Spending a few days at the hospital, whether signed in as a patient or traversing the halls as a visitor, can be anything but glamorous, and director Lance Daly makes sure you feel that in The Good Doctor. The problem is, gritty and drab as it is, his approach doesn’t much make for enjoyable viewing, just as overcooked steak – even if ordered upon request – doesn’t make for a tasty meal. But forcing you to squirm and feel uncomfortable is what The Good Doctor sets out to do, and for the most part, it succeeds in that goal.

Our protagonist, Dr. Martin Blake (Orlando Bloom), sports a steely expression as he goes about his residency, but beneath it is tremendous insecurity and misplaced ambition. There are plenty of young doctors in the ER earning their chops for the first time and hoping to go far, but Blake is different. He doesn’t live by the same moral code as others. He acts on impulse, without judging the consequences of his actions, and he’ll apply that same principle to cover up his misdeeds.

The cause of his turmoil is an immature young patient, Diane Nixon (Riley Keough), who takes a shining to him, despite also having an equivalently young boyfriend. She tosses feelers in Blake’s direction, which any other doctor would disregard, but Blake’s laissez-faire ethics and need for personal validation leads him astray. Propelling him on are the slights he perceives from a hard-nosed nurse (Taraji B. Henson) and his hopes of impressing supervising physician Dr. Waylans (Rob Morrow). Blake wants desperately to be acknowledged as a doctor by those beneath him, and as a good doctor by those above him. He will go to any length to ensure this happens, and any obstacle in the way concerns him; in his mind, it needs to be dealt with.

Bloom brings professionalism to the role, favoring the more subdued side we’ve seen in Elizabethtown over an energetic portrayal, such as his rendition of William Turner in Pirates of the Caribbean. The rest of the cast and characters – with one exception — are also stellar, with Keough bringing light and freshness to the screen, Henson displaying her familiar acumen, and Morrow mixing in that high-pitched whine from Mother while also demonstrating his thespian ability from other well-acted roles, such as Quiz Show. Morrow especially does a fantastic job of keeping Blake on his toes, always shuffling between backhanded compliments and muted assuagement.

The movie does not work so well, however, in any sequence where orderly Jimmy (Michael Pena) is involved, nor does it execute fluidly in a scene where Blake visits the Nixon family household. Unfortunately, The Good Doctor pins most of its climax on Jimmy, which effectively tears down the rest of the plot construction. Jimmy is simply not believable as a character, and his lines are erratically written. In one moment, he’s a blackmailer, in the next, he’s just a fun-loving member of the working class, bewildered as to why a doctor he blackmailed might have it out for him.

The budget also seems remarkably low, though by focusing so singularly on the one hospital setting, it gets away with it. The Good Doctor ultimately becomes a moderately decent psychological study, which leaves the viewer in an unpleasant state of mind and throws in a couple of double-bogeys with no birdies to compensate the scorecard. A worthy effort, if you don’t mind dedicating 90 minutes worth of your time to a picture that requires a great deal of effort to enjoy.