Closer is an absolutely brutal exploration into relationships, intimacy, betrayal and sex - but presents all of this without any scenes that portray the sex act itself. Instead, legendary director Mike Nichols (who appears to be at the top of his game again with recent, extraordinary work like Wit and Angels in America), tells this tough, unflinching story (based on a play by Patrick Marber) through gritty dialogue delivered by a cast of truly dysfunctional but highly intelligent characters.

Closer weaves it's complex tale around four individuals whose lives intersect in a series of volatile ways. Jude Law is Dan, an obituary writer hoping to publish a book and Natalie Portman is Alice, the needy stripper who falls for him. Clive Owen is Larry, a dermatologist who, under an odd set of circumstances, meets up with and eventually falls for photographer Anna (played by Julia Roberts). Trouble arises when an indiscretion (more than one actually) occurs, prompting these diverse characters to question how they actually feel about their so-called loved ones.

Closer is dark and uncompromising. It reminded me of the scathing and effective works of Neil LaBute, a writer attracted to dysfunction and the darker side of human nature. The screenplay was adapted by Patrick Marber, and not surprisingly, it has a rhythm that one might find more suited for a play, still as a film, it is intelligent and effective. I must admit, however, certain resolutions and confrontations didn't ring true for me, though I don't suppose the film-makers intended for them to. Much of the picture felt like heightened reality, and as an end result, parts of Closer felt a little too smart and practiced for their own good.

The cast is extraordinary, and in a bold move, director Mike Nichols has the expert cast play against type. Jude Law continues to impress adding a kind of depth here that was sorely lacking in his role in the recent Alfie. Similarly, Julia Roberts sheds her girl next door image to play her strongest role since Erin Brockovich. All eyes are on gorgeous Natalie Portman who appears in her first truly adult role. This is a bold new direction for the actress, who delivers her most uninhibited performance. Things do get racy. And in fact, it's been reported this beautiful talent and her stripping scenes were even racier in the first cut, but Nichols and crew elected to edit the film in fear that things were becoming too gratuitous. As good as Portman is here, I preferred her luminous, lovable turn in Zach Braff's Garden State.

As great as the cast is in Closer, the real breakout performance comes courtesy of the lesser known Clive Owen whose brash Larry is more than capable of monstrous behavior. In a picture about manipulation, Clive is king, but the neatest trick he pulls off, is that he always comes across as human.

Mike Nichols refrains from doing anything flashy. This is a character study, and he lets these performers explore a wide range of emotions in their own way. Wisely, Nichols sets up basic shots and allows the actors to create the motion. While this may bore some audiences, it never bored me. I was intrigued by what these characters had to say, and some of what they 'did' have to say shocked me into complete and utter silence. One scene in particular has one character forcing another to describe his or her sexual indiscretion in full detail. It was frank, and uncomfortable, but the "in your face" manner in which this dialogue was delivered was provocative and most welcome. This is, after all, a film in which people communicate, and we rarely see this sort of thing in movies these days.

And how about that excellent Damien Rice song "The Blower's Daughter," which perfectly captures the tone of the film's opening and closing scenes? Talk about effective.

What I liked most about Closer was it's unpredictable nature. I really had no idea which characters would end up with whom by the end of this picture, and when the ending arrived, I was shocked, uneasy, and, in some ways, appalled. Closer is an intelligent, thoughtful expose about people trying to figure out what they want, and not always getting it. As painful as the climax was, it rang true, particularly for this cast of smart but misguided characters.