Tobi Powell (Patrick Stewart) is a private effeminate Juilliard dance professor with a long distinguished career. He gets interviewed by married couple Lisa (Carla Gugino) and Mike Davis (Matthew Lillard). They eventually reveal the true motive of their visit. They believe that Tobi is Mike's biological father.Patrick Stewart is a well-established actor of the highest order. He can act circles around anybody. Gugino is a nice partner in this exercise. Lillard, known for playing goofballs, has some solid anger here. I would have liked for the three leads to stay together in that apartment and stew in the conflict longer. It boils over too quickly and Lillard leaves the room for too long. Stewart and Gugino play around for awhile. In the end, Stewart is great but that's not unexpected.

Tobi (Patrick Stewart) is a dance professor at Julliard. Today he's very nervous, however, as he's expecting guests. Who they are, you don't know but he wants everything to be just right and he fusses over the details. Once the couple arrive, you learn that the woman is supposedly working on a dissertation about dance and the husband is just along for the ride. This portion at Tobi's favorite restaurant is VERY hard to take. Tobi is so superficial and flamboyant that he comes off as fake and annoying. I really was tempted to turn off the film...it was THAT bad.Soon the scene changes to Tobi's apartment. While the lady (Carla Gugino) asks Tobi a lot of questions about dance, her husband (Matthew Lillard) begins asking questions--which is strange because he's just supposed to be along for the ride. What's stranger is that his questions are very invasive and he begins asking Tobi about his sex life. What is this all about....as it soon becomes obvious that there is no dissertation and the couple have ulterior motives. What? See the film.I hated the first 20 minutes or so of the film and thought the writing and Stewart were just awful. But I stuck with it...and I am glad I did because through the course of the film, the bravado, the fakeness and the veneer begin to wear away and the movie becomes an interesting character study. In fact, it becomes a wonderful study of all three--and all three are marvelous. It also becomes quieter...more contemplative...and very emotionally charged--so much so that you might just want to have a few Kleenex handy. Rarely has a movie surprised me like this one did...and I am certainly glad I saw it. If you, too, would like to see it, the film is out this week on Netflix.By the way, this is not a film for kids. There is a lot of talk about sexuality and it would probably bore younger viewers as well. But for someone who wants to see marvelous acting you cannot do much better than this.

"Not surprisingly, the disclosure of information about unsuspected paternity comes with potentially devastating effects." David L. Katz Match is essentially a three hander with Patrick Stewart as the epicenter of a talky drama that revels in the secrets and lies we all work with. Full disclosure: Stagey films are my nectar, where the spoken word, and never enough of it, is the drama. Although director Steven Belber adapts his play to this film, it receives criticism for being static—all the better, I say, to concentrate on what gives the most life to human interaction: words. Tobi (Patrick Stewart), an aging professor of dance at Julliard, agrees to an interview by a troubled married couple. Lisa and Mike (Carla Gugino and Matthew Lillard), ostensibly for her dissertation on dance history. As in most good drama, all is not as it seems. The ultimate goal is to flesh out Tobi's alleged paternity of Mike sometime in the '60's. Whether or not Tobi is the father (not certain despite cop Mike's devotion to certainty)is less important than the dissection of Tobi's solipsism, the release of Lisa's inhibitions, and Mike's coming to terms with the terms of Tobi's paternity and Lisa's happiness with their marriage. Although Match lacks the robust universality of Albee's Who's Afraid of Virginia Woolf? it stands up well at getting behind the characters' facades and into their hearts. Match is a literate take on the matches we make in life, such as Lisa's apparent mismatch with Mike or Tobi's unwillingness to match himself with his alleged son from his birth. Along the way is a match with a profession, benign with Tobi, not so with Mike, and not so with Lisa on more than one level. As the characters admit their mistakes, writer Belber offers the possibility that life choices may frequently be non-negotiable and for the best. Who knows? We're all just doing our best given life's limitations. This is one heck of a drama, stage or film.

Wow. I cannot believe a man of Patrick Stewart's talent and experience could present a character as boring, ugly, and bizarrely unbelievable at this stage of his career. Even if his director begged him to perform this poorly I cannot believe he would do so. I am sorry. But, do not waste even five minutes on this movie.Matthew Lilliard, as the potential son, created a character that was so unreal that no one should be asked to suspend disbelief. His character is not a cop. There is a sense of un-realness to this performance. There is no believable reason for his character to be such a bore. This could be a career ending performance. I honestly cannot believe anyone put money forward to produce this, one of the worst movies I have seen in years.