THE PAPERBOY is the latest offering from Lee Daniels, bringing with it an aspiring journalist named Ward, his hapless, lovesick younger brother Jack (Zac Efron), and the much older girl-next-door figure of Charlotte (Nicole Kidman).

Charlotte is first seen reading a letter written to her by Hillary Van Wetter (John Cusack), a convicted criminal who lives in the middle of a vast swamp. He is fixated with domination and violence. Despite the best advice of those around her, Charlotte enlists Ward to research Hillary’s case to get him released. Her naivety as a result of her devotion is mirrored in Jack’s infatuation with her. This intricate mess of romance and criminality is deepened ever further, bringing with it graphic murders, intense arguments and brutal sexual encounters.

 …bold, brash and uncomfortable for all the right reasons.

In a total departure from the Disney haze in which he tends to be preconceived, Zac Efron puts in an outstanding performance as the lovesick young Jack. His curious mix of vulnerability and passion is at times heart-breaking, especially as he is wound tighter and tighter into the grasp of the older, more unforgiving Charlotte. Kidman’s portrayal of Charlotte is impressive in its ability to draw sympathy for a character so brusque and blinkered in her aims, but the appeal of Charlotte’s character does seem underdeveloped. Jack’s adoration of her appears relatively unfounded, beyond it being an unrelenting youthful infatuation – which perhaps makes his devotion all the more painful to watch. It’s unsatisfying, particularly as the film hangs heavily on this romantic narrative.  Charlotte is described as an ‘over-sexed Barbie doll’, and this is how she is shown for the duration of the film, making her genuine appeal unclear.

THE PAPERBOY is a visual onslaught in many ways, strings of consistently graphic violent and sexual scenes making the overall aesthetic of the film extremely dark and visceral. Impressively, though, this attack on the senses is effective and shocking in a enrapturing way, rather than seeming gratuitous. It is also aided by careful segues into ethereal, hallucinatory dream sequences and rich, humid swamp scenes, which provide variety and much-needed relief from the intensity of the central action. There are moments, however, where these segues seem evidently contrived as a cinematic tool, rather than being integral to the film’s action. As a result, certain sequences are surprising and abrupt, rendering them alienating rather than simply contrasting.

The deeply dark and sexual scenes […] are at once entirely compelling and completely unwatchable.

The film’s major value rests in its ability to broach a myriad of taboo subjects with minimal fear. Its consideration of race, homosexuality and violent sex are all commendably unabashed and upfront; THE PAPERBOY is bold, brash and uncomfortable for all the right reasons. The deeply dark and sexual scenes between Kidman and Cusack are at once entirely compelling and completely unwatchable. The magic gluing these two sides together is what brings this film together – a compulsion to watch with an underlying urge to look away.

THE PAPERBOY succeeds in provoking intense reaction and providing compelling entertainment. Its relentless portrayal of violence, sex and an uncomfortable middle-ground somewhere between the two makes it a grotesquely intriguing work. With extremely commendable performances from its lead roles, THE PAPERBOY manages to deliver its messages through achingly real characters. Had these been developed even further to draw more sympathy for its protagonists, this film could be truly heart-breaking. As it stands, this film is slick, dark and compelling; its grip simultaneously repulsive and irresistible.