The heart of this movie is in the right place, but there are too many plot holes and incongruities for it to rise above anything other than a unique, but flawed film. We are put in the shoes of Rudy Donatello (Alan Cumming), a part-time drag queen/struggling songwriter, who realizes that a mentally handicapped child in the apartment next to him is not being taken care of properly by his drug addict mother. The night before he discovers this, he has a sexual encounter with Paul (Garret Dillahunt), a man who has come into the bar where Rudy works. It so happens that Paul is a lawyer for the D.A. The timing of these events is incredibly fortuitous and the film races along before we even have a chance to question things. For example: Rudy takes an immediate interest in the child and determines that he, who basically has no money, can't pay his rent on time, and works at night, is somehow going to take care of this child. When Family Services comes to retrieve Marco after his mother has apparently been picked up on drug or prostitution charges (it wasn't clear), Agent Martinez (Kamala Lopez) rushes the poor boy, trying to get him to gather his clothes and other belongings. But why? A person from Family Services rushing a handicapped child to grab his clothes and get the hell out of the only home he may have known, without any explanation or a shred of sensitivity? This did not ring true. Also: When Rudy decides that he doesn't think Family Services should take care of Marco, he contacts Paul via the phone number he gave him after their first sexual encounter. He assumes that because Paul is a lawyer, he must also therefore know what the next step is in getting Marco out of Family Services (an organization trained to handle such situations) and back into his loving arms. But why? He makes the assumption that Marco could only possibly end up in a terrible place. It MIGHT be true, but it is still only an assumption. When he calls Paul on the phone, he is obnoxious to his secretary because she won't connect him to Paul instantly. Why would she? Is he really stupid and selfish enough to assume that Paul has no other business other than responding to his fury that must be resolved instantly or he'll go on a rampage? Apparently, because that's Rudy's next step. He charges into the law office where Paul works as if he owned it, demanding to see Paul. Paul says, quite realistically, "What are you doing? This is where I work!" It's great that Rudy wanted to care for Marco, but to treat everyone else along the way like sh*t did not make me sympathetic to his cause. The B-story was almost laughable. Paul, having heard Rudy's off-key singer-songwriter voice , determines he should makes demos and find work, and buys him an 8-track tape recorder. Rudy records a slow version of the disco hit "Come to Me." While I give the film props for successfully nailing what a songwriter would have to do in the '70s (record on 8-track, get cassettes made, mail them out in padded envelopes and hope for the best), to think that a club owner would give Rudy a shot at fame by offering him two nights a week to sing whatever the hell he wanted... I don't see it. Also, Rudy wasn't what you would call "audience-friendly," so I'd really like to know where the audience (who sits in cold-stone silence during Rudy's performance) came from. There is a long list of other questionable "moments," but as I lived in L.A. during that time, I can say that the director made every attempt to accurately portray 1979 through clothes, hairstyles (even if that meant questionable wigs for the two male leads), cars, music and vocabulary. The two leads also essentially nailed the personality and philosophy of the two gay men they were portraying from that era. For example, from the first moment Paul parks his car outside the gay club, I could sense the fear, tension, panic, denial, worry... it was all in his face. He wanted to go in, but he was afraid. For Rudy, it was more "F*** all of you. This is who I am, take it or leave it." In fact, I felt I had been whisked back into time... and, despite all the fun music, cheap food and gas, there was, for gay people, the real fear that their lives could be in danger, their jobs jeopardized and their family relationships challenged by the exposure of the fact that they were gay. This was quite real, and the film nails these moments. There were other excellent performances in small parts: Clyde Kusatsu as a sympathetic but honest doctor who gives Rudy and Paul the harsh lowdown on Marco's illness, Frances Fisher as a sympathetic but realistic judge, and Don Franklin as a no- nonsense attorney who agrees to handle Rudy and Paul's case. The key to making it all work was Isaac Levya as Marco, who seemed to clearly understand what was going on and rose to the occasion as an actor and not just as a Down syndrome poster boy/prop. I loved that Rudy and Paul cared enough to take care of him in a loving way, and I loved that Marco realized that someone actually loved him and was willing to help him, since his pathetically misguided mother could not. I did get sucked into the film and I was moved. But I would like to believe that the filmmakers would now look at the film and say, "Right. We could have done that better." Nonetheless, it was a unique film and I'm glad I saw it.

This film is about a gay couple who fights the legal system to get custody of a mentally handicapped child in the USA in 1970's."Any Day Now" tells a touching story about how two gay men fall in love with each other, and their love extends to a mentally retarded child who is left alone because his mother is sentenced to prison for drug related offence. The film couple becomes loving and caring parents to an underprivileged child, despite the discrimination of the conservative society. This selfless and unconditional love is quite touching in itself, but what is more touching is their solid determination to fight against systematic discrimination and injustice.I am glad that this film is made, so that this story, together with their activist spirit, reaches a wider audience. Hopefully, someone somewhere is inspired by this couple, and will stand up against injustice like they did.

this movie was simply fantastic well-written, moving, and passionate. Alan Cummings take on the character Rudy Donatello was quite superb. i said to myself before i started the movie i know this is going to make me cry, i was right. this is a very beautiful story that left me in tears. my heart beating and pounding for the characters on-screen. their passion for the film, and the story made what would have a been a rioted film from bigots and hardcore Christian's, a beautiful story that says Even though they are gay, they could love and raise a child just the way a heterosexual couple could. i simply want to thank whoever wrote this story and made it, to me, an instant classic. so in short, thank you for this film.

It is these little known movies many have never heard of that end up being the biggest surprises (although I saw the trailer for this film when I saw Anna Karenina in the theater last winter). Any Day Now is a quiet surprise as it is a small-ish film with no "significant" stars in its cast that packs an unexpected emotional punch.While Any Day Now is a flawed film -- editing isn't so great, there is an almost too-authentic/over-the-top 70's feel to the production and there are some continuity flaws clearly visible on screen -- the story and acting are quite good. Most of the actors in the film tend to be strong supporting players/character actors and it is nice seeing some of them get bigger roles proving they are capable actors who have wisely chosen their profession.Inspired by a true story, Any Day Now takes place in the late 70's and is about Rudy Donatello (Alan Cumming - Circle of Friends) who one day takes notice of Marco, a down syndrome kid (a remarkable Isaac Leyva) who is his neighbor and who unfortunately has a deadbeat, drug-addled single parent mother (Jamie Anne Allman -- Aunt Terry of 'The Killing') who cares little for him or his well-being as her primary concern in life appears to be her scoring her next hit. Disgusted and distraught for the innocent child, Rudy asks his lawyer pal Paul (Garret Dillahunt - No Country for Old Men) to see what he can do about helping the child after Marco's mother abandons him after telling Rudy he was free to take care of him if he wished (as he'd be out of her hair).Any Day Now is a story of love and compassion but most of all acceptance ... as Rudy takes in and loves another in spite of all obstacles he knows he will encounter. Rudy and Marco create a makeshift family and nobody has a problem with it until it is revealed that Rudy is a homosexual (NOT a spoiler as the audience knows from the opening scenes) and his love and kindness and respect are apparently no longer valid. The closeted pal Paul struggles with coming out and doing what is right as he knows all-too-well the repercussions of being gay in a not-quite-fully accepting society.... all while the audience sees that true love knows no bounds because an innocent Marco sees nothing but love for those who have loved him.The film (unfortunately) becomes a bit more of a legal drama than one would wish as it explores the biased legal system in the film's second half; but at its core is Cumming's genuine and heartfelt performance that is rather impressive. Who knew that the slithery creep (who could make one's skin crawl) from Circle of Friends could also make you like him?!We know the film is about a man who wants the best for a disadvantaged, disabled child. We know the man happens to be gay in a time much less accepting than today. What we don't know and the film is about is what happens to Marco and whether or not his wants/wishes are even considered by both a legal system and a society afraid of homosexuality. While it won't be a film for everyone, open-minded and big-hearted individuals should like several aspects of this film. Yes ... it could have been better but so can the world we all live in.