Sharply written, impressively acted and elegantly structured into a triptych of hotel-room encounters, there is only one thing wrong with this insightful drama about a closeted gay Premier League footballer. The Pass was adapted from John Donnelly’s play of the same name, and remains firmly identifiable as theatre rather than cinema. A staginess to the scale of some of the performances notwithstanding, this is not necessarily a problem, particularly if you simply view this release as a means to bring the play to a broader audience. Still it’s a pity, given the scope of cinema as a medium, not to fully use it.
