No question that Phil Morrison’s Junebug (Sony Classics, 8.3) is a gentle, exceptionally well-made and highly perceptive film about family relationships and the differences between urban and rural. The Stephen Holden blurb in David Halbfinger’s story in today’s New York Times (“Playing to Both Sides of the Aisle (North and South)”) is an accurate sum-up. “Without condescending to its characters or becoming overtly political,” Holden wrote, “[this] beautifully acted film distills antagonistic red-state, blue-state attitudes with a sad understanding that no amount of polite walking on eggshells can dispel the tension between them.” I must say again that despite the quality of it, Junebug was not an entirely comfortable sit because of the icky red-state vibes I got from it, and particularly from Celia Weston’s mother character, Peg, who is extremely suspicious of her new daughter-in law (Embeth Davidtz) because she’s not house-wifey or “country” enough, and because she has a certain cultivation. Because of this, Peg calls her “strange.” As soon as Peg started up with her bullshit, I wanted to walk out. Because I despised her, I started to half-dislike the film…which wasn’t fair because Junebug is a balanced and compassionate thing.