Category Archives: LGBTQ+ Films

Gayby-2012

Gayby-2012

Director Jonathan Lisecki

Starring Jenn Harris, Mathew Wilkas

Scott’s Review #441

70234883

Reviewed July 3, 2016

Grade: C+

Gayby (2012) is a sketch-type comedy about two best friends (a gay man and a straight woman) who decide to have a child together.

Both have reached a certain age and are unhappy to have not found the perfect mate. The story is not novel and feels more like a Saturday Night Live sketch than a film.

The film is also playing on the success of television comedies like NBC’s Will and Grace, the obvious dynamic of the central characters.

The two leads are quite appealing in a comic way, have wit (Jenn Harris is deliciously neurotic), and have great timing.

The subject matter is interesting, though as years go by and more LGBTQ+ topics are covered,  it is becoming rather dated and not novel anymore.

The negative is the frenetic, quick pacing of the film, ultimately making it rather off-putting and annoying, to say nothing of the irritating stereotypical, supporting characters.

They are written so over-the-top that it is tough to take the film as seriously as it should be taken.

Independent Spirit Award Nominations: Best First Screenplay

Behind The Candelabra-2013

Behind the Candelabra-2013

Director Steven Soderbergh

Starring Michael Douglas, Matt Damon

Scott’s Review #411

70274808

Reviewed June 18, 2016

Grade: A

I thoroughly enjoyed this HBO film based on the life of Liberace, whom I was too young to know much about before viewing this movie.

The excesses of his lavish lifestyle are explored completely.

The standouts are Michael Douglas and Matt Damon who are both exceptional in their portrayals of Liberace and his young lover. Both were unrecognizable at times and completely embodied their characters.

I can’t attest to the absolute truth of the story, but the HBO film does a nice job of mixing joy, passion, heartbreak, sadness, and competition throughout.

The story undoubtedly bears a likeness to many Hollywood troubled relationships past and present.

The Way He Looks-2014

The Way He Looks-2014

Director-Daniel Ribeiro

Starring-Fabio Audi, Ghilherme Lobo

Scott’s Review #408

70307130

Reviewed June 4, 2016

Grade: B+

The Way He Looks is a foreign language film (Brazilian) from 2014 that tells a coming of age story about a blind high school student,  who develops feelings for the new kid in town. The other boy has rapidly become his new best friend and the boys, while unsure of the other’s sexual preferences, fall in love.

The film is a charming story about a modern romance, now becoming more prevalent in film today.

Leonardo (known as Leo) is a blind high school student struggling to be his person.  His close friend Giovana is in a similar situation as neither has ever been kissed, yet they feel adolescent desires- they are lonely but share a close bond.

Regardless of his disability, Leo is quite independent, despite having parents who border on smothering. One day, a new student named Gabriel volunteers to sit behind Leo in class and they strike up a friendship. Giovana, unaware of Leo’s sexual preferences, develops a crush on Gabriel.

The film then tells a sweet story about young, blossoming, romance. The main characters do not face particularly tough obstacles from outside sources, but rather from each other as their feelings and emotions are fragile. In addition to romance, the film focuses on the friendships between Leo, Gabriel, and Giovana.

The Way He Looks is a warm film. It is sweet and compassionate and tenderhearted. The viewer witnesses a budding romance between two teenagers and the fact that they are both males is secondary- that is how charming the film is.

The audience will root for Leo and Gabriel because they are nice kids. Giovana, the outsider, also has a rooting factor- she is in no way a villain, nor does she harbor resentment for either Leo or Gabriel, but rather, yearns for her first romance and happiness.

The film wisely does not turn her into an emotional wreck, or a psycho. Sure, she gets drunk at a party, but this is only to temporarily escape her feelings.

I recoiled at the scene after scene of Leo’s parents either fretting about something, worried sick about Leo coming home late, or simply worried that something may happen to their son. Relax already. Life is not meant to be spent frazzled because your son is blind.

The parents are not the strongest written characters in the film and are rather secondary characters. The case is the same for the bullies, the slutty girl, and the teacher. The film belongs to Leo, Gabriel, and Giovana wholly.

The supporting characters in The Way He Looks are meant to merely react to the central character’s issues.

A kind film about a same-sex, young romance. Charming, not too heavy, with likable characters, who one can root for. There are no bombs, car chases, or explosions needed.

The Way He Looks is a slice of life film that is simple, pure, and true.

The New Girlfriend-2015

The New Girlfriend-2015

Director-Francois Ozon

Starring-Romain Duris, Anais Demoustier

Scott’s Review #382

80017300

Reviewed March 5, 2016

Grade: B

The New Girlfriend is a French, and lighter, version of The Danish Girl, a similarly themed film also released in 2014-2015.

The story involves gender identification confusion among the central character, though the time in The Danish Girl is the 1920’s, The New Girl is set in present times.

The film begins with a brief montage of the lives of two best friends- Laura and  Claire- sharing life and inseparable as children, young adults, and even as married women.

Sadly, we learn that Laura has recently died of a terminal illness and this is where the film begins. Claire embarks on a unique friendship with Laura’s husband David when she catches him wearing female clothing and acting as a “mommy” to his infant daughter.

They form a bond and Claire agrees to harbor David’s secret and even accompany him in public as he slowly takes on the persona of “Virginia”.

I found the film quite compelling throughout most of the running time as we see David’s burning desire to both dresses as a woman and feel like a woman.

We mostly see the bond develop between Claire and David, who sometimes is Virginia, other times David. Claire is happily married to her successful, handsome, husband Gilles and the three individuals are friends- sharing dinners, tennis matches, and evenings consuming wine.

Gilles is unaware of David’s secret and begins to fear an affair has ensued between his wife and his friend. Likewise, during moments, Claire imagines David and Gilles beginning a torrid affair.

Interestingly, the film does not go full steam ahead with the love triangle between Claire/Gilles/David (Virginia) and this is a wise choice. That would have made the film more typical and generic, and perhaps even one-note.

Rather, the point of the film is the struggles David goes through to feel right as a woman and how his friends support him. When he kisses Claire and snuggles with her, it is not sexual- it is to feel close to another woman.

This makes the film more character-driven.

As with many foreign-language films, The New Girlfriend is liberal with nudity, both male and female. When nudity is featured in American films, typically it is gratuitously or sexually.

This film being French, the nudity was tasteful and even beautiful. When Claire is topless it is more expressive as the mystique of the female body than in a showing of a buxom woman, which Claire is not.

The ending of the film slightly disappointed me. The idyllic, fairy tale way that the film wrapped was romanticized and unrealistic. I would have liked to have seen even more of David/Virginia’s struggles and how his in-laws might have wrestled with the idea of their granddaughter being raised by a single man dressing as a woman.

Another flaw was the lack of explanation as to whether David- as a male-desired and yearned to biologically become a woman or if he was satisfied to dress up and publicly look like a woman. The film chose not to go this route and it undoubtedly would have made the film darker, containing a much deeper story.

Instead, The New Girlfriend was light, fun, and wholesome in its overall story.

Monster-2003

Monster-2003

Director Patty Jenkins

Starring Charlize Theron, Christina Ricci

Top 100 Films #83

Scott’s Review #347

60032559

Reviewed January 9, 2016

Grade: A

Monster (2003) may feature one of the best acting performances of all time-Charlize Theron simply embodies the role of the notorious female serial killer, Aileen Wuornos, in a simply astounding triumph.

The mannerisms, the anger, and the charisma that Theron portrays are nothing short of brilliance.

This brazen acting is simply the best aspect of Monster and the main reason to witness the film.

Besides this, the film itself is also great.

The film immediately focuses on Theron- we meet the down-on-her-luck prostitute sitting in tatters underneath an overpass.

Suicidal and with five dollars to her name, she goes to a dive bar for one last beer- having blown someone for the five dollars she reasons that the money will go to waste if she does not spend it.

Her older confidante is Thomas, a grizzled man assumed to be an occasional client of hers, who is played by Bruce Dern. She goes to a gay bar and meets Selby Wall (Christina Ricci), a lesbian.

Aileen insists she is not gay but winds up spending the night with her in Selby’s family home. The two form a connection and bond immediately, spending more time together and becoming immersed in each other’s lives.

When Aileen is brutally raped and beaten by a client, she begins down a dark and murderous path, killing men she meets after she steals their money.

Selby eventually catches on to this and is conflicted over whether to turn her friend in or serve as an accomplice to her crimes as the police close in on the pair.

Enough cannot be said of Theron’s performance. She simply becomes Wournos- from her walk to her infamous manic mannerisms, and her hair flip.

Theron, a gorgeous woman, gained weight, used false teeth, and became simply unrecognizable in the role of a brutal, angry, and trashy-looking woman.

Ricci also deserves praise, but plays her role as a bit clueless or dimwitted, counterbalancing Theron’s manic, in-your-face role. It works well. Both characters are longing for love and companionship and both are misfits.

In a sweet scene, the pair go roller skating together, hand in hand, to the famous rock song, “Don’t Stop Believin”.

This is a great scene.

One can argue the fact that director, Patty Jenkins, softens the way that Wournos is written. Known as a hardened, mean woman, Jenkins writes her as much more sympathetic.

This can also be attributed to the fact that Theron emits some vulnerability to the character- the woman never knew love until she met and bonded with Selby.

Needless to say, Monster (2003) is a dynamic, energetic film, thanks in large part to the powerful performance of Charlize Theron- a role that awarded her the Best Actress Academy Award.

Oscar Nominations: 1 win-Best Actress-Charlize Theron (won)

Independent Spirit Award Nominations: 2 wins-Best First Feature (won), Best Female Lead-Charlize Theron (won), Best First Screenplay

Boys Don’t Cry-1999

Boys Don’t Cry-1999

Director Kimberly Peirce

Starring Hilary Swank, Chloe Sevigny

Top 100 Films #73     Top 10 Disturbing Films #10

Scott’s Review #340

27422770

Reviewed January 9, 2016

Grade: A

Boys Don’t Cry (1999) is a fitting tribute to real-life figure Brandon Teena, a transgender man from Nebraska, who adopts a male identity and attempts to find love with Lana, played by Chloe Sevigny. Brandon is played by Hilary Swank.

Sadly, Brandon was brutally raped and murdered at the hands of some local men- a fact that the film does not gloss over.

Boys Don’t Cry is a heartbreaking and tragic film that will disturb some with its shocking and violent content- sadly it is a true story.

Swank deservedly walked away with the Best Actress Oscar statuette.

Set in working-class Nebraska and in the heartland, Brandon has the cards stacked against him from the start. Not exactly the most open-minded of areas, the film also sets a working-class environment for Brandon as most of his friends are poor factory or bar workers.

Born as Teena Brandon and female, Brandon (Swank) is a drifter and in trouble with the law for various unpaid tickets. He befriends ex-convicts John and Tom and becomes part of their crowd, falling in love with Lana- they are all unaware of Brandon being a female.

When Brandon’s secret is revealed, Lana is accepting and the pair decide to run away together, but Tom and John decide to murder Brandon.

Swank’s portrayal of Brandon is brilliant and believable and very few actresses could successfully pull this off. Swank has angular, androgynous features to begin with, but her drastic physical transformation is jaw-dropping.

Having closed-cropped hair and a male swagger, Swank immerses herself in the role, so much so, that as I watched the film I completely forgot that Brandon was not physically male.

Her physical transformation is not the sole reason for the fantastic performance though- Swank is emotionally there in the role and in a heartbreaking scene, after being beaten and raped, is treated poorly by a sheriff handling the accusations- just when Brandon could use an understanding ear.

What a cold world it can be for someone different from most others as Boys Don’t Cry reveals in a brutal, honest fashion.

Anyone who knows the true story of Brandon Teena knows he led a painful, tragic life, but was also filled with life and love- mainly for Lana.

Worth mentioning is Sevigny’s performance as Lana- in love with the person that was Brandon, not so much the gender. Sevigny portrays Lana as supportive, confused, and loving.

Director, Kimberly Peirce, became obsessed with the real-life case and does a fantastic job at tackling the film in a true, compelling way. To say nothing of the writing and the acting, Peirce also successfully uses a hand-held camera during Brandon’s strip scene and a surreal, muted light to portray the gloomy mid-west and the cold, hard lives that most of the characters lived.

Impressively, Peirce accomplished all of this on a shoe-string budget and took a wealth of inspiration from independent film legend John Cassavetes, who proved that gorgeous films can be made for very little money.

Many scenes take place in bars as Lana, a devoted karaoke singer, croons one tune after another, the highlight being Restless Heart’s 1988 country hit, “The Bluest Eyes In Texas”, which Lana sings in Brandon’s presence.

The use of somber songs gives the film a tragic soundtrack.

Famed film critic, Roger Ebert, described Boys Don’t Cry as “Romeo and Juliet set in a Nebraska trailer park”.

Boys Don’t Cry (1999) is an enormous victory in film for the LGBT community and, along with Brokeback Mountain (2006), is a perfect double-feature, as both are similar films, only one featuring males, the other females.

Both are tragic, bleak and all too real.

Oscar Nominations: 1 win-Best Actress-Hilary Swank (won), Best Supporting Actress-Chloe Sevigny

Independent Spirit Award Nominations: 2 wins-Best First Feature (Over $500,000), Best Female Lead-Hilary Swank (won), Best Supporting Female-Chloe Sevigny (won), Best First Screenplay, Producers Award

Brokeback Mountain-2005

Brokeback Mountain-2005

Director Ang Lee

Starring Heath Ledger, Jake Gyllenhaal

Top 100 Films #46

Scott’s Review #338

70023965

Reviewed January 9, 2016

Grade: A

Brokeback Mountain (2005) is a revolutionary film and one of the most important films to be released during the 2000s. Never before had an LGBT film been given as much exposure and widespread viewership as this film did.

Robbed of the 2005 Best Picture Academy Award (the great, but not as great, Crash won), Brokeback Mountain received other tremendous accolades and word-of-mouth buzz that helped it achieve great success.

A treasure that must always be remembered and appreciated.

Perfectly cast, Heath Ledger and Jake Gyllenhaal play two cowboys who fall madly in love with each other. The period of the film runs from 1963 until the early 1980s. Through the years we see their unbreakable bond tested by outside factors- namely being gay is forbidden at this time and location- Wyoming and Texas.

Jack Swift (Gyllenhaal) and Ennis Del Mar (Ledger) meet one summer in 1963 when they are both hired by grizzled Joe Aguirre (Randy Quaid) to herd sheep one summer on Brokeback Mountain in remote Wyoming.

They immediately form a friendship that turns physical one drunken night. From this point, the men are inseparable and share a passion insurmountable.

Due to the times, there is no possible way they can openly share life, so they arrange for periodic “fishing trips”, away from their wives and children so that they can spend time together in secret.

The chemistry is evident between Ledger and Gyllenhaal, which is extremely important to the success of the film.

The audience needs to truly buy their bond and director Ang Lee is successful at eliciting wonderful performances from each actor. This is especially crucial during the first forty-five minutes of the film as all the scenes are only the two actors together.

The famous “tent” scene, in which Jack’s and Ennis’s passion first erupts is perfectly choreographed- it is as much animalistic as it is passionate and this sets the tone for the rest of the film.

Eventually, other characters are introduced and Ennis and Jack live lives largely separate from each other. Michelle Williams plays Alma, a kind-hearted country girl, married to Ennis. She accidentally stumbles on Jack and Ennis’s secret and keeps this hidden throughout the years.

Williams is fantastic in the role- sweet, yet saddled with the pain of knowing her husband is in love with another man causes her to mistrust and eventually destroys their marriage.

Jack forges a life in Texas and marries well-to-do Lureen (Anne Hathaway), but the marriage is a sham, Lureen’s father hates Jack, and Jack cannot forget Ennis. Jack is the aggressor, the one more confident with his sexuality, and one would surmise, would be the one more likely to be “out” if circumstances were different.

He looks for other men, even going to Mexico to find some companionship.

The ending of the film is tragic and heartbreaking and we witness Ennis being a good father to his now grown-up kids. A wonderful scene is written between Ledger and Kate Mara, who plays his daughter. She asks the lonely Ennis to attend her wedding and the scene is sweet and tender.

Another scene involving Ennis meeting Jack’s parents is monumental- as important as what is said in this wonderful scene is what is left unsaid.

Brokeback Mountain (2005) is an honest, graceful, and brave film, that thanks to the talents and direction of Ang Lee, was able to be made.

The exceptional cast led by Ledger and Gyllenhaal is dynamic and enables the film to come together as one masterpiece, that will surely never be forgotten.

Oscar Nominations: 3 wins-Best Picture, Best Director-Ang Lee (won), Best Actor-Heath Ledger, Best Supporting Actor-Jake Gyllenhaal, Best Supporting Actress-Michelle Williams, Best Adapted Screenplay (won), Best Original Score (won), Best Cinematography

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Ang Lee (won), Best Male Lead-Heath Ledger, Best Supporting Female-Michelle Williams

Far From Heaven-2002

Far From Heaven-2002

Director Todd Haynes

Starring Julianne Moore, Dennis Haysbert

Top 100 Films #53

Scott’s Review #332

60025011

Reviewed January 8, 2016

Grade: A

Far From Heaven (2002) is a gorgeous film, set in 1950’s upper-class and sophisticated Connecticut, that tackles not one, but two, separate social issues, in a wonderful story-telling fashion.

An interracial couple fraught with discrimination, and a homosexual husband hiding his secret lifestyle encompass this amazing film by acclaimed director Todd Haynes.

In years to follow, Haynes would also direct such masterpieces similar to the period (and story) of Carol (2015).

For starters, the cinematography and art direction are simply breathtaking- the beautiful and colorful small town in Connecticut, on the surface, prim and proper, is oozing with secrets and scandal just waiting to bubble to the surface.

An aerial view of the town allows the viewer to see this perfectly carved town in a sweeping motion.

Far From Heaven contains many similarities to All That Heaven Allows, made in 1955, and also focuses on a great scandal in a small, seemingly idyllic New England town.

Cathy Whitaker (Julianne Moore) seems to have everything perfectly styled and kept at home in affluent Connecticut, a successful husband named Frank (Dennis Quaid), who is an advertising executive, beauty, and a neighborhood filled with friends.

One night when Frank is working late, Cathy surprises him with dinner at the office, only to be surprised herself by catching Frank passionately kissing another man. In an awkward scene, Frank admits to Cathy that he needs conversion therapy, but instead turns to alcohol and continues to secretly see men.

Devastated, Cathy befriends her gardener, Raymond Deagan (Haysburt), a handsome black man, and slowly begins a relationship with him. Needless to say, this causes gossip and scandal amongst the townspeople.

Far From Heaven is fantastic story-telling, weaving, in essence, two main social stories together.

Frank questions his sexuality, afraid to admit he is gay and risking his reputation and career. Undoubtedly, he is a tormented individual and we see him slowly come to terms with his sexuality.

Haynes, fantastic at crafting a worthy story, carves a similar tale in 2015’s Carol, only she is a woman confident about her sexuality, but hiding it from society. Since the time in both films is the 1950s, the sexual revolution has not occurred, let alone anything gay-related.

The center story though belongs to Cathy and Julianne Moore portrays her to perfection. I would argue that Cathy is Moore’s best role- along with Amber Waves from Boogie Nights.

Hurt and betrayed by her husband, she suddenly is filled with new and dangerous emotions- falling in love with a black man in a not very open-minded time.

Moore and Haysbert have fantastic chemistry from their very first scene together.

I love how Haynes showcases the perfection of the town- the lawns are perfectly mowed, the flower beds flawless, and everyone appears cheerful and colorful. But when something in their little town becomes amiss (in this case Cathy going against the grain) the fangs come out and the animals bear their teeth.

A wonderful scene showcases Cathy and Raymond’s slow dancing in a solely black bar. They sway as one and Cathy is accepted by the black patrons. Raymond (and his daughter) are not treated the same way by the white folks of the town once they catch wind of the shenanigans going on between the interracial couple.

Far From Heaven (2002) is a beautiful film- from the way it looks and is shot, to the powerful acting performances all around. Moore may be the star and the central character of the film, but Quaid and Haysbert certainly deserve their due.

They each give layered performances as wounded and tortured men- and the conclusion of the film- perceived as open-ended- is also not a happily ever after climax.

Oscar Nominations: Best Actress-Julianne Moore, Best Original Screenplay, Best Original Score, Best Cinematography

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Todd Haynes (won), Best Female Lead-Julianne Moore (won), Best Supporting Male-Dennis Quaid (won), Best Cinematography (won)

The Danish Girl-2015

The Danish Girl-2015

Director-Tom Hooper

Starring-Eddie Redmayne, Alicia Vikander

Scott’s Review #310

80058477

Reviewed December 29, 2015

Grade: A-

The Danish Girl tells the loosely based story of Danish painters and married couple Lili Ebe and Gerda Wegener and recounts Lili’s struggles as the first known recipient of sex reassignment surgery, unheard of at the time that it was (1930).

The film is a showcase in terrific acting (Eddie Redmayne and Alicia Vikander especially) and a journey of one person’s struggle with gender identity.

The subject matter is quite important and timely as the recent transgender movement has emerged at the forefront of social issues today.

A happy, young couple living in Copenhagen, and married for six years, Gerda and Einar are inseparable and madly in love. They are best friends and help each other with their art. In a pinch because of a female model’s tardiness, Gerda convinces Einar to stand in for the model, wearing female clothes.

This event triggers a lifelong identification as a female named Lili Elbe. Lili has emerged sporadically since childhood.

Through painful self-assessment and encouragement from progressive loved ones, Lili decides to go through with a highly experimental and risky sex change operation.

Gushing with sensitivity and tenderness and groundbreaking in a sense, though I bet even more so if made ten years ago, one feels for both lead characters as it is important to note that they both go through emotional turmoil.

It would be easy to lessen Gerda’s emotions and, perhaps with a lesser actress this might have happened, but Vikander (unknown to me before seeing this film) gives an emotional performance that is raw and exudes empathy.

One can imagine how they would feel if their spouse identified as the opposite sex. Confusion, blame, anger, sorrow, would all be common reactions. Gerda is strong, brave, and helpful, all the while crumbling beneath the surface. Vikander brings all of this to the screen flawlessly.

Similarly, Redmayne brings depth and empathy to his role.  Redmayne’s Einar is masculine, but there is something sensitive and slightly feminine to him from the start.

Was this purposely done to soften the blow? He also appears to be very slightly built. Redmayne lost a bit of weight to portray this role and have a softer appearance.

Actors can easily dress up in drag, but the emotional investment needs to be there and Redmayne makes the viewer care about Lili a great deal. One is teary-eyed along with Lili as she sees no other choice, but to undergo the risky operation. We see the desperation in Lili’s eyes and this is thanks to Redmayne’s acting skills.

I loved how supportive the characters are in the film. Granted, Einar/Lili and Gerda travel in liberal and progressive circles, but for 1930, this was wonderful to see.

Of course, Copenhagen and Paris are open-minded cities, but Lili’s childhood friend Hans, a sophisticated, macho guy, offers nothing but support. The same goes for the Doctor taking on Lili’s surgery.

These aspects lend to a delicate, peaceful film of encouragement.

To be clear, Lili is not gay, and this is made crystal clear during the film as she meets a gay man and the distinction between them is made. She does, however, identify and feel that she is a woman. She was simply born with the wrong parts.

The greatest aspect of The Danish Girl is its powerhouse acting and compelling subject matter. One’s gender is a given for most, but watching a riveting drama about someone who is at unrest with their gender is eye-opening and still rather taboo.

2015 was a year of progressive transgender films and The Danish Girl is towards the top in its class and graceful in dealing with the subject matter in a calm non-judgmental way.

Oscar Nominations: Best Actor-Eddie Redmayne, Best Supporting Actress-Alicia Vikander (won), Best Production Design, Best Costume Design

Carol-2015

Carol-2015

Director-Todd Haynes

Starring-Cate Blanchett, Rooney Mara

Top 100 Films-#90

Scott’s Review #308

80058700

Reviewed December 27, 2015

Grade: A

My comparison would be that this film is the female version of Brokeback Mountain if you will.

Carol is a story of hidden romance and secret lives in the early 1950s, a time in which it was very difficult to lead an alternative lifestyle openly (or even in hiding!).

The film is a marvel in its honest storytelling, exquisite class, and its gracefulness, with excellent cinematography and a nice, heartwarming tale.

Carol is directed by Todd Haynes, a director known for films about doomed romances faced with societal challenges. Carol is a wonderful piece of work.

The film contains two equal female lead roles- Carol Aird (Cate Blanchett) is a gorgeous, sophisticated socialite.  She exudes confidence and style in everything that she does.

Always perfectly dressed, well made up, perfect fingernails, her mannerisms relay confidence, and control. She is married to a wealthy businessman, Harge (Kyle Chandler), who is madly in love with her, yet they are divorcing because of her “problem”.

The fact that Carol is a lesbian is known to Harge and they share somewhat of an understanding…..and also a five-year-old daughter. The divorce they are going through is difficult.

Therese Belevit (Rooney Mara), on the other hand, is the polar opposite of Carol.  Young, naïve, she is a part-time shopgirl, who is fascinated by photography. She dates men and goes to parties, living out a typical young girl’s life.

When Carol and Therese meet at the store where Therese works, they are immediately enamored with one another and a friendship develops. Both seem to be caught off guard and the chemistry between the two actresses sizzles.

The focus of the film is the budding romance between Carol and Therese, but also the societal differences that they face, not to mention the age difference between the two women. I found the chemistry quite evident and this is thanks to Blanchett and Mara.

Worlds apart, the two women somehow find their way to each other and form a bond. Their relationship is tender, gentle, and carefully laid out for the audience. They are neither animalistic nor barbaric in a sexual way, but rather- sweet.

When Therese takes a spontaneous car trip from New York to Chicago, leaving her boyfriend, Richard, perplexed, she is conflicted. He wants them to run off to Paris- Therese wants to be with Carol. He breaks up with Therese and accuses her of having a crush on Carol.

Therese and Carol’s romance is finally consummated in a mid-western hotel. It is New Year’s Eve and Todd Haynes chooses to shoot this scene in a romantic, spontaneous way. They are celebrating the holiday, but both are blue and vulnerable. It makes perfect sense that they would turn to one another at this moment.

The film delves into many different emotions that Carol and Therese face- love, glee, anger, rage, confusion, rejection, and loneliness. These adjectives and the aforementioned examples of the tone of the film are why it succeeds.

From an acting perspective, both Blanchett and Mara are great, but I am more partial to Blanchett’s performance. She embodies this character. From the way she confidently orders a martini dry with one olive, to how she brazenly approaches Therese, she is a woman in control. But faced with family issues she becomes vulnerable and we see her as a human being.

Besides the interesting story of a love faced with many challenges, the look of the film is grand. The sets, hairstyles, clothes, and makeup are all graceful and rich. To summarize- everyone looks great and it portrays a perfect picture of the 1950s.

A progressive Hollywood tale did very well, Carol showcases glamour, great acting, and sends a powerful message of acceptance and struggle during a difficult time to be “different”, to fulfill one’s life.

Oscar Nominations: Best Actress-Cate Blanchett, Best Supporting Actress-Rooney Mara, Best Adapted Screenplay, Best Original Score, Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: Best Feature, Best Director-Todd Haynes, Best Female Lead-Cate Blanchett, Rooney Mara, Best Screenplay, Best Cinematography (won)

Tangerine-2015

Tangerine-2015

Director-Sean Baker

Starring-Mya Taylor, Kitana Kiki Rodriguez

Scott’s Review #301

80037676

Reviewed December 17, 2015

Grade: A

On the very rare occasion that I am lucky and privileged enough to stumble upon a gem like Tangerine, it reaffirms my faith in the film and creative filmmakers in general.

Here is a universal lesson- it does not require oodles of money to make a great film. This film was shot with three smartphones!! It takes talent and creativity.

Tangerine is a groundbreaking film- the first (that I am aware of anyway) to feature transgender actresses at the forefront of the feature.

The film has been honored with multiple Independent Spirit Award nominations.

Shot documentary style, with grittiness and a frenetic pace, while mixing in unique styles of music (hip hop to classic) as the musical score (a child-like tune begins the film), Tangerine is unique from both a story perspective and a visual style.

The film’s first scene begins with two transgender sex workers- Sin-Dee Rella and Alexandra, having a conversation in a coffee shop. Sin-Dee has just been released from jail and learns that her boyfriend, and pimp, Chester, has been cheating on her.

It is Christmas Eve.

The crux of the film explores Sin-Dee’s rage and subsequent search all over Los Angeles for Chester, and the girl he has been with. She vows revenge on them both.  However, beyond this story point, the heart of the film is of loneliness and isolation that most of the characters (trans and otherwise), share, in one form or another.

Interspersed with the Sin-Dee story, are stories involving Alexandra’s feud with a “john”, and her pursuit of a singing career.

Another very interesting story is that of a straight male, Razmik, an Armenian cab driver who is infatuated with transgender sex workers.

This may sound bizarre or too out there for some, but Razmik’s story is quite tender and compelling. He has a wife and baby at home, along with various other relatives, and is the breadwinner. He is also very conflicted. He does not “use” the sex workers, but rather cares for them and admires them.

I found all three principal characters interesting in different ways- Sin-Dee and Alex are over-the-top, yet sensitive. While Sin-Dee is aggressive and vengeful, Alex is the kinder of the two and the more sensible and rational.

She is a sex worker but aspires to more out of life. Razmik is even more interesting- does he have a fetish? is he shameful for spending money on prostitutes while supporting a wife and child?

All of the characters are victimized in one form or another and all are dysfunctional- at the same time they are all weirdly likable. I witnessed moments of Quentin Tarantino’s film style coming across the screen- most notably in the coffee-shop scenes (the beginning and final scenes) as all hell breaks loose, and the characters delve into all sorts of crazy behavior, though Tangerine is a sweet tale about friendship too.

It is a memorable and powerful film experience.

In the end, all the characters are hurting, living such sad lives, especially since the time is present-day Christmas Eve, which I guess might make this film sound depressing, but it is not.

I found it almost uplifting in a way.

Tangerine is a completely original, groundbreaking film that I hope is remembered and appreciated 50 years from now.

Independent Spirit Award Nominations: Best Feature, Best Director-Sean Baker, Best Female Lead-Kitana Kiki Rodriguez, Best Supporting Female-Mya Taylor (won), Piaget Producers Award

Les Biches (Bad Girls)-1968

Les Biches (Bad Girls)-1968

Director Claude Chabrol

Starring Stephane Audran, Jaqueline Sassard

Scott’s Review #292

60026766

Reviewed December 3, 2015

Grade: B+

Les Biches (translated to mean Bad Girls in English) is a French-Italian film from 1968 about a peculiar relationship between two women, one a wealthy, gorgeous, sophisticate named Frederique, and the other a poor, waif-like, struggling street artist named Why.

They embark on a tumultuous love affair marred by competition for handsome Paul Thomas, the local architect.

At its core, the film delves into the class struggle, lust, and violence.

The beginning of the film sets the tone as Frederique provides Why with a large sum of money as she stops to admire her art on the streets of Paris. She invites Why back to her lush villa in gorgeous Saint Tropez, where Frederique lets two outrageous gay men co-habitat with her.

The household is a circus of sorts as the men prance around wildly, but Frederique teaches Why about high society and good living.

Soon Paul is introduced to the story and takes a shine to Why. She calmly rejects him and Frederique then begins to fancy him, thereby emotionally rejecting Why and leaving her feeling out in the cold.

The film then takes a psychologically dramatic turn as the characters turn against one another.

I admire this film as it is an unorthodox story, especially for 1968. Same-sex stories are not the norm these days and the interesting key is that the classes are different.

Frederique has control and power over Why because she has money. Paul admires Why, but he cavorts with Frederique. Is he genuinely interested in her or does he value her money most of all?

The film never makes the distinction crystal clear, but one speculates it is the latter. Frederique uses her wealth (and beauty) to obtain what she wants- namely, Paul to spite Why.

Why is younger and fresher and has not been marred by the world…yet? The gay men are cartoon-like. It is not clear exactly who they are or why they live in the villa. Little background is known about any of the characters.

Foreign-language films, especially of the 1960s and 1970s are fascinating- filled with life and interesting facets and Les Biches is a prime example of interesting film-making.

A trip down the bi-sexuality lane with two gorgeous women at the forefront of the story, both struggling for power over the other, though one with a clear advantage.

Interesting to note that at the time of release is the film was touted as a lesbian skin-flick and humorously miss-thought to be entitled “Les Bitches” (perhaps to get audiences in the door), but is hardly a sex romp- quite the contrary as the psychological elements overtake everything else.

Les Biches (1968) is an odd little adventure, but one to be appreciated and traveled with an open mind if the mood is right. Stylish and interesting and certainly non-mainstream, it challenges the social norms of the day and provides certain Hitchcock-like elements, especially in the final chapter.

Getting Go-The Go Doc Project-2013

Getting Go- The Go Doc Project-2013

Director Cory Krueckeberg

Starring Tanner Cohen, Matthew Camp

Scott’s Review #250

70288648

Reviewed June 23, 2015

Grade: C

Getting Go- The Go Doc Project (2013) is a small-budget documentary that focuses on a shy, awkwardly gay college student named Doc, who is completing his thesis project by filming a documentary surrounding an online crush he has developed, via porn, on a New York City exotic dancer named Go.

When Doc finally contacts Go and inevitably meets him, the filming of Go’s life begins. From this point a relationship forms, but at what price and what will the turnabout be?

The film is okay but is surprisingly dull as it develops and begins to quickly drag towards the predictable conclusion.

The underlying themes of this documentary are loneliness and obsession from two differing perspectives. Doc, the boring, lonely college student is enamored by the gorgeous, buff, seemingly independent Go.

As the two get to know each other, more is revealed about Go, his life past and present, his hopes, dreams, and fears. Doc is also psychologically explored and the two form an unlikely bond.

The film succeeds in teaching the audience that there is more to a dancer than his body and more to a nerd than his brain. Both are complex individuals.

The first half of the feature is fairly interesting. The initial courage that Doc musters up to contact and ultimately meet Go is admirable and I enjoyed seeing what transpired next.

Will Go be receptive to Doc or callously treat him as another enamored gay man?

When Go agrees to be filmed and his life story is slowly revealed, I feel sympathy for him and am intrigued to learn more about him.

What was his family life like? Was he abused or victimized as a child, I wondered?

Getting Go- The Go Doc Project loosely explores matters like this, though no supporting characters are introduced. Go and Doc and their budding relationship are the only focus.

The film then plods for the final forty-five minutes with an uninteresting love story that is fairly lacking in the suspense department. Are we to believe the pair will live happily ever after? Not a chance.

Unfortunately, the acting is not great either, especially on the part of Go, played by Matthew Camp. Tanner Cohen is a bit better and the more interesting character of the two, with more depth. He is not comfortable with himself, his body, or even with being gay.

However, at this age (early twenties) one wonders if the character would even be comfortable with girls had he been made to be straight.

The main problem with the film is that the two are mismatched. Even though they develop a fondness for each other, the audience is aware that this will not last.

Props to the filmmakers for trying something a bit different. In the end, Getting Go- The Go Doc Project (2013) starts well, meanders, and ultimately stalls, but tries hard to present a different type of story and that is not so bad.

The Killing of Sister George-1968

The Killing of Sister George-1968

Director Robert Aldrich

Starring Beryl Reid, Susannah York

Scott’s Review #228

220px-Original_movie_poster_for_the_film_The_Killing_of_Sister_George

Reviewed March 13, 2015

Grade: A-

The Killing of Sister George is a British film drama, adapted from a 1964 stage production that was a risky subject matter to tackle for the times- lesbianism- in the late 1960s.

Directed by Robert Aldrich, well known for directing Whatever Happened to Baby Jane, The Killing of Sister George is a similarly dark tale of loneliness, desperation, and an actress falling from former grace and success to despair, confusion, and anguish.

It also has some witty, crackling, comedic moments to avoid being a true downer.

Sister George is a successful, well-regarded actress on a popular soap opera named Applehurst. Her character is the wholesome presence in a town fraught with manipulation and drama. She is the moral focal point of the show.

In real life, however, George (interestingly called by her character’s name), is troubled.

She is bitter, angry, an alcoholic, and frequently berates and even abuses her partner, Childie, played by Susannah York. A third central character in the film is TV Producer Mercy Croft, who is powerful and confused about her sexuality.

When the soap opera powers-that-be decide to kill off the beloved Sister George, the real George’s life begins to spiral out of control.

As interesting a film as it is and certainly featuring the competent talents of Beryl Reid in the title role, I cannot help but ponder and fantasize how wonderful the casting of Bette Davis- reportedly considered for the role and inexplicably not cast- would have been.

Davis, famous for playing grizzled, mean, unsympathetic characters, would have knocked this role out of the park and, sadly, she did not have the chance.

At its core, the film is a sad character study of one woman’s pain and anguish at being discarded. Presumably unable to be hired anywhere else, her soap opera character is her life.

She loves Childie but is not completely fulfilled by her either, and that relationship is threatened by the vibrant and polished Mercy.

This is an interesting triangle as George does not always treat Childie well, but loves her all the same. Childie is a simple character, childlike, and needs a strong mate to counter-balance the way she is- someone to take care of her.

Without a job or prospects, this would be difficult for George. Does Childie love George or simply want a meal ticket?

The film is understandably rated X for content, presumably for a very explicit sex scene between Mercy and Childie and when a drunken George molests two nuns in the back seat of a London taxi cab.

These scenes are both cutting-edge and admirable in their risk-taking.

The scene set at the real-life London lesbian club (the Gateway Club) and featuring mostly real-life lesbians is great and provides a real-life glimpse into the gay/lesbian world and lifestyle during the period.

A brave, groundbreaking, risk-taking film with and bravura direction from Aldrich, The Killing of Sister George (1968) is a forgotten gem that needs to be rediscovered by film fans everywhere and is an early journey into gay and lesbian cinema.

Pride-2014

Pride-2014

Director-Matthew Warchus

Starring-Bill Nighy, Imelda Staunton

Scott’s Review #215

80013480

Reviewed January 17, 2015

Grade: B-

Pride, based on a true story, deserves props for delivering a nice message about inclusion and groups of vastly different people coming together as human beings, but while it is a nice film, the filmmakers play it a bit too safe and it has a definite formulaic feel to it.

Surely, the real story of Pride was not as simplistic as this film felt at times.

The setting is 1984 England where a group of British miners goes on strike in a dispute over wages. A group named Lesbians and Gays Support the Miners made up of gay men and women develop an interest in the strike and decide to help the miners and families.

Why they decide to take on this cause is not fully explained- they just do. The National Union of Mineworkers is hesitant to accept funds as they worry about the publicity caused by a group thought to be perverts.

The film is certainly riddled with clichés- the macho miners resist the help from the gays- many of whom are portrayed as effeminate. The characters who are lesbians look as though the filmmakers wanted to “butch them up”, thereby overdoing the stereotype.

There is a subplot of one gay young man who has not come out to his parents- a well-to-do, pretentious couple. When inevitably the truth is revealed, the parents are angry and turn their backs on the teen. He leaves home to join the gays and lesbians who accept him into their lives with open arms.

The prudish, female head of the committee is homophobic and vows to do everything in her power to make sure the gay and lesbian group does not succeed in aligning with the miners.

These clichés seemed way overdone for the sake of making the film more dramatic. Some of the characters, therefore, come across as one-dimensional.

Even the story revolving around a character with AIDS seems watered down and soft.

On the plus side, the casting of the brilliant Imelda Staunton as the sympathetic, maternal, Hefina is a plus.

A huge supporter of gays and lesbians she comically befriends all of them and is curious about their lifestyles. Bill Nighy is also excellent as Cliff, the older miner who turns out to be gay himself.

Margaret Thatcher, Prime Minister at the time, is presented as greedy and selfish with little regard or use for the miners or labor unions.

Pride is an earnest, sentimental, feel-good film that deserves adoration for the coming together of different communities.

I would have liked to see more risks taken by the film to perhaps obtain a darker edge to it.

The Normal Heart-2014

The Normal Heart-2014

Director-Ryan Murphy

Starring-Mark Ruffalo, Matt Bomer

Scott’s Review #198

70302186

Reviewed December 1, 2014

Grade: B+

The Normal Heart is a 2014 HBO television movie based on the true story of Ned Weeks, an openly gay AIDS activist/writer, played by Mark Ruffalo.

The film is set during the period when the epidemic first surfaced, from 1981-1984, and the challenges and frustrations faced, mostly within the gay community, to bring exposure and assistance to the disease.

Weeks was famous for establishing a group of passionate members who banded together to attempt to hurdle these struggles.

The film was produced by Brad Pitt- wonderful to know as films with this content (AIDS) are often tough to produce- nice that Pitt’s wealth and influence were used effectively.

Certainly, at a vastly different time in the country to be gay, the government did very little to assist with financing funding for treatment or researching a cure for it, which is the main point of the story.

The talented cast makes this film what it is. Matt Bomer plays Ned’s closeted gay lover, Felix Turner, one of the many casualties of the deadly disease. Bomer lost 40 pounds in preparation for the role.

Julia Roberts plays polio-stricken doctor, Emma Brookner, who was instrumental in helping the sick when few others within the medical community wanted to.

Other actors providing support are Alfred Molina, who plays Ned’s supportive, and powerful, attorney and brother, and Joe Mantello, who has a terrific meltdown scene as his anger and anguish over the disease not being taken seriously by the government finally bubble to the surface.

Finally, Mark Ruffalo plays Ned competently, but why the slight feminization of the character? The real Ned Weeks was masculine. A needless stereotype the film (or Ruffalo) chose to pursue.

The film shows the discrimination faced by the AIDS victims- from an airline pilot refusing to fly a plane carrying a sick patient, to an electrician refusing to enter a sick patient’s hospital room to fix a television set- sad when one realizes how ridiculous these unfounded fears proved to be.

According to the film’s statistics, and a major point of the film is how the United States Government, specifically President Reagan, did very little in the way of funding or even wanting to discuss the issue for years following the initial outbreak, resulting in thousands of lost lives.

And why exactly is Reagan considered a great President?

It makes one ponder. It was only due to beloved Hollywood star Rock Hudson acquiring and dying from the disease and Elizabeth Taylor using her star power to get people involved that finally led to the topic being discussed and action taken on a federal level.

My one slight criticism of the film is that it looks and feels like a television movie similar in texture to Behind the Candelabra, another HBO film.

The colors are bright and vivid and it looks television-like and could have used darker lighting and perhaps a gloomier more dower feel, especially given the subject matter involved in the story.

Otherwise, thumbs up and respect for bringing this story to millions of viewers and hopefully educating the many who were not there at the time.

Kiss of the Spider Woman-1985

Kiss of the Spider Woman-1985

Director Hector Babenco

Starring William Hurt, Raul Julia

Scott’s Review #187

60010547

Reviewed October 24, 2014

Grade: B+

1985 was not the best year for film nor was much of the 1980s, as I think about it, but unique standouts do exist and Kiss of the Spider Woman is an unusual and artistic film.

Set in present-day South America (Brazil) two men are imprisoned for very different reasons and are cellmates in the prison where they are captives.

Complete opposites, they form an unlikely bond, centering on friendship, but also skirting toward romance, flirtation, and at times, love.

Luis Molina is outwardly homosexual and extremely flamboyant and perhaps out of touch with reality as he fantasizes and describes romantic Nazi films. He is imprisoned for not only being homosexual but for having sex with an underage male.

The other man, Valentin Arregui, is a liberal, political activist, who has been beaten, tortured, and interrogated due to his revolutionary-leaning politics. He has a rough, macho edge to him.

On the surface, the two men have nothing in common, but due to proximity, forge a close bond and mutual respect as their lives pre-imprisonment are explained to each other as well as to the audience.

The true strength of this film is the performance, very against type, of William Hurt- the best performance of his career by a mile. He completely embodies the character of Luis in his effeminacy, yearning, pain, and obsession with escaping reality through film.

Raul Julia has the same effect, though in a completely different way, as he portrays Valentin. Luis tenderly comforts Valentin, who is being poisoned by prison officials, by incorporating his stories of films into Valentin’s real life, as he yearns for his separated lover, Marta.

As Luis begins falling in love with Valentin, and one is seemingly double-crossed by the other, it leads to a test of courage and dedication to each other.

The ending of the film is a sad one, dark, yet thought-provoking, and shows love, tenderness, and bravery.

My only negative from Kiss of the Spider Woman (1985) is at moments, using the flashback series or through the film that Luis explains, it is tough to follow and surmise what is exactly going on in the story, but the performances of Hurt and Julia, and the chemistry between them, are the films major strengths.

Oscar Nominations: 1 win-Best Picture, Best Director-Hector Babenco, Best Actor-William Hurt (won), Best Screenplay Based on Material from Another Medium

Independent Spirit Award Nominations: 1 win-Best International Film (won)

Dog Day Afternoon-1975

Dog Day Afternoon-1975

Director Sidney Lumet

Starring Al Pacino, Chris Sarandon

Scott’s Review #185

450423

Reviewed October 13, 2014

Grade: A-

Director Sidney Lumet successfully sets the smoldering hot summer afternoon in New York City for his 1975 film Dog Day Afternoon, as Al Pacino plays Sonny, an unemployed, desperate man who, while married with two kids, has a gay lover, Leon, (brilliantly played by Chris Sarandon) who he is attempting to help finance a sex change operation.

Based on a true story, Sonny, along with his dimwitted friend Sal- played by John Cazale, decides to rob First Brooklyn Savings Bank.

Predictably, their plans go awry when Sonny burns a ledger during the robbery attempt and a pedestrian sees the smoke and alerts the police.

As the police become aware of the attempted heist, a standoff ensues between Sonny and the cops, led by Detective Moretti, played by Charles Durning, and the robbery receives media coverage.

Most of the action is set inside the stifling hot bank and directly outside on the street and gradually the supporting characters come into play- the hostages, Sonny’s mother, wife, and lover all make contact with Sonny in some way or another and his motivations become clearer to the audience.

Dog Day Afternoon is a somewhat message movie that is anti-establishment, in this case, anti-police and questioning of the government and the financial establishment, (Lumet also directed Network, challenging establishment).

This is evidenced when after a standoff with police, the crowd sides with Sonny as he chants Attica! Attica!, which is a direct reference to a recent prison riot.

Sonny speaks for the working class- the poor, struggling, underpaid workers who cannot afford to feed or adequately take care of their families.

The heat and humidity compare perfectly to the pressure felt by most middle-class people that still resonates today and leaves the viewer contemplating his or her life.

Sonny relates to the bank tellers who do not make much money. Besides, Sonny is sympathetic to the audience in another way. Leon, recently hospitalized at Bellevue Hospital, is emotionally dependent on Sonny. He would be lost without him.

They share a lengthy and heartfelt phone conversation that is the heart of the film- gay romance had not been explored this way by 1975 in cinema, and the romance was neither shoved down the audience’s throat nor was it looked past entirely.

Their relationship is tender and deep, yet still somewhat ambiguous.

Would they stay together? What would become of Sonny’s wife and two children? Would he leave them for Leon in a world that was not ready to accept two homosexual men together? Is that the reason for Leon’s desire for a sex change operation?

Chris Sarandon, in too small a part, is wonderful as the gay lover, struggling with a sexual identity crisis. Al Pacino gives, per usual, a brilliant portrayal as he takes on a complex character who is far from one-dimensional.

Perhaps not a masterpiece, Dog Day Afternoon, is a very good film, but neither is it strictly a gay-themed movie nor an action/thriller- it’s more complex than that.

Ironically, Sonny is portrayed as the hero of the film as it is not a standard good police versus bad bank robber type of film- quite the contrary. It is much, much more than that.

Oscar Nominations: 1 win-Best Picture, Best Director-Sidney Lumet, Best Actor-Al Pacino, Best Supporting Actor-Chris Sarandon, Best Original Screenplay (won), Best Film Editing

Contracted-2013

Contracted-2013

Director Eric England

Starring Najarra Townsend

Scott’s Review #184

70296585

Reviewed October 12, 2014

Grade: B-

It seems that many reviewers of Contracted (2013) are looking for a deeper meaning to the film or debating whether a particular scene was a rape or a consensual sexual act.

I looked for neither and just took the 2013 independent horror film at face value. I do not view the film as particularly worth over-analyzing or delving too much beneath the surface.

The plot is rather basic. Samantha is a young woman on the outs with her girlfriend Nikki. She goes to a party where her friend Alice gets her drunk and Samantha winds up talking to a handsome stranger named BJ.

Samantha agrees to have sex with him in his car, but at one point begs him to stop. It is unclear what transpires.

The next morning Samantha wakes up feeling strange- she assumes she is hung-over, but gradually her hair, teeth, and fingernails begin to fall out and her eyes are hideously bloodshot.

Her symptoms slowly worsen as she transforms into a strange monster.

In the mix are supporting characters, Riley, who is in love with Samantha even though she is a lesbian and rebuffs all of his advances, and Samantha’s Mom, who is convinced that Samantha is using drugs again (which she is).

I did not find the film to be a metaphor for punishing women or lesbians for a one-night stand- I viewed it as a fun, Saturday late-night, horror flick.

If I were to dissect the film critically, the premise is rather absurd- a young woman turning into a zombie/monster after having sexual relations with a stranger.

Silly, but I am not expecting highbrow art from this type of film. The acting- especially of the actress portraying Samantha is below average at best- and horrid at worst.

The three central female characters (Samantha, Nikki, and Alice) are presumably all lesbians or bisexual, especially, Nikki, is irritated when a man dares to hit on her as if they should magically already know she is a lesbian.

The character of Nikki is very unlikeable- she seldom returns Samantha’s phone calls and continually pushes her away.

I did not buy any of the three as lesbians- not to be stereotypical, but they each had feminine only, qualities.

The way Samantha’s mother kept insisting that Samantha was on drugs became irritating by the fifth time she brought it up. Why did Riley pursue Samantha ad-nauseam when he was aware that she was a lesbian? What is BJ’s motivation for presumably giving Samantha a drug? She was already drunk enough to have sex with him- why did he want to turn her into a monster?

This plot point is unclear.

The film is not character-driven, is strictly plot-driven, and like most horror films, is meant to be that way. The finale of the film is quite satisfying as Samantha’s fate, along with her mother’s, is left up in the air.

The same cannot be said for Nikki or Alice as both receive their just desserts.

Contracted (2013) is not a masterpiece, but is a fun little horror film to be enjoyed. Just don’t ask too many questions.

Love Is Strange-2014

Love Is Strange-2014

Director-Ira Sachs

Starring-John Lithgow, Alfred Molina

Scott’s Review #174

70299861

Reviewed September 24, 2014

Grade: B

Love Is Strange is sweet, though not nauseatingly sentimental, look at many different types of relationships, but at the forefront is the same sex couple, Ben and George, played by John Lithgow and Alfred Molina respectively.

They are a successful New York City couple of a certain age, who have been together for nearly 30 years and finally legally wed in a low-key ceremony surrounded by friends and family members.

George teaches music at a strict Catholic high school where the students and staff know and love both him and his new husband. The bishop, however, is not supportive of his marriage and he is unceremoniously fired.

This causes Ben and George to become homeless and rely on family and friends for a roof over their heads.

The film features several secondary character relationships- Ben’s nephew and his wife balance busy careers with a temperamental, rebellious, confused son; Ben’s niece from Poughkeepsie seems neurotic.

Neighbors who are gay police couples have loud parties seemingly every night. Marisa Tomei, who plays Ben’s niece by marriage, Kate, and Charlie Tahan as Joey, Ben’s great-nephew are probably the most prominently featured of the supporting cast.

Kate, while well-meaning and accommodating, oftentimes bottles her anger and comforts herself with nightly consumption of red wine. Joey lashes out at his great Uncle in frustration criticizing his artwork and scolding him for using his teen friend in a portrait, a friend whose sexuality is unclear.

Most of the other characters are not fleshed out well and simply are there to move the plot along. This is slightly disappointing. I would have preferred a bit more backstory regarding the rest of the cast.

Throughout the film, a few clues are dropped surrounding Joey and his friend’s sexuality, but never pursued further than on the surface. I was curious about the cop’s back story. How long have they been together? Do they face conflict at work? Numerous scenes show both cops in uniform while running errands or visiting the hospital, which seems to be the film’s desire to emphasize that cops can be masculine and gay- a fact I love, yet the characters are only one dimensional.

Why is Ben’s niece neurotic? This is also not pursued at all.

The film belongs to Lithgow and Molina. The two of them have such effortless, natural chemistry that the audience instantly believes they have been together for decades- the fact that Lithgow and Molina are lifelong friends in real-life surely adds to the realism and naturalness.

Ben is the yin to George’s yang. The performances of Lithgow and Molina are so understated and calming that one might overlook how excellent they are since they are both low-key characters.

At its heart Love Is Strange is a film about strength, courage, loyalty, and perseverance through life’s challenges.

It is a sensitive and lovely film.

Independent Spirit Award Nominations: Best Feature, Best Male Lead-John Lithgow, Best Supporting Male-Alfred Molina, Best Screenplay

Pit Stop-2013

Pit Stop-2013

Director-Yen Tan

Starring-Bill Heck, Marcus DeAnda

Scott’s Review #168

70268909

Reviewed September 10, 2014

Grade: B

Pit Stop is a very small independent film from 2013 centering on a group of gay men living in rural Texas, somewhere outside of either Houston or San Antonio.

The plot focuses on two specific men, Gabe and Ernesto, neither of whom is acquainted with the other, and tells of their series of ups and downs, mostly regarding dating and relationships.

Gabe lives with his ex-wife Shannon and they share a child whom they raise together as a family. They have a warm relationship and live together as friends.  Gabe was recently dumped by a married man who wants Gabe to stop calling him. Ernesto lives with a younger man who he used to date and is trying to convince him to move out and get his life together.

Ernesto also has a former partner who is comatose and whom he continues to visit in the hospital.

A subplot of the film is Shannon’s struggles to date. She arranges a date with a co-worker and, after drinking too much, embarrasses herself by coming on too strong to him.

The point of the film is that all of the characters are struggling to find love and companionship and most are quite lonely people, yet not unbalanced or neurotic folks. They reside in the middle of nowhere which dims their chances of finding love.

Interestingly, there are no villains in the film and all the characters are quite likable. There is a rooting value to each of them especially towards Gabe and Ernesto and all along I kept hoping that they would be brought together as they seem to be a wonderful pair fraught with potential chemistry.

Both are caregivers in their current situations so it is interesting and appealing what transpires after the film.

Pit Stop is a feel-good, happily-ever-after type film, mostly screened at independent film festivals and the gay festival circuit. The film is small and steady, but a nice, uplifting experience. It is worth checking out.

Independent Spirit Award Nominations: John Cassavetes Award

Last Exit to Brooklyn-1989

Last Exit to Brooklyn-1989

Director Uli Edel

Starring Stephen Lang, Jennifer Jason Leigh

Scott’s Review #152

70141619

Reviewed August 13, 2014

Grade: A-

Last Exit to Brooklyn is a slice-of-life type film that takes place in the early 1950s and is set in lower-class Brooklyn, NY.

It tells the story of a group of struggling neighborhood people- sex workers, union members, drag queens, etc. whose lives intersect. Also in the neighborhood is a military base where soldiers come and go on their way to war-torn Korea.

The central characters, though there are several with small yet interesting stories, are Harry, played by Stephen Lang, a sexually conflicted union worker with a wife and newborn child.

He is in love with a selfish drag queen, and Marilyn Monroe lookalike, Tralala, played superbly by Jennifer Jason Leigh, a prostitute whose best days are behind her, and who will do anything for attention.

The sets and cinematography in the film are very well done- the feeling of despair and hopelessness are accomplished by the dowdy streets, homes, and bars that the cast frequents.

Some of the characters are sympathetic- the aforementioned plus Tralala’s love interest, the Diner boy madly in love with Tralala, and the virginal seeming (but not really), Donna, portrayed by a young Rikki Lake. Other characters are abhorrent in their violence and hatred.

Last Exit to Brooklyn is quite a dark film and sometimes tough to watch but captures a dreary time and atmosphere. The Brooklyn set is excellent in its dreariness.

Jennifer Jason Leigh is the standout as the tough-talking, boozy prostitute who is losing her luster and the final scene of the film is truly a heartbreaker.

The topics of union, strike, bisexuality, gangs, and drag queens are covered and unique characters and conflict/loneliness are presented.

This film is an overlooked gem from 1989.

How To Survive a Plague-2012

How To Survive a Plague-2012

Director David France

Starring Bill Bahlman, David Barr

Scott’s Review #141

70229270

Reviewed July 29, 2014

Grade: A

A wonderful thing about documentaries is that they can be a learning experience and a teaching tool.

How to Survive a Plague (2012) is one such type of documentary. It is an authentic, real, gritty piece of work and that’s what makes it so powerful.

The AIDS epidemic in the 1980s was a monumental and devastating time in social history and this documentary chronicles a group of advocates tirelessly fighting to convince the Government (at that time less than sympathetic towards victims of the disease) to approve and administer drugs to combat AIDS.

This organization was named ACT UP and it brought the gay community together as well as sympathetic members of the straight community. Good people fighting against the establishment for change.

Nearly all the footage from the film is from the period in question and the activism is both heartbreaking and inspiring to witness.

The Pope, Ronald Reagan, and George H.W. Bush are not portrayed in a positive light, but rather as uncaring and unwilling to help those dying from the disease.

A moving and inspirational film that teaches one never to give up or back down from what you stand for.

How to Survive a Plague (2012) was deservedly nominated for the 2013 Best Documentary Oscar.

Oscar Nominations: Best Documentary-Feature

Independent Spirit Award Nominations: Best Documentary Feature

Gun Hill Road-2011

Gun Hill Road-2011

Director Rashaad Ernesto Green

Starring Esai Morales, Harmony Santana, Judy Reyes

Scott’s Review #138

70167100

Reviewed July 27, 2014

Grade: A-

Gun Hill Road (2011) is a very small, independent film set in the Bronx, New York, hence the title, which is a famous street there.

It tells the story of a Hispanic family, the father, Enrique, (wonderfully played by Esai Morales) being recently released from prison and adjusting to clean living.

His wife Angela (Judy Reyes) has moved on emotionally and physically, and his teenage son Michael (Harmony Santana) is going through a sexual identity crisis and defines himself as a female.

Each of the three characters is sympathetic and motivation well understood.

The most interesting facet of the film is the father/son relationship as Enrique must eventually come to terms with Michael’s sexuality and gender definition, which is not portrayed as easy in the Latino community.

There is a rawness and realness to this film.

Gun Hill Road is a dysfunctional family drama, character-driven, sometimes difficult to watch, and quite captivating, though the ending is slightly disappointing, as events were left open-ended.

Santana was nominated for the 2012 Independent Spirit Award for Best Supporting Female.

I only wish this film had received wider recognition and acclaim, as it’s a marvel.

Independent Spirit Award Nominations: Best Supporting Female-Harmony Santana

Concussion- 2013

Concussion-2013

Director-Stacie Passon

Starring-Robin Weigert

Scott’s Review #111

70267490

Reviewed July 15, 2014

Grade: B+

Concussion is a small, interesting, independent film that tells the story of an affluent Westchester County, NY housewife who is a lesbian- brilliantly played by Robin Weigert, married to another woman, and decides to become an escort for other women experimenting with their sexuality.

On paper, it reads like it could be a comedy, but it is a character study and strictly a drama.

The woman (Abby) has a seemingly happy marriage- her wife is a high-powered attorney, Abby stays home and raises the kids. But she is bored and conflicted in her marriage- something is missing. She loves her wife. She has a wonderful circle of friends- both gay and straight. They throw dinner parties and have a sense of togetherness.

The escorting scenes are not what one might think- very little sexual content, but rather bonds that can form between escort and client. I loved the way no lesbian stereotypes were portrayed- both were intelligent, attractive, and feminine. The clientele was not dangerous, trashy, or flighty.

The film is not a lesbian film per se, but it is a human film- anyone in a long-term commitment or anyone who admires a character-driven film can relate to this movie and it should be viewed.