For me, Richard Jenkins is the heart of Norman. How often I've admired him; even in unworthy roles, he has such strength, he never seems the need to try.

The film built around Norman's brazen bit of acting out is uneven -- a strong, fresh first half is followed by a dismayingly earnest second. But there's enough that is winning and sharp to hold you until the end, even as you're disappointed by the direction the film takes.

Recalls last year's "World's Greatest Dad," similarly using a snowballing fib to lampoon the ambulance-chasing relationship between morbidity and celebrity. But unlike that primarily satirical exercise, Norman gradually ditches the snark in favor of poignant, understated dramatics.

Norman may not conquer the box office, but it will certainly be a worthy calling card for its director and its leading man.

The humor is sly and not overplayed either. Typical is the English class with Mr. Angelo (Adam Goldberg) trying to prod his bored students into parsing the difference between satire and irony, which is what the filmmakers are up to as well.