L.I.E. is, in a nutshell, the sort of film that Larry Clark has cornered the market on. With its disillusioned kids, clueless parents, and lack of a structured storyline, L.I.E. could easily be mistaken for the latest Clark film. But what puts L.I.E. a cut above Clark's movies is the surprisingly tender relationship between central characters Howie (Paul Franklin Dano) and Big John (Brian Cox). Though Big John is established as a pederast early on (and Howie seems to fit the bill in terms of Big John's personal preferences), the two grow unexpectedly close - even going so far as to read poetry to each other - which confuses Harrigan more than anything else. He's used to lusting after young boys, but becoming a paternal influence over one is an entirely new experience for the man. As viewers, we want desperately to hate Harrigan for obvious reasons, but Michael Cuesta (who co-wrote and directed the film) never gives us the chance. We know what Big John does in his spare time but Cuesta never dwells on the matter, which makes it almost impossible to dislike the character. And as played by Brian Cox, this is a guy that eventually winds up becoming a tragic figure - ie we eventually feel sorry for a child molester. The other performances are equally good, with the various kids ditching cutesy for realism and Bruce Altman perfectly embodying Howie's self-centered and entirely oblivious father. What keeps the movie from becoming anything more than a showcase for some excellent performances, however, is the complete and utter lack of a concrete plot. Cuesta's meandering style - aped from Clark, obviously - is initially somewhat compelling, showing us a side of upper-class life we wouldn't expect. But his only subplot (Howie's father is arrested for mishandling certain business deals) is lackluster, leaving us with Big John and Howie's relationship. And while it is fascinating on a sort of perverse level, it's ultimately just not interesting enough to keep the movie afloat.