A boy is kidnapped. Five years later he is declared dead. A few days later he returns home. That is essentially the complete summary of this psychological slow burner, a fairly aimless film that makes up for its lack of compelling plot with suspense, beautiful cinematography, accomplished acting and presence.

If Nor'easter was intended as an intriguing, thrilling mystery it fails completely. The unanswered question that dominates the early sections of the film is answered quickly and without ceremony at the half way point. It is a short, easy to follow story that quickly unravels, to the point where it could have easily been made as a short film rather than a feature. The dialogue is functional and perfunctory. The characters seem to be complex, although their complexities are rarely explored. It is left to the imagination of the viewer, with the motivations of the protagonists unclear throughout and never really resolved. The death at the end feels tagged on, a lazy attempt to give the film some resolution and/or element of tragedy.

That isn't to say this is a bad movie, though. It is high on suspense, with the perpetual lull soundtracked by an eerie, foreboding score that hangs in the air like a mist. The scenery is perfect for the tone of the film, with the stark, northern, snowy rural locations adding to the sense of loneliness, isolation and inscrutability.

Liam Aiken steals the show by just being on screen, managing to upstage even the scenery with his callow, brooding beauty and jet black hair set back amongst the white snow and grey, perennially overcast skies. The lighting is atmospheric, although at times it gets a little too dark to the point where you are straining to see what is happening.

The rest of the cast put in solid performances, especially Richard Bekins who is suitably gruff and troubled and pained. David Call is competent, albeit slightly disappointing - his was the only character who went on any sort of journey in the film. A newly qualified priest escaping from a troubled past, his faith is confirmed when Aiken seemingly returns from the death, only to dissipate once more as things begin to dismantle and he is caught by the events that unfold. It is one of the more interesting roles, and he doesn't bring anything unusual or special to it. That perhaps is an apt summary for the film itself - interesting, unusual and atmospheric, but ultimately nothing special.

The atmospherics and acting in this movie were superb. But the plot and sequencing left a very incomplete film.

Father Erik's relationship with the Greens is a zig-zag of interactions and you really can't tell what each side wants or thinks of the other. While it is nice not to see the caricature of a gay priest, you do become curious about Father Erik. Is his participation with youth hockey with innocent intent? Is he disgusted with Mrs. Green's sexual advances because of his vows or his orientation or her age?

Other character's motivations are similarly bewildering. Why does Josh's sister want to take him with her late at night to what looks like a sexual rendezvous with her boyfriend? What does Josh want/expect from Father Erik when he breaks into his bedroom in the middle of the night? Josh's relationship with Paul is not explained in much detail but it's assumed to be sexual. If Josh left at age 11 was he coerced by Paul? He didn't seem to be. Was it a reaction to his parents or his own sexuality (hard to believe at age 11)? Flashbacks may have helped fill in the story to help us understand.

The tragic ending was hard to comprehend. Knowing that Josh's running away was voluntary why did Father Erik feel the need to intrude so clumsily? Why didn't he note the address and call the police later? How does Josh go from assisting Paul's assault to escaping with Erik? The town's reaction was unbelievably harsh. Did no one see attempting to rescue a 16 year-old from a pederast as a noble act?

This movie left me with more questions than answers, and not in a good way.

This multi-layered work is a true voice for independent film making. A complex story unfolds through this film. The audience is required to deeply participate in the lives of the characters as they attempt to make sense of tragedy, and then to pick up the pieces after the tragedy puts the light on the character of the central actors. My god, what a film. Truly magnificent.

The location for the movie was perfect to its stark reality. The coast of Maine is strong and beautiful. In this film we see that place in its winter coat.

The many conflicts to which the human soul is heir, honor, betrayal, love, abandonment, community, loathing, all meld together and then shred apart in the film as in life. Can there be forgiveness in the end? Can anyone forgive this?

What a movie. Just beautiful, just gritty, just raw, just beautiful.