Category Archives: LGBTQ+ Drama

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 (2015) tells the loosely based story of Danish painters and married couple Lili Ebe and Gerda Wegener and Lili’s struggles as the first known recipient of sex reassignment surgery, unheard of at the time that it was (1930).

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

The subject matter is 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. Because of a female model’s tardiness, Gerda convinces Einar to stand in for the female model.

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, 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, and sorrow, would all be common reactions. Gerda is strong, brave, and helpful 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 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. 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 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 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 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 unrestful 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 judgmental-free way.

Oscar Nominations: 1 win-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 (2005).

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

The film is a marvel in its honest storytelling, exquisite class, and 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, manicured 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 a five-year-old daughter. The divorce they are going through is difficult.

Therese Belevit (Rooney Mara), is the polar opposite of Carol.  Young, and naïve, she is a part-time shopgirl, 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 caught off guard and the chemistry between the two actresses sizzles.

The focus is the budding romance between Carol and Therese, and the societal differences that they face, not to mention the age difference between the two women. I found the chemistry quite evident 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, conflict develops. He wants them to run off to Paris but 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.

The film delves into many different emotions that Carol and Therese face- love, glee, anger, rage, confusion, rejection, and loneliness. These adjectives and 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 when she 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 human.

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 graceful and rich. To summarize- everyone looks great and it portrays a perfect picture of the 1950s.

A progressive Hollywood tale, Carol showcases glamour, and 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: 1 win-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, James Ransone

Scott’s Review #301

80037676

Reviewed December 17, 2015

Grade: A

On the rare occasion that I am lucky and privileged enough to stumble upon a gem like Tangerine (2015), it reaffirms my faith in 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 (James Ransone), has been cheating on her.

It is Christmas Eve.

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 interesting story is that of a straight male, Razmik, an Armenian cab driver who is enamored 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, child, and 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 for 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.

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 might make this film sound depressing, but it is not.

I found it almost uplifting in a way.

Tangerine (2015) is a completely original, groundbreaking film that I hope will be remembered and appreciated fifty years from now.

Independent Spirit Award Nominations: 1 win-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.

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 (2014), 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.

While it’s 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. A group of British miners goes on strike over wages. A group named Lesbians and Gays Support the Miners made up of gay men and women developed an interest in the strike and decided to help the miners and families.

Why they decided to take on this cause is not fully explained. 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 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 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 too overdone to make 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, casting 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.

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 (2014) 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.

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.

This is wonderful to know as films with this content (AIDS) are often tough to produce. It’s wonderful that Pitt’s wealth and influence were used effectively.

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 forty 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, 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 AIDS victims, from an airline pilot refusing to fly a plane carrying a sick patient, to an electrician refusing to enter a patient’s hospital room to fix a television set.

This is sad when one realizes how ridiculous these unfounded fears proved to be.

According to the film’s statistics, 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 slight criticism of the film is that it looks and feels like a television movie similar in texture to Behind the Candelabra (2013), another HBO film.

The colors are bright and vivid and look television-like. 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 those who were not there.

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

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 (2014) is sweet, though not nauseatingly sentimental, looking at many different types of relationships, 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, together for nearly thirty years, and finally legally wed in a low-key ceremony surrounded by friends and family.

George teaches music at a strict Catholic high school where the students and staff know and love him and his new husband. The bishop 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 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 in the supporting cast.

While well-meaning and accommodating, Kate 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 other characters are not fleshed out well and 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 not 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 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.

Love Is Strange (2014) 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 small independent film from 2013 that centers on a group of gay men living in rural Texas, outside of Houston or San Antonio.

The plot focuses on two specific men, Gabe and Ernesto, who are not acquainted with each other. They tell of their ups and downs, mostly regarding dating and relationships.

Gabe lives with his ex-wife Shannon and they share a child 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 whom 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.

There are no villains 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 interesting is what transpires after the film.

Pit Stop (2013) 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 nice, uplifting experience and 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.

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 (2013), 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, the woman is 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, and Abby stays home and raises the kids.

But she is bored and conflicted in her marriage and something is missing. She loves her wife and they have 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 occurs, but rather bonds can form between escort and client.

I love the way no lesbian stereotypes are portrayed- both main characters are intelligent, attractive, and feminine.

The clientele is not dangerous, trashy, or flighty.

Concussion (2013) is not a lesbian film per se, but it’s a human film- anyone in a long-term commitment or anyone who admires a character-driven film will relate to this movie and it should be viewed.

Dallas Buyers Club-2013

Dallas Buyers Club-2013

Director Jean-Marc Vallee

Starring Matthew McConaughey, Jared Leto

Scott’s Review #54

70275751

Reviewed June 24, 2014

Grade: A-

While Dallas Buyers Club (2013) is a well-written screenplay, based on the true story of a straight Texas man who contracted AIDS circa 1985, the main appeal of the film is the brilliant performances by Matthew McConaughey and Jared Leto.

1985 was a different period as far as the deadly virus goes- people did not know then what they do now, so the fear and the judgments featured in the film must be kept in mind for the time it was and the location (Bible-belt Texas).

McConaughey’s physical transformation is an amazing feat, to begin with, a normally handsome, well-built actor, turned gaunt and hollow-eyed, but he completely encompasses this role with an intense, character, rich and flawed.

His body language and mannerisms are mesmerizing.

Leto’s performance as a transsexual, also stricken with the disease, is equally amazing. The character is immediately sympathetic and vulnerable- a wounded bird you would like to take under your wing and save.

Despite the subject, the film itself is not a downer, nor does it attempt to be preachy. Rather, it is a tale of friendship, human growth, and survival in bleak times.

The film is dark, yet inspirational at the same time.

McConaughey and Leto deserve their Oscar wins for these roles.

Oscar Nominations: 3 wins-Best Picture, Best Actor-Matthew McConaughey (won), Best Supporting Actor-Jared Leto (won), Best Original Screenplay, Best Makeup and Hairstyling (won), Best Film Editing

Independent Spirit Award Nominations: 2 wins-Best Male Lead-Matthew McConaughey (won), Best Supporting Male-Jared Leto (won)

High Art-1998

High Art-1998

Director Lisa Cholodenko

Starring Ally Sheedy, Radha Mitchell

Scott’s Review #21

60035062

Reviewed June 17, 2014

Grade: A

Superlative indie drama by acclaimed director Lisa Cholodenko (The Kids Are All Right) and an incredible performance by Ally Sheedy, who makes viewers forget all her past, forgettable “80’s roles”. She portrays a lonely, drug-abusing, star photographer enamored with a new neighbor in her New York City apartment building.

Her life is spiraling out of control and she is inspired by her new friend, who is on an upward career path.

The film is a dark love story and has a raw, moodiness to it. It’s a raw, emotional, mesmerizing film.

Patricia Clarkson is her usual awesome self as Sheedy’s even more drugged-out, unhappy partner. The love triangle is interesting and painful.

The three leads (Sheedy, Clarkson, and Radha Mitchell) all give knockout performances, but the film belongs solely to Ally Sheedy, who is spectacular.

Independent Spirit Award Nominations: 1 win-Best Female Lead-Ally Sheedy (won), Best Supporting Female-Patricia Clarkson, Best First Screenplay, Best First Feature, Best Cinematography

Four-2012

Four-2012

Director Joshua Sanchez

Starring Wendell Pierce

Scott’s Review #20

70245240

Reviewed June 17, 2014

Grade: A

Oh, how I wish there were more films like Four (2012) and they received mainstream support.

Movies like this are why I love and support independent films. Much better than much of the drivel at the local multiplex.

Four is a purely character-driven movie, not at all plot-driven with silly special effects or CGI.

It centers around four people on the 4th of July evening. There are two separate stories and the heart of the movie is the character’s loneliness, isolation, and need to reach out for human connections.

The stories interrelate at times throughout the film.

Exceptional acting is involved.

Four (2012) is an excellent little film.

Independent Spirit Award Nominations: Best Male Lead-Wendell Pierce

Maurice-1987

Maurice-1987

Director James Ivory

Starring James Wilby, Hugh Grant

Scott’s Review #14

60010639

Reviewed June 17, 2014

Grade: A

A brilliant film adaptation of the E.M. Forster novel set at Cambridge University during the turn of the twentieth century, it tells the story of oppression and social norms that took place at the time.

It is a gorgeously shot film, with beautiful landscapes, photography, and costumes.

Reminiscent of the British films “A Room with a View”, and “Howard’s End”, it is a male love story during a time when it was forbidden and lives were ruined because of sexuality like this.

The film’s characters make choices: some repressed, others celebrate, with differing results. In the middle of it, all is a beautiful love story.

Maurice (1987) is a timeless, brave treasure.

Oscar Nominations: Best Costume Design