I never like the labeling of certain movies as “Gay Films.”  It so limits the movie’s potential audience—as though only non-heterosexuals would find the film of any interest.  Love is the Devil, for example, is about gay painter Francis Bacon, but I wouldn’t feel the least bit uncomfortable about convincing a straight fan of decent artistic filmmaking to see it.

Edge of Seventeen, however, is a gay film.  I can honestly say that no straight person would rent this of their own accord, and if, by some odd chance they did, they’d probably be bored to tears by the half-hour mark.

Eric (Stafford) is of the title age and on summer vacation before his senior year in high school.  He meets the blonde and openly-gay Rod at his fast-food summer job (run by Lea DeLaria) who hits on him, but Eric’s closeted status keeps his pants on, at least for a while.  Eventually, of course, the two get together, but Rod gives him the brush-off after the act.

Eric then takes solstice in the local gay bar (also run by DeLaria, who apparently owns every service business in town) where he quickly makes friends with a trio of cliché-ridden old queens (one is a transvestite).  Unfortunately, Eric’s got a life outside the bar, and his sometime-girlfriend (Holmes) and parents want answers.

The plot is strictly Coming Out Film 101, but director David Moreton at least tries something a little bit different by setting the movie in 1984, and attempting to go for a John Hughes feel.  In part, it works; the music (which probably cost 10% of the budget) is good 80’s fare and there is a feeling of general pleasantness about the whole affair.

Unfortunately, that’s about all there is.  Stafford turns in a decent performance, but Eric is just too dull a character to pay too much attention to.  He’s basically just a mixture of gay cliché (obsession with clothes, wearing of makeup) and pouty-lipped cuteness, and he’s left without a personality of his own.  No matter how much Eric gets dumped on, he never gets bitter or even the least bit negative—he’s just a happy, sweet little gay boy that, quite frankly, caused my eyes to roll.

The lack of negativity is compounded by the lack of sense of humor, another common flaw in flicks with gay themes.  None of these characters (save for DeLaria, the sole sparkler in a sea of duds) jokes, laughs, or even seems capable of an off-hand comment.  It’s all terribly straightforward stuff.

The director has his heart in the right place, but is it really that important to cram the “It’s okay to be gay” message down viewers’ throats?  If they’re watching the movie, they’re obviously already okay with it.  While not nearly as mind-numbing as the ridiculous climax to Get Real, at least Get Real’s characters had some degree of development.  Edge of Seventeen has potentially talented actors trapped in one-dimensional roles with no leeway to convey any emotion besides vague interest.

Edge of Seventeen does earn some points in the sex department—the scenes are erotic without being terribly explicit, and the scenes are directed with a fine sense of respect for the awkwardness of the moments.  They’re about as explicit, in fact, as a standard hetero sex scene in a typical Hollywood movie, but with a degree of fine craftsmanship at work.

Still, it's basic queersploitation, now, is it?  It plays on the emotions and sympathies of gays and doesn't really provide anything new.  So it’s very much a “gay film,” and that’s not saying, “Oh, well, this is a movie about gay people, so straight people won’t care.”  It’s just that the movie isn’t actually good, and gay film fans are always looking for any crumbs the film industry throws them, and this is, well, a half-eaten, semi-moldy hazelnut cruller that an ordinary person would walk right by.