt by his fathers feelings of total disappointment that his son is gay. Resulting in Campbell taking off for years with no contact. The story takes place at their isolated family cabin. Where Campbell, his father, and older brother end up unexpectedly. The tension is building, but that's the least of their problems. Watch, as two strangers show up at the cabin with an agenda of their own. Check this movie out if you can find it. You definately will not regret it. It is phenomenal. If he happens to read this. Love ya, Jason. Keep up the awesome work. You're definately destined to go far in this business. Roswell rocks.

Well done but a bit disappointing

[coloradokid719 · 6 December 2003]

*Potential Spoilers*

While this film is very well cast and filmed, the seemingly sudden turnaround in the father's behavior toward Cameron (Jason Behr's character) was unrealistic. Having been raised by an eerily similar father, I know this from personal experience.

There were elements missing in the film that would justify the father's turnabout, even in such dire circumstances.

This is not a predictable plot. You don't necessarily see where the storyline is headed. Jason Behr gives an outstanding performance in an unexpected role choice. I greatly enjoyed his performances in "Roswell," and he should be given more opportunity to spread his wings, and demonstrate his range as a lead in more feature films. He will be a prominent actor to be reckoned with if that happens.

I am a great admirer of the film "Powder," and had this script been written on that par, I believe it would have been exceptional. It certainly had the right director!

Overall I would certainly recommend this film, because it has depth and a true edge of realism (in spite of the previously mentioned unrealistic actions of the father).

A little short on drama and a little long on suspense

[tulsastorm · 9 July 2004]

Never in a million years did I imagine a low-budget gay-oriented production could bring actors of such high caliber on board. Dean Stockwell (Quantum Leap) and Jason Behr (Roswell) make this film stand out in the video store. Jason doesn't get any hotter than this!!! Plus, he can act!

Briefly, Rites of Passage is a thriller that will keep you guessing all the way to the bitter end. Del (Stockwell) is caught having an affair by his successful son, D.J. After wrapping up a business trip in San Francisco, they go off to the family cabin to talk things out where they find Campbell (Behr) already staying. Campbell and his father are not on the best of terms after dad has a knee-jerk reaction upon seeing Campbell and his boyfriend, Billy, together. The incident happened well over a year ago, and the two are forced to interact now with D.J. in the middle.

There are so many character revelations in this movie, I found it difficult to get wrapped up into the story. Just when I think I've discovered what makes the characters tick and get into the heat of the moment, another element of a character (mostly Campbell) is revealed, and I find my bewildered self sitting on the living room couch again. Therefore, I am probably overanalyzing the film, but only because it had the potential to be so much more with a few small changes. Not that it makes any difference, but the screenplay is a semi-autobiographical tale by Victor Salva who also directs.

The first gripe is the opening scene. Despite how it plays out, this is mostly a psychological thriller. Furthermore, the movie does not revolve around these characters. We don't even meet the central character, Campbell, until 12 minutes into the film. It would have helped if the conflicted relationship among the father and two sons was well established at the beginning of the movie, and leave the twists for the plot. Perhaps it would spoil some of the suspense, but I think it would allow the viewer to identify with a character and put themselves into that character's position.

I would have also toned down the abundant use of nicknames for each character. It is not confusing, but not realistic either. And when there are only two people in a scene, it is rather pointless to be using names at all except to get the other person's attention.

* Begin Spoiler* The ending is painful to watch. I'll attempt to discuss it without revealing too much. Despite his heroics, Campbell comes out looking very needy and stupid, and you realize he now has a lot more to deal with than the frigid relationship with his dad. With such an open-minded and supportive brother, I don't understand why Campbell needs his father's acceptance. Obviously, Campbell is still very much in love with Billy, but the new relationship between Campbell and Frank is not explored to any great length in this film. On the surface, I find it hard to believe these gruff and condescending escapees could convince even the most gullible person to go along with their plot. One would think D.J., the big shot attorney, would at least have the foresight to burn the letters before the police arrived; thereby, destroying the incriminating evidence. The story could have ended on a brighter note if the family had no prior relationship with the escapees. *End Spoiler*

Overall, this movie falls a little short on drama and a little long on suspense. The acting won't leave you disappointed, though. If you like this genre, The Deep End (2001) is another (only slightly gay) thriller with a more positive ending.