eslgr8 Reviews

Go Go Reject (2010)

Go Go Reject is a Go Go Winner

[10/10 · 13 August 2010]

Go Go Reject is a 20-minute gem of a short gay film. Producer/writer/star Heath Daniels is Daniel, an adorable would-be go-go boy rejected by club owner after club owner for being "too skinny" and "too white." A 21st Century gay male Doris Day/Jennifer Beals, Daniel vows to make his Flashdance dream come true. On the way, he meets his own Rock Hudson (smoldering Korken Alexander), all the while aided and abetted by true-blue best friend Matthew (nerdishly handsome Matthew Bridges). Michael Estime, Iva Turner, and Drew Droege shine in supporting roles, with plenty of scantily clothed hotties to provide eye candy on the way. Daniels has such boy-next- door charm, charisma, and pluck that you not only want him to succeed, you will totally buy it if and when he does. Michael J. Saul gets thumbs up for directing this entirely winning short that goes by so lickety split, you'll wish there were another twenty minutes to go at its final fadeout.

Shelter (II) (2007)

Gay Cinema Is Alive And Well

[10/10 · 11 June 2008]

I see as many "gay movies" as I can, and have accumulated quite a collection of DVDs. I think it comes from having grown up and been a young adult and even not so young adult at a time when there were few gay characters in movies, let alone a genre called "gay cinema." As people who know me are aware, I'm pretty forgiving as a theatergoer/film-goer, and often manage to see good even in plays and movies that have gotten mostly negative reviews.

Tonight I saw a movie that I can rave about without reservations, Jonah Markowitz' Shelter, a film every bit as fine (in all respects) as those which get nominated for Independent Spirit awards every year.

Shelter is the story of Zach, a 20ish surfer/skateboarder/artist with a dead-end job and a dead-end life. With an older sister more interested in going after the wrong men than in taking care of her 6-year-old son, it falls on Zach's shoulders to be the father figure in young Cody's life. (Zach and Jeanne's mother is dead, and their father pretty much non-existent since injuring his back.) Zach has a best friend, Gabe, and an on-again-off-again girlfriend Tori. The return of Gabe's older brother Shaun makes Zach realize something about himself that he'd managed to avoid thinking about, and soon the two end up "more than friends." What makes Shelter such a fine film, besides Markowitz' gifts as a director/writer, the quality of its music, editing, and art direction, and the excellent performances of its cast (and that's already saying a lot), is the way it deals with seen-that-done-that themes in new and non-clichéd ways. Yes, it's a coming out story, yes, Zach has trouble accepting who he is, yes, Zach's sister doesn't react well to having a gay brother, but no, Zach's best friend doesn't desert him, and no, his girlfriend doesn't have a hissy fit when she learns the truth, and in the end, Zach turns out to be quite a man.

Ultimately, Shelter treats its gay romance pretty much like any straight indie film would treat a boy-girl one, and if ever there was a film which shows how "love makes a family," Shelter is that film.

Trevor Wright (Zach), Brad Rowe (Shaun), Tina Holmes (Jeanne), Ross Thomas (Gabe), Katie Walder (Tori), and young Jackson Worth (Cody) couldn't be better and deserve to be remembered in award season, as do the filmmakers.

Keep a copy of Shelter handy to loan to anyone who bemoans the state of gay cinema in 2008. It's alive and well, thank you very much.

(Note: Rowe and Holmes made their marks in two of 1998's best gay films, he in Billy's Hollywood Screen Kiss and she in Edge Of Seventeen. It was his 2nd, her 1st movie, and the beginning of successful Hollywood careers for both. It's great to see the two of them return to the genre 10 years later in such an outstanding film.)

Dreamgirls (2006)

What a disappointment

[6/10 · 28 December 2006]

I loved the film version of Rent. I thought it did pretty much everything right. It opened up the stage musical, it switched it from a sung-through show to a more traditional musical (integrating spoken dialog sequences), and it maintained most of the brilliant original cast). I enjoyed The Producers on screen. Nothing much changed from the stage version and that was quite all right with me.

On the other hand, the long-awaited and much lauded Dreamgirls movie has ended up for me a hugely problematic film adaptation.

It may be hard for you out there to believe, but this often misguided movie had only a tiny fraction of the impact on me of the colorblind-cast stage performance put on last year by the Los Angeles County High School of the Arts at the Alex Theater in Glendale. THATwas an amazing and unforgettably powerful experience for me. From the opening beats, I was carried away by nonstop music and emotional highs.

On the other hand, Dreamgirls (the movie) had only one truly great moment for me and that was sure Oscar nominee and quite possible winner Jennifer Hudson's shattering rendition of And I Am Telling You I'm Not Going. For about 10 minutes, I was torn apart and reduced to tears at what will be remembered as one of the most powerful sequences in film history.

But the rest of Dreamgirls only occasionally caught fire.

The biggest mistake was to take out so much of the music. Unlike Rent (the movie), which successfully replaced sung dialog with spoken dialog, the first 45 minutes (I repeat 45 minutes) of Dreamgirls is actually a straight drama. Yes, there are songs, but the characters are supposed to be singing--on stage, in the recording studio, in a club, etc. When suddenly, three quarters of an hour into the movie, the actors burst into song (in character) singing Family to each other, it comes out of nowhere, from a different movie, certainly not the "docudrama with music" we've been watching up to that time.

Of the 20 songs in the film, only about 4 (all of them painfully incongruous) are sung as extensions of the characters. The only reason that Miss Hudson's tour de force character song doesn't fall on its face is in the brilliance of her performance.

I didn't really go for the "historical" background sequences. I can understand why the filmmakers may have wanted to anchor the film in "reality," but it just didn't work for me, especially (and the New York Times review pointed out) the songs bear no resemblance whatsoever to the music of the era.

This brings up another point that really rankled me. I have always felt that equating Deena Jones and The Dreams and Diana Ross and the Supremes was not particularly justified. Enough of the facts were changed in the stage version (and certainly the music wasn't Motown at all) that I always thought that Miss Ross couldn't possibly take offense if she saw the musical.

The film is something else indeed. I was flabbergasted at how the filmmakers not just imitated but pretty much copied actual costumes worn by the Supremes (1964-1970), created album covers as identical to the Supremes' actual albums as humanly possible, and even depicted a pseudo Jackson Five lead by a mirror image "Michael Jackson," all of which betrayed an astounding lack of originality. Miss Ross and Mr. Gordy should legitimately be outraged by the way they were "fictionalized" in this film.

On the positive side, the acting was uniformly excellent. Eddie Murphy gives his best and most dynamic performance in years, Jamie Foxx is suitably seductive and slimy, and Beyonce Knowles is gorgeous and understated (just what the role requires). And much of the film is gorgeous to look at and to listen to. The costumes, makeup, hair...though often too close to "the original"-- dazzled nonetheless.

I've seen Rent the movie twice and will probably watch it again. The Producers...I wouldn't mind a second viewing, though I could take it or leave it. Dreamgirls--once was enough for me.

Hellbent (2004)

Straight actors fail miserably in pseudogay slasher flick

[1/10 · 18 December 2006]

I had some trepidation watching HellBent, as I'd not seen a slasher film before. Fortunately, the film didn't prove realistic enough to provoke anything more than a startled gasp or two from me. But worst than that is the absolute unbelievability of the four leads in their roles. If writer-director Paul Etheredge-Ouzts had cast more talented actors willing to imbue their characters with the slightest bit of believability as WeHo gay guys, this movie might have had some credibility as the "first gay slasher" movie. I can't help wondering if any of these actors been around 20something West Hollywood gays in their lives? I defy anyone with an ounce of "gaydar" to detect anything queer about any of the lead characters (the drag queen least of all). Yes, there are "straight acting" gay guys, and there are straight guys. It seems that the four lead actors were doing their best to send out signals to the audience, "We're just pretending. We wouldn't want anyone to think we might possibly be gay." Try again, Mr. Etheredge-Ouzts, only this time respect your audience's intelligence and perceptiveness.

Adam & Steve (2005)

If you don't like romantic comedies, why do you review them?

[10/10 · 19 August 2006]

I'm getting really tired of people who don't like a particular film genre giving bad reviews of movies belonging to that genre. I don't like gory horror films, so I wouldn't review (or see) something like Hostel or Saw. But somehow people (and reviewers) delight in putting down romcoms, not because there's anything wrong with the films, but because it would have to be something absolutely extraordinary to even merit a "satisfactory" from them.

That's why it pisses me off that Adam and Steve hasn't gotten the critical acclaim that it deserves. I honestly feel that most of the bad reviews were of people predisposed to dislike it just as they'd be predisposed to dislike any new romantic comedy, gay or straight. (That's not to say that it hasn't gotten its fair share of good reviews, and deservedly so!)

Yes, the romantic comedy genre has been done and done again, and not always well, but I can count the number of GAY romantic comedies on the fingers of one hand. All Over the Guy, and Adam and Steve, and...? How many others follow the formula of two people who meet cute, fall in love, face some kind of crisis, and then overcome it in a tear and laughter filled climactic scene? Yes, I'll admit it. I'm a sucker for a good romcom. I can see While You Were Sleeping any day of the week. But as a gay man I've been cheated of this genre, always having to superimpose my own boy/boy couple over the boy/girl couple in the film.

Adam and Steve is the film I (and others I'm sure) have been waiting for. One of the funniest (admittedly crude at times, Thank you Farrely bros) and at the same time most gloriously romantic romcoms ever, and this time it's a boy meets boy, boy loses boy, boy gets boy back story! The chemistry between Craig Chester and Malcolm Gets is palpable, and thank you openly gay hero Chester for casting another gay man to play opposite. As Chester says in the film commentary, he and Gets don't have to worry about "playing gay" but can simply play the characters, and when they are in bed together or sharing a romantic moment (lots of kissing in this film), you don't have to wonder if they felt odd or uncomfortable. It's obvious that they didn't and don't.

Parker Posey and Chris Kattan are along for the ride, Ms. Posey giving yet another lovable quirky performance that's made her the indie queen, and Mr. Kattan showing himself a real actor and real person, something that his usual over the top roles don't allow him to do.

If you don't like romantic comedies, don't see this movie. But if you're like me, someone who loves the genre but has felt cheated out of his own romcom, by all means BUY the DVD because this is a movie you'll be watching again and again.

Quinceañera (2006)

Very damaging to the gay community

[5/10 · 10 August 2006]

Though Quinceanera is mostly deserving of the praise it has received, I am very disturbed by the negative image of "committed" gay relationships that Glatzer and Westmoreland have chosen to propagate. Had this been a film intended only for gay audiences, the non-monogamous Anglo couple might have been seen as merely one type of same gender relationship among many (including committed monogamous ones). However Quinceanera will be seen by a much larger audience, including a large number of Latinos for whom this may be their first glimpse of a gay couple and who will be left with a very negative stereotype of gay relationships. Two men who wear rings and share a home together but regularly invite hot young "cholos" into their bed (as do their friends) is not a way I want to see my community depicted to audiences who may already be predisposed to see gay men as perverted and immoral. Glatzer and Westmoreland's irresponsibility in propagating this negative image is the last thing the LGBT community need at a time when we are fighting the "religious" right for full legal recognition of our relationships.

Coffee Date (2006)

Go on this Coffee Date!

[10/10 · 22 July 2006]

First of all, get this straight (no pun intended). Coffee Date is NOT a movie about yet another gay man hopelessly in love with a straight man (not that there's anything wrong with that--Who hasn't been there, done that--and maybe more than once?) What Coffee Date is is a deliciously funny and frequently touching comedic examination of the nature of friendship and love and sexual orientation with some of the best writing/performances in indie gay cinema in recent memory.

Coffee Date started as a 17 minute short (the first 17 minutes of the feature) about an Internet blind date that goes unexpectedly and disastrously wrong (as a date) but ends up being the meet cute beginning of a beautiful friendship. Writer/Director Stewart Wade has done the seemingly impossible by expanding his short into a feature, and moving the friendship between Todd and Kelly in many different (and mostly unpredictable) directions, involving Kelly's fag hag best friend/roommate and Todd's slacker brother, with a surprise of his own to reveal, as well as hilarious appearances by Todd's oh so supportive mother, Todd's there's-not-a-gay-man-I-can't-seduce coworker Melissa, and a host of others.

This comedy of errors would end as soon as it started if only Todd's family and friend's would listen to him when he tells them he's straight. But of course, being a movie, they never do, and his life as a "gay" man keeps getting crazier and crazier. Meanwhile, Kelly must cope with the reality that when love for a soul mate of a best friend is combined with physical attraction, someone is going to get hurt...

No more plot revelations here, so as not to move into the realm of spoilers, but plenty of praise for all concerned.

As previously stated, Stewart Wade is an upcoming talent to be reckoned with. A+ for his writing/directing. He's got a lot more wonderful films in him!

A+ also to Stewart for casting the wonderful Wilson Cruz, openly gay in his career since his teenage days on My So Called Life, in the starring role of Kelly (of the unisex name). Not only does Stewart give Wilson the big fat leading role he so richly deserves, but he has the guts (and the wisdom) to realize that no, unlike Brokeback Mountain, this film just wouldn't work if a straight actor were playing Kelly. Wilson is sexy and funny, and superb at the more dramatic moments. He gives the performance of his career so far.

In the same vein, kudos to Stewart for discovering Jonathan Bray. At the Outfest Q&A, Stewart said that Jonathan was his immediate choice for the role the role of Todd from his first audition. Here is an actor comfortable enough in his own heterosexuality to explore a straight man's possible attraction to another man, at some level, maybe even physical. He's a leading man in the Tom Hanks/Jack Lemmon vein--good enough looking to play the lead but enough of an Everyman to inspire immediate audience empathy.

Other wonderful performances: Elaine Hendrix and Jonathan Silverman: Two underrated and underused comedic talents who steal every scene they're in. Both of these actors so disappear into their roles that someone having seen them in something else might not recognize them at first. (I didn't know it was Silverman till the end credits.) Sally Kirkland as Mom. Sometime a little of Sally can go a long way, but here she absolutely marvelous as the PFLAG mother every gay son wishes he had, unless he were really straight. Deborah Gibson (here's one teen idol who's proved she's got legs--18 years after her debut and she's still showing new sides of her talent.) Her end credits song is the icing on the cake of this lovely film, and if she were still in her heyday, it would be a huge hit. In fact, if there's justice in the music world, it still will be! Jason Stewart: Another out gay comedic talent, who is funny in everything he does including his role in Coffee Date as Todd's gay work colleague. And finally, Stewart Wade proves himself a real mensch for writing roles in Coffee Date: The Movie for the original stars of the Coffee Date: The Short (Thomas Saunders and Peter Bedard).

When I saw this film at the Showcase Theater (Outfest 2006), the theater's projection system was apparently not equipped to show the film in its correct aspect ratio. But Coffee Date proved itself strong enough to stand up to having everyone in it stretched out to slight chubbiness. I look forward to seeing it again with properly proportioned actors! This is one I'll be standing in line for when it (surely) gets its theatrical release and one I will surely be adding to my DVD collection.

Cold Showers (2005)

If you're watching this for the frontal nudity, it lasts only a matter of seconds...

[3/10 · 16 May 2006]

Other reviews have talked about how frank this film is, especially in terms of male frontal nudity. Well, those who've seen Grande Ecole with its frequently naked actors and expect something similar are in for a big disappointment. Other than a few seconds in the judo team locker room, the two leads' side by side shower lasts a grand total of 15 seconds. The female lead has comparably brief frontal moments. A lot of this film's marketing is geared to the gay male audience, but those expecting even a hint of homoeroticism between the two male leads (best friends who have a three-way with the girlfriend of one of them) will be most disappointed. There is not even the hint of either one's being interested in the other, or even scarcely aware that the other is part of the menage a trois. As a film, Douches Froides is curiously uninvolving; the viewer gets very little sense of who these three young people are, of how they are feeling, of why they behave as they do. About one hour of the original cut was deleted; perhaps this is why the finished film seems frustratingly undeveloped. Stick with Grande Ecole, a French film which more than delivers on its promises.

Straightman (1999)

Improv is not the same as real conversation, and no substitute for a script!

[4/10 · 2 April 2006]

Straightman is not without its merits, first and foremost the fact that it shows a kind of gay man not usually seen on the screen, a blue collar, scruffy, fashion-clueless everyman. It also depicts a friendship between a straight man and a gay man which doesn't unravel when the gay friend comes out, but is instead greeted with a matter-of-factness that hopefully happens more often in real life than movies would have you believe. Both Bens are well cast and the real life bond between them is obvious.

What I find hard to believe is that this film won the Best Screenplay award at Outfest, my "local" gay/lesbian film festival. Why? Because there is no screenplay, just I would guess a brief description of what each scene is to be about and the words: Improvise.

That improvisation is the same as real conversation is a huge fallacy. Improv sounds like improv, and is no substitute for well written dialog performed by talented actors who make the audience believe that their words are spontaneous.

Had the writers/director/stars used improvisation as a starting off point, and then written carefully thought out dialog, this film would have avoided the many boring and repetitive moments that others on this site have criticized.

Memo to filmmakers: Get a script, have your actors learn their lines, rehearse, and say the words. You'll end up with a much realer film than this one.

Dorian Blues (2004)

What kind of idiot reviewers panned this sensational film!

[10/10 · 11 March 2006]

After watching Dorian Blues, I checked out the reviews at metacritic.com, and I was in absolute shock at the casual way these "experts" tore down one of the best and most original coming of age/coming out films I've seen. Almost everything about this movie is outstanding, from the acting (I've never seen such totally assured performances from an unknown cast in a low budget indie) to the direction (Bardwell is a talent to watch) to the photography and other technical elements that belie the film's modest origins. Dorian Blues skillfully blends comedy with honest dramatic moments, but what stands out the most is its absolute unpredictability. Whenever you feel the story is moving in an expected direction, something invariably surprising will occur. How could any critic have found it "clichéd?" Kudos to the fine performances by Michael McMillian, Lea Coco, Mo Quigley and especially Charles Fletcher as Dorian's nightmare of a father. My only quibbles I'd like to see a director have the wherewithal to cast an actor in a gay role that passes the gaydar test (good as he was, McMillian didn't for me) and have teenage characters played by actors who are the right age for the parts. I'll forgive him these two transgressions because the final result of Dorian Blues is worth 10 stars, especially when compared to a lot of other gay indies out there.

West Hollywood Stories, Volume One (1999 TV Movie)

Campy sexy and fun gay soap!

[10/10 · 19 February 2006]

Forget the one star rating--what were they expecting: Hamlet? West Hollywood Stories is entertaining fluff, to be sure, but it's entertaining GAY fluff, and sadly you won't find any of these stories on your daytime soaps. The writing/the acting/the camera work--no worse than you'd find on Days of Our Lives, which is to say it's not brilliant, but I didn't find a single "bad" performance, and some of the actors are actually pretty good, and pretty good looking, and a pretty face can excuse quite a lot. More than anything, West Hollywood Stories is a tantalizing peek at what might be if prime time, or even daytime, paid more attention to the 10% focused on in this "what if" soap. Too bad that only four episodes were made. I'd like to have seen more of these stories.

The Last Year (2002)

Mediocre (as expected from London), but with some good performances

[4/10 · 24 January 2006]

A film that could have been a serious depiction of young gay men attempting to reconcile their religious convictions with their sexuality becomes instead an often unbelievable melodrama bordering occasionally on gay porn fantasies. (When a supposedly straight student in a Bible college tells a gay student in the locker room "Take my 8 inches," you know you're far removed from reality.)

The film is also hampered by a pair of truly execrable performances by Rand Smith and Lawrence Rinzel. Poor Ron Petronicolos in the leading role of Paul has to play a number of scenes opposite these utterly talentless "actors." Hunky Petronicolos appears to be quite a good actor (despite some unfair comments posted here), but one wonders how much his performance was hampered by having to play opposite these pitiful performers. (Penelope Ma as Smith's wife seems marginally better than Smith, but it's hard to tell, as their scenes together are badly written and any actor would suffer having to play opposite Smith.)

There are some very good performances in this film: Sexy Petronocilos is a star in the making, and Mike Dolan as his boyfriend is also clearly a young talent to be watched. Merrick McMahon (who is by the way a gifted musical theater performer) nails his Latino character, accent and all, and his scene atop the tower is truly devastating and beautifully performed.

Other reviewers here have justly criticized the largely unbelievable depiction of the homophobic jock Bible college students (their locker and dorm room scenes must be seen to be believed), though I did buy the possibility that the Dean's homophobia may have come from a repression of his own sexuality and hiding of his secret sexual exploits (as the example of former Spokane mayor Jim West illustrates.) It also seems clear that the writer should have done his homework better, as a number of the references to (Catholic) Saints would not seem to fit an evangelical Christian university.

Director London might also have thought twice about casting straight actors in gay roles. Petronicolos and Dolan are both very good actors, but they never once come across as anything but straight, and Patrick Orion Hoesterey tries valiantly to appear straight, but is no more believable as a heterosexual than are Petronicolos and Dolan as young gay men. (It's called gaydar, Mr. London, and you insult your audience when you assume that we do not have it.)

Ultimately, The Last Year is the work of an only marginally talented writer/director (sad, because he has the means to make movies, but the results can never be anything but mediocre). There are many many good moments in the film, and I was often gripped by the performances of the talented young actors.

Kudos to obviously straight Petronicolos and Dolan for committing to the passionate kissing and cuddling scenes. I could (almost) buy those moments.

Then there are scenes and aforementioned performances that defy credibility and doubtless led to the ridicule the film was apparently submitted to at the Philadelphia Gay/Lesbian Film Festival.

Still, to give the film one star is to put it on the level of something like the truly horrendous Issues 101 when The Last Year is a seriously flawed (yet noble) effort, with at least some aspects worthy of a look. I hope to see more of Petronicolos, Dolan, and McMahon's work in the future.

Partner(s) (2005)

Surprise! It's not homophobic at all!

[7/10 · 21 January 2006]

The thing that struck me most about Partner(s), aside from the fact that it's funny and romantic and features a talented and attractive cast, is "how far we've come." By this I mean that only a few years ago one would have expected a film about a straight man who (for various plot reasons) must pretend to be gay, to have featured offensive gay stereotypes and homophobic comments/reactions by at least some of the characters, none of which is present in this delightful and charming film. Dave's roommate and best friend is a gay man; when Dave "comes out," he is accepted by co-workers and family; he doesn't try to or feel the need to "act" gay; and finally, Dave himself seems to feel no embarrassment or shame in telling people he's gay. In fact, the only reason he wants to come out as straight is because he's falling in love with a woman and pretending to be gay gets in the way. There's a funny subplot involving two male co-workers that plays with straight males' discomfort with "gay stuff," and hints that these two supposedly straight guys may be protesting a bit too much. Though at heart a boy-girl romance, Partner(s) does deal intelligently with issues of coming out to parents, gay sex roles, gay men involved in dishonest relationships with women, etc. The cast is made up of very talented and photogenic mostly TV actors, and though most likely low budget, has very much a big movie feel. If I have one complaint, it's that this is one movie which would have worked better with openly gay actors cast in the gay roles. Since Partner(s) is about a straight man pretending to be gay, the film loses some effectiveness because (with the exception of out actor Reichen Lehmkuhl, who has only a bit part) *all* the actors in gay roles seem to be straight men pretending to be gay, and to tell the truth, I didn't buy any of them as gay (especially Sean McGowan and Bru Miller as Michael Ian Black's gay friends, who registered zero on my gaydar). But other than that, a film which straight and gay people can enjoy equally, and a must see for straight men who could do with a bit more contact with "the gays."

Slutty Summer (2004)

This is a darn good film! You'll feel like a fly on the wall.

[8/10 · 7 January 2006]

I'd read some mixed (to bad) reviews of Slutty Summer, so I was unprepared for what a really good film it is. Of the countless gay movies I've seen, this was the first that truly made me feel that I was observing the real lives of 20something gay guys in a big city. The characters are all three-dimensional, even slutty Luke, well played by Jesse Archer, who is allowed to reveal a deeper side to his seemingly shallow character. Out actor/director Casper Andreas is very real and believable and likable as recently dumped Markus (I liked the way no attempt was made to explain his Scandinavian accent), and his developing feelings for equally effective Jamie Hatchett (as Tyler) build slowly and believably. Jeffrey Christopher Todd is adorable as hopeless romantic Peter, and I appreciated the respect with which Andreas treated this character; it would have been so easy to make fun of Peter's sincere desire to wait for Mr. Right. Virginia Bryant has many good moments as slightly ditzy Marilyn, and again Andreas has made her much more than the usual "fag hag" without a life of her own. I suppose it's possible (though doubtful) that at least some of the actors were straight (only Andreas and Archer are openly gay, as far as I know), but if so, they'd have to be quite amazing actors, because unlike far too many films, I believed that I was seeing real gay men (even down to smaller roles such as cutiepie Lex Sosa as Steven). Reading several other reviews here, I truly wonder at the cynicism and negativity of some gay viewers. This is not a bad film at all. This is not a badly made film at all. The budget may have been low, but this is clearly the work of a talented man who has surrounded himself with a talented bunch of mostly new to the screen performers. And the New York locations add to the realism of the story, and are especially interesting for an Angelino like myself (who loves New York as well). Thumbs up for Slutty Summer.

As Luck Would Have It (2002 TV Movie)

Absolutely lovely film!

[8/10 · 26 December 2005]

I enjoyed As Luck Would Have It (Le Hasard Fait Bien Les Choses) so much, I watched it two days in a row. It's that lovely a film, and hard to believe that it was made for TV, though from a few other French TV movies I've seen, I shouldn't be surprised.

Jean-Claude Brialy (a French actor with a superb resume dating back to the 50s) portrays Jean-Pierre, a university professor of a generation for whom being gay had to remain a deep dark secret. Brialy would seem to have everything, a satisfying and prestigious job, a luxurious apartment, a caring housekeeper, and a very handsome and much younger Cuban boyfriend Armando, played by dancer Antonio Interlandi. But rather than be proud of this relationship, he hides it from the world, to the consternation of Armando.

Fate (Le Hasard) intervenes when Jean-Pierre is obligated by law to take charge of Antoine, a musically talented 17 year old orphan, played by Julien Bravo. In order to squirm out of this obligation, Jean-Pierre asks his long absent wife (yes, he married 10 years ago to satisfy his mother and to give Alice (Sabine Haudepin) Swiss citizenship) to help convince the judge that his is not a proper home for Antoine.

At times this film reminded me of The Birdcage (because as in that film, Jean-Pierre must hide his gay relationship from a world he fears will not understand it). The resemblance is only superficial, though, as As Luck Would Have It never allows its characters to become stereotypes.

I did wonder for a minute if an overweight 60ish closeted professor could possibly have such a handsome and well-built 30something boyfriend in the real world, however casting that doubt aside (Brialy has been a movie star leading man for well over 40 years, after all), the film won me over with its warmth and humor.

Besides Brialy, who is excellent as one would imagine, there is also Interlandi, who creates a truly believable gay character, never overplaying Armando's gayness (I'd be surprised if the actor turned out to be straight, he's that spot on perfect). Haudepin, who apparently began her career as a child actress, is a wonderful comedienne; Elena Noverraz has lovely moments as Jean-Pierre's Portuguese maid, who suspects a lot more than J-P could imagine; and young Julien Bravo, in his first film, shows both talent and movie star looks (the camera loves him) as the initially rebellious Antoine.

There are many comic moments in this movie, but ultimately it was the heart-warming ones that truly got to me. Get your handkerchiefs ready for the last 20 minutes of the film! This is a great film for gay and straight audiences alike, with a wonderful message of love and acceptance, and a film that gives hope that yes, things are actually changing for the better, at least in certain parts of the world.

Issues 101 (2002)

A Filmmaker Without A Shred Of Talent

[1/10 · 10 December 2005]

I've seen very good, even excellent, low budget gay themed films which despite low ratings from some IMDb.com users, nonetheless show talent and imagination and ingenuity by the cast and filmmakers. Issues 101 is however the work of a writer-director (John Lincoln III) whose supreme lack of talent is at the level of the infamous Ed Wood.

There is not a moment of credibility in this mess of a movie. Michaael Rozman, the above the title lead, is 10 years too old for the part and does not for a moment convince the viewer that he is gay. On the other hand, Dennis W. Rittenhouse Jr., has not a moment of believability as a straight man, even one who is "straight with issues." That anyone other than a hopelessly smitten girlfriend would doubt for a minute that he's as gay as a goose is beyond belief. Bad casting from the get-go. There's also an excruciatingly bad "performance" by Gary Castro Churchwell as the fraternity president. Faring much better are Jeremy Smith and Trevor Murphy, who are charming and believable in their supporting roles. But a couple of supporting performances do not a good film make. (Oh, Kelly Clarkson does make a cameo appearance in the film--for a full 11 seconds!)

Another IMDb.com user has commented on the incredible scene in which fraternity brother Todd invites total stranger Joe to his house for beers and is then shocked when Joe assumes he's gay. (Who wouldn't?) But this is nothing compared to the scene in which the viewer learns that in this fraternity, pledges are forced to perform oral sex on eager fraternity brothers while in the same room another pledge is paddled bare bottomed. A gay porn fantasy, absolutely, but I didn't buy it for a moment, and from that point on, nothing was believable, if it had been slightly so before then.

There is some full frontal nudity by Naked Boys Singing original cast member Michael Haboush (certainly hired just because he was willing to show his goodies) though Rittenhouse, while cute enough to do gay porn, keeps his hand over said goodies and is otherwise shot from the back. Jeff Sublett, as Rittenhouse's gay younger brother, is also a cutie, but exposes less.

I can't say I hated watching this movie. I might watch it again just to marvel at it's horribleness (and to check out a few of the cuties again).

I don't regret buying it for the above reasons, but those who have better things to do with their money would be better off renting, or skipping this untalented writer/director's first, and hopefully last, film.

(I truly doubt that the 10 star reviews posted here were written by anyone other than someone connected with this film.)

Brokeback Mountain (2005)

This film must win a ton of Oscars!

[10/10 · 9 December 2005]

Starting with Best Picture, Best Actor (the absolutely brilliant Heath Ledger), Best Director, Best Adapted Screenplay, Best Cinematography, and perhaps Best Supporting Actress (the heartbreaking Michelle Williams) and who knows how many more. This is the film to beat this year. It is exquisitely beautiful and devastatingly tragic. I thank Ang Lee for bringing this artistic masterpiece to the screen, a masterpiece that is both artistic and immediately accessible to all but the most closed minded. Many will see this film and come out of the theater transformed, finally understanding that homosexuality isn't nearly so much about the sex as it is about the love. And never has there been a greater or more tragic love than that of Innis and Jack in this superlative film by Ang Lee.

Boyfriends (1996)

Still one of the best

[10/10 · 4 December 2005]

After 10 years, Boyfriends still stands out as one of the finest movies yet about gay relationships. I've seen it maybe half a dozen times, and never find it anything but fascinating and compelling and often very funny. The characters and story lines are complex and the performances believable. I recall reading that this film was based on conversations with the actors, all of who whom were openly gay (another reason this film remains accurate and unique among gay cinema). I would guess that almost every gay viewer will find himself or his relationship represented in this film. Unfortunately, most of the cast (with the exception of James Dreyfus and Andrew Ableson) have pretty much disappeared since Boyfriends. The filmmakers returned quite a few years later with the very different, higher budgeted, and equally fascinating The Lawless Heart. I hope we'll see more from their work in the future.

The Gun in Betty Lou's Handbag (1992)

Four Oscar Nominated Actresses in One Movie!!!

[7/10 · 3 December 2005]

I enjoyed The Gun in Betty Lou's Handbag. Though it's a far from great romantic comedy, it does have its funny (and quirky) moments, and a charming performance by Golden Globe Nominee Penelope Ann Miller. It's also a chance to see handsome sexy Eric Thal in a leading role (a shame he didn't become a bigger name!). But what sets Betty Lou apart from other "pretty good" romantic comedies is the fact that it features not one, not two, not three, but four Oscar nominated actresses: Alfre Woodard, Julianne Moore, and Cathy Moriarty, and Catherine Keener, each of whom is delightful in her role. I'll bet the producers had no idea what a goldmine supporting cast they'd assembled. The 89 minute running time suggests a film with many scenes left on the cutting room floor. Too bad there won't be a Special Edition of this one, as I'd love to see those deleted scenes!

29th and Gay (2005)

Absolutely charming film!

[10/10 · 15 September 2005]

Having heard good things about this small independent labor of love, I drove down from Los Angeles to see it at the Temecula International Film Festival. I'm glad to report that 29th and Gay absolutely lived up to my expectations. Writer/star James Vasquez has fashioned what must be at least a semi-autobiographical comedy about a gay Everyman (also named James) who can't seem to get either an acting job or a boyfriend.

Luckily James has two very loving and supportive best friends: straight female Roxy, winningly played by Nicole Marcks, and gayer than gay Brandon, portrayed by handsome and adorable David McBean. Both keep pushing James to get out more; unfortunately Brandon doesn't realize that while he may arrive at a club with buddy James, ditching him to go home with tonight's trick is not the kindest way to treat a best friend. (Luckily Brandon (and McBean) get to show a deeper and more sensitive side in one of the film's later scenes.) James also has very (a bit overly?) supportive parents, especially an uberPFLAG mom, brought to three dimensional life by the delightful Annie Hinton. (You have to be VERY gay supportive to buy your son a sling for his birthday!)

As he searches for an acting break and Mr. Right, James discovers the Internet and has a perfect first date with Michael, all the while longing for coffee bar server Andy (the oh so cute and talented Mike Doyle, whom I had never heard of before but turns out to be quite a deservingly busy actor with Hollywood leading man potential). James can't seem to avoid becoming a superklutz whenever he's around Andy, leading him to feel there is no hope for Mr. Average to win the heart of Mr. Perfect.

29th and Gay is filled with funny scenes and superb supporting performances. Gorgeous Adam Greer, who wasn't quite believable enough for me as a gay man in Straight Jacket, is spot on perfect in a funny/poignant scene as an old school friend of James who's been with Mr. Right for five years already, all the time James has been Mr. Eversingle. Another superlative Straight Jacket alum, Michael Emerson, once again steals scenes as an "acting" colleague of James. Finally, there's funny girl Kali Rocha, hilarious as the blood-drawing nurse from hell (with a heart).

Carrie Preston (the adorable star of the wonderful aforementioned Straight Jacket and one of the two slutty cousins in My Best Friend's Wedding) is 29th and Gay's director, and it's an auspicious debut for her. Out actor/singer Malcolm Gets sings the lovely end title song. Finally Vasquez' real life boyfriend Mark Holmes not only co-produced but assumed perhaps a dozen other hats behind the scenes, judging from the number of times his name popped up in the end titles.

There are those who will say we don't need yet another story about a gay man's dating woes. I'm not one of them. For me, there can never be enough ways to tell and retell our stories, and the uniqueness of James Vasquez' point of view and the talent of his cast and crew make this film an absolute winner for me.

As a writer, James Vasquez has fashioned a film for those who may not often see themselves represented in "queer cinema." As an actor, he has not a false moment, and like many a star, can look absolutely average in one scene and take home to mother handsome in another. Hopefully we'll see a lot more of Vasquez' work in the future.

I laughed. I cried. I loved it!

Loggerheads (2005)

A film whose power grows even after the final fadeout

[10/10 · 8 July 2005]

This is a rare film, one which moved me tremendously, but whose greatest power I felt as the haunting music of Mark Geary played over the end titles. Though I'd been a bit teary as several of the characters finally met at the film's conclusion, it was after the curtain went down, so to speak, that I really found myself crying as the impact of what I'd seen sank in. As another reviewer stated, this film shows how far the "gay movie" has come in just over a decade. The sophistication and complexity of the story, the depth of the performances, and the artistry of the writing/directing make Loggerheads a truly outstanding film. One comment: let's stop saying that an actor like Kip Pardue is "brave" for playing a gay part. He's an actor, and a good one at that, who chooses a part for what it offers him as an artist, and more power to him for that. The truly brave actor is an openly gay one who plays a gay role without concern that this will prevent him from playing straight parts in the future. No matter how many times Kip plays gay, assuming he is straight, he will have no trouble being cast in a straight role, not in 2005.