To Come Out Of A Closet With A Laugh.
Oz’s light hearted concept that grows into heavy intense dramatic showdown is latter a wakeup call for the society but first a beautifully crafted comic delight. What seems at first as a mere joke and gives away its intention of not taking it seriously proves you wrong later in every frame of the screen. It is calculatively constructed with a fresh to-the-point structure that never takes its material for granted. The emotional aspect of the feature is left upon the concept to fill it in, it just communicates with you, the benign idea that boost off this film has its heart in the right place. On humor, Oz never lets you feel that the gag is forcibly imputed, each well timed punchline makes sense, even the pop culture references, you are practically wolfish for more and more.
Out of many sketches that follows the idea of the protagonist wrestling itself on his identity, the best one would be the sort of guide manual tape recording that teaches the protagonist to be a man. Now this part is one big sloppy kiss for both the actors and the writers, the writers hitting all the notes they can on mocking themselves in a spoof and satirical tone while the actor has to draw out as much as laugh he can with physical sequences where he doesn’t have to share the screen.
I think it gives away the surf on performance record, Kilne as a juggling ball that is juggled by the narrow ideologies of the societies holds up for his role along with Selleck as his supporter. And supporting her is Cusack as the real victim of this entire case- or at least that is what she feels- is a pure delight while delivering her frustration over petty things. In & Out is aptly titled, it doesn’t ponder over the usual semantics, it couldn’t care less.