Freeheld

The issues facing Laurel Hester during her tragic battle with cancer were topical and relevant, yet Freeheld somehow feels dated and melodramatic, and not just because of the decade that has passed between her true-life struggles and the release of the film inspired by her story.

This chronicle of her fight for equal rights for lesbian couples is the latest well-intentioned crusade for justice from screenwriter Ron Nyswaner (Philadelphia), whose heavy-handed embellishments emphasize the vulnerabilities more than the strengths of its subjects.

Laurel (Julianne Moore) is a respected police detective in a conservative New Jersey county. She’s also a closeted lesbian who meets butch auto mechanic Stacie (Ellen Page) after exchanging glances over the net at a rec-league volleyball match.

Their subsequent romance leads to a domestic partnership and a shared home, which Laurel keeps hidden from her colleagues out of fear it might cost her a promotion. Then she’s diagnosed with terminal lung cancer, which causes the couple to worry that Stacie might not receive pension benefits after Laurel’s impending death.

Eventually their plea to have their union recognized by stubborn county freeholders becomes public, and although Laurel’s police partner (Michael Shannon) offers his support, their fight is threatened by indifference almost as much as intolerance. As Laurel explains, “I’ve never asked for special treatment. I’m asking for equality.”

What follows is a predictable mix of big speeches, political posturing, and bureaucratic red tape, with the clock ticking toward a decision as Laurel’s health deteriorates.

Aside from the health issues, the film — which is based on an Oscar-winning documentary short — ultimately doesn’t provide significant insight or add much to the cinematic legacy of LGBT coming-out stories. It likewise oversimplifies its glass-ceiling issues both in the workplace and the courtroom, which tends to trivialize Laurel’s plight.

The film’s powerful moments are mostly of the quiet and character-driven variety, as both lead performances offer depth and complexity while eschewing glamour. The central love story is tender and convincing.

The straightforward approach of director Peter Sollett (Nick and Norah’s Infinite Playlist) is slick and crowd-pleasing but also predictable in the way Laurel and Stacie transition from victims to heroes. Considering the impact, it’s a shame to tell this remarkable story in such an unremarkable way.

Rated PG-13, 103 minutes.