The strength of "The Confirmation" is the sensitive portrayal of an alcoholic father, as played by Clive Owen. Owen's character Walt has visitation rights with his son, Anthony, and the film traces a wild weekend of "bonding" between father and son.

The film is primarily a drama, but it includes comic moments, especially in the cast of seedy characters. Anthony is the little boy who plays the role of caretaker for his beleaguered dad. There is a fine supporting cast with Maria Bello, Matthew Modine, and Robert Forster. But the focal point is that of Owen's character and his youngster, played effectively by Jaeden Lieberher.

SPOILER ALERT FOLLOWS: The one curious choice on the part of the filmmakers was to close the film with the theft of the father's tools from a pawn shop. While the film was attempting to pay homage to Vittorio De Sica's famous film "Bicycle Thieves" from 1948, the final sequence didn't work. Unfortunately, the theft of the tools was teaching a horrible lesson to the young boys, and it made no sense in the logic of the film. Surely the owners of the pawn shop would have had Owen's character and the boys prosecuted.

"The Confirmation" is set in Kent, Washington. There was good footage of the community, which helped to draw the viewer into the film. One of the subtleties of the film was to convey the hardscrabble life of Americans in the twenty-first century. In watching this film, one was almost reminded of America in the Great Depression of the 1930s.

Clive Owen plays the part of an alcohol addicted father, who is strugling to get by, being unemployed. Being divorced he only gets to see his young son during the weekend, in which they bond through a number of unforeseen events.

Endearing portrait of family life with divorced parents. Great acting. Slowburning, mellow mood. Suited for young and old.

At one level The Confirmation (2016) is a simple and endearing story of a young boy spending a weekend bonding with his recovering-alcoholic father. However, the Catholic ritual in the film's title and the church confessionals that bookend the film suggest more serious themes. Although labelled a comedy, the story is really a dramatic portrait of the growing distance between traditional notions of morality and the ethical relativities of today's post-GFC world.

Eight year-old Anthony (Jaeden Lieberher) has not spent much time with his father Walt (Clive Owen) since the divorce, and when mum has a weekend away with her new husband it is a rare chance for father and son to bond. Walt has a lot of issues, including alcohol, unemployment, a foreclosed mortgage and a broken down truck, so the weekend does not look promising for Anthony whose confirmation is only a week away. When thieves steal Walt's specialised hand- made carpenter tools, the pair spend the weekend tracking them down and in the process get to know each other. It is an emotional journey through neighborhoods that have hit hard times and where even thieves are pitiable and forgiven. There are several near-encounters with real danger and scenes of conventional comedy where many conservative parental boundaries are ignored. Through it all, it is a story about an irresponsible loser whose life is being turned around through the emerging relationship with his over-responsible son.

The film starts with an impatient priest urging an innocent child to confess his sins and ends with him amazed at just how many sins can be committed in such a short time. In between, of course, Anthony had a coming of age journey in the real-world. Some may think the narrative unoriginal and the adult-child inversion a predictable cliché. But it does not look or feel like that. It is a heart- warming and tightly scripted two-hander with everything anchored by excellent acting performances that balance emotional insight with a well-paced plot line. Owen plays an unstable but good man, and his performance is pitched at just the right level to be both convincing and likable. However, the real star is Lieberher who authentically plays wise-beyond-his-age innocence and growing understanding of his father. Their synergy together is delightful. The moral of the story is that what priests expect and life delivers are vastly different, and young Anthony has learnt more about human values in a weekend than many learn in a lifetime.