Led by the terrific performances of Clive Owen and the continuously impressive Jaden Lieberher, The Confirmation is a father-son story of high emotional and spiritual value.

Over the last few years there has been a steady rise of Catholic-themed dramatic comedies, with the likes of Theodore Mefti’s St. Vincent and John C. McDonaugh’s Calvary welcome delights that pull-off talking religion without turning into a faith-based dirge.

The Confirmation continues that trend. The directorial debut from Bob Nelson (Oscar nominated screenwriter of Nebraska), this heartfelt story takes its cues from The Bicycle Thief (1948 Italian classic by Vittorio De Sico) in its story of alcoholic, divorced father Walt (Clive Owen) who connects with his son Anthony (Jaeden Lieberher) as the pair search all over town for Walt’s stolen tools, which the down on his luck carpenter needs to commence a new job.

Both Owens and Lieberher are exceptionally good in their parts. Owens has steadily developed a career of great character performances of very flawed men trying to mend their broken souls through great emotional and spiritual trials, as he does so convincingly here. Meanwhile Lieberher continues to impress with his turn as the soul and heartbeat of The Confirmation, securing his position as one of the best young talents working today, building on his performances in Midnight Special and the before mentioned St. Vincent.  

The “Catholic” part of the story (and indeed the film’s title) comes into play as young Anthony is set to receive his first communion and confirmation in a week’s time, as encouraged by his mother Bonnie (Maria Bello) who had recently remarried and returned to the Church. She begrudgingly leaves Anthony with Walt as she attends a retreat for Catholic couples.

In an amusing opening scene young Anthony struggles to name his sins while in confession. His priest (the forever brilliant Stephen Tobolowsy) is bemused by the whole situation. After all, with all matter of sins to choose from, how can a 12-year-old boy not have at least committed the sin of disobeying his mother and father?

By the time the weekend is over that sin tally will be long, yet it’s of the “grey” variety, the likes that God will no doubt pardon, especially considering the situation of dealing with a father whose addiction has led him to a life of disarray.

Yet through sin comes forgiveness, and from forgiveness comes change, and in Anthony’s skirting with “the grey” in order to protect and better his father, a lesson is learned that sometimes doing wrong just might be the right thing. Bob Nelson has done a great job in delivering that message.