Who knew that Spider-Man could act? Though his Golden Globe nod might be considered a stunt nomination by the Hollywood Foreign Press Association’s star-savvy voters, an underdog Oscar nomination wouldn’t be a far cry for Tobey Maguire, who proves he has more to offer than his CV would lead you to expect. For all of its flaws, Jim Sheridan’s update of Susanne Bier’s Danish 2004 film of the same name, Brothers, is a robust drama that climbs up a few notches thanks to the three dedicated lead performances.

Sam Cahill (Maguire) is a decorated soldier and a dedicated family man (when he’s there) to his two young daughters, and his wife, Grace (Natalie Portman). Meanwhile, Sam’s brother, Tommy (Jake Gyllenhaal), has just been released from prison after a stint for armed robbery, and manages to briefly reunite with the extended family before Sam has to ship out again. However, Sam isn’t back in the field long before his helicopter is shot down and he is presumed dead, sending a shockwave throughout the Cahill family, bringing Tommy crashing back down to Earth, as he attempts to atone for his previous mistakes by doing right and helping support his brother’s family.

While the latter portion of the film belongs to Maguire, the early moments played by Gyllenhaal (particularly as Tommy hears of his brother’s supposed death) are magnificent. This isn’t to say that Portman isn’t great, but she gets the more routine share of the lines, and has the easier task of blubbering her way through some of the more wrenching scenes. Even though the film is pigeonholed with plenty of melodrama, such as Tommy arguing with his proud, military-type father after Sam’s funeral, he chews through the dialogue with such vigour that it doesn’t really matter. Tommy’s father attests, “You never could make me proud”, and Tommy deliciously retorts, “Pride’s a sin”.

It isn’t really a spoiler to say that Sam is revealed to be alive early on in the film. Maguire, scarred and sternly talking, offers a fine rebuke to his more familiar roles, mitigating his slender frame with an aged, more thoughtful countenance that makes him truly, surprisingly believable in this role. Of course, back home, Sam’s family are unaware that he is alive, and Tommy has taken the shock of his brother’s demise as a jolt to fix his life, mending his relationship with his father and becoming a surrogate dad to his nieces. Here we get some amusing homely humour, such as when Tommy and his buddies attempt to paint the kitchen, which works well to alleviate the tension intercut during Sam’s captivity.

The film’s second half is undeniably the more interesting portion, though, as we learn the grim extent to which Sam finally earned his freedom, a freedom which will unknowingly interrupt the firm bond that Tommy and Grace have established in the interim, while even Sam’s own kids have adjusted to him being gone. As a result, Sam is without a place, and this is where Maguire shines; the ticks in his eye and the quiet demeanour say a lot, for it is all leading to that incendiary third reel moment you know is coming. Upon Sam’s return home, Maguire’s interaction with Gyllenhaal is also a highlight, and given that Gyllenhaal was set to replace Maguire on Spider-Man 2 when he faced crippling back problems, it’s no doubt an inspired bout of casting.

Although the film is very much about the psychological effects of a war-time scenario, it isn’t overtly political, and those looking for an agenda should search elsewhere, for there’s no Bush-bashing, and the affair stays pleasantly on-kilter. Tommy at one point asks his father, “who are the bad guys?”, but it merely serves to establish Tommy as a difficult and argumentative guy, rather than question the West’s place in Iraq and Afghanistan. It is interesting to note, though, that presumably everyone knows that Sam was missing or captured, but they never really probe that much; it reinforces the “out of sight, out of mind” approach so many take to war, and it isn’t until Sam acts out that they even ask. It isn’t an overt comment in any substantial way, but it is interesting nevertheless.

This all builds to a final twenty minutes that are absolutely riveting, with everyone, including the two daughters, getting a chance to demonstrate their acting chops, but unequivocally leading the pack is Maguire who, acting like his life depends on it, shows an unbridled ferocity we didn’t know he had. It’s incredibly tense as one wonders quite how bad things are going to turn, and the ending rings true in its unerring refusal to give easy answers, and also in its emotional plausibility. If Brothers seems to say anything at all, it is that your loyalty to your country may well be at the cost of your loyalty to your family. It’s not exactly new or profound, but it is a sobering reminder of the lesser-documented sacrifices and the more personal war at home.

The damaging effects of war have been better explored in films like The Deer Hunter, but the triumvirate of excellent performances elevate the material by leaps and bounds. There are some rough patches, though; Grace casually pleading with Sam, “don’t go”, early on in the film is glossed over quickly and therefore feels quite redundant, while the drama is supported by plenty of throwaway pop music (although U2’s sure-to-be-Oscar-nominated Winter does fit the film’s close), as well as a jarringly histrionic leitmotif during the Middle East scenes, while some of the helicopter CGI is dreadful. Also, An Education star Carey Mulligan’s brief scene highlights that she needs to work on her American accent, because her British accent seeps through with distracting frequency. However, Maguire shows considerable growth with an intense and fiery performance that’s gong-worthy, while Portman and Gyllenhaal, although more understated, give the film a calming balance.