THEGAYUK

Category: Film

  • FILM REVIEW | Out In The Dark

    ★★★★★ |  Out In The Dark

    Nimr is in Tel Aviv to visit his old friend Mustafa in a gay bar where he works since moving from Ramallah. Once there he meets Roy a very flirtatious your lawyer who gently puts the moves on equally handsome Nimr who is quickly smitten and is soon ready to make a night of it. However, he is offered a ride for the daunting journey home so they reluctantly say their goodnights. Nimr promises to call, but the chances of that are slim, as he is a Palestinian and is there illegally, and Roy is an Israeli Jew.

    However back home psychology student Nimr is offered a place on a special course in Tel Aviv and along with that comes a permit to enter Israel at any time he wants. It’s something that his militant older brother hates, but on the other hand, something that a very surprised and delighted Roy loves. As the young couple gets to spend time together, within a short time it is clearly not the only thing Roy loves, and the feeling is obviously mutual.

    Whilst Nimr must remain totally closeted to all his family back home in Ramallah for fear of his own life, in Tel Aviv, Roy takes him to formally meet his liberal parents who don’t actually welcome their son’s Arab boyfriend with open arms as he expected them too.

    And then suddenly the two men’s somewhat precarious lives together now becomes outright dangerous especially after the Israeli authorities deport the very flamboyant Mustafa. Once home he is beaten to death for the dishonour his (very open) homosexuality has brought on his family. Soon after the Israeli Authorities suspect Nimr’s brother of terrorist activities and having his own arsenal of weapons, they then take Nimr’s travel permit away unless he will agree to spy for them.

    He refuses and so they ensure that the elder brother knows of his gayness which is, just cause, for the family to at once disown him and beat him to death. In the only act of compassion, we see towards any gay person in this film, the brother allows him to escape back to Israel where it looks like the Authorities may even finish the job for him.

    This heart string tugging story of forbidden love from LA based Israeli newbie director/writer Michael Mayer follows in the well-trodden footsteps of filmmaker Eyton Fox (Yossi & Jaeger, The Bubble) with this story of how being gay just adds yet one more obstacle to living in this troubled region. Mayer’s convincingly real love story between these educated young men works really well because of the chemistry between his two talented lead actors Nicholas Jacob & Michael Aloni.

    What makes it even more interesting is the fact that whilst its the deeply entrenched extreme politics that are the main cause of the couple’s problems, the story never focuses on their own beliefs but purely on the disastrous effects it has on them. And to my knowledge, it’s also one of the very few gay films that have ever dealt with barbarous ‘honour’ killings.

    It is nigh on impossible to find an Israeli or Arab movie with a gay romance that doesn’t involve a great deal of danger and death (Fox’s recent sequel ‘Yossi ‘was a rare exception). It’s all the remarkable then after the horrors that Nimir and Roy went through that the overwhelming feeling that one came away with from this movie is the fact there is hope. It’s probably one of the reasons why it’s picked up almost a dozen Awards in Festivals worldwide already. Many of them as Audience Favourite.

    Be warned, as well as having you reach for the Kleenex, this movie will in parts, make you very angry/horrified too. It is, however, a definite ‘must see’.

     

  • Do I Sound Gay?

    Of course you do, and so do we, Thank God!

    When forty-something-year-old American journalist DAVID THORPE suddenly found himself single again he started to question what was wrong with him.  He thought it could be the fact that he sounded gay, so he set about delving into the whole issue of how he spoke to see if he could resolve it.

    He documented his ‘journey’ of discovery which with the help of his friends, therapists and some very witty gay celebrities turned into an hilarious and touching movie that every single gay man (and woman) will so relate too.

    We sat down and talked with David (in our regular gay voice) who has articulated on something that all of us have questioned at some time.  He shared more of what he had learned from the likes of David Sedaris, Margaret Cho and Dan Savage to come to where his now totally comfortable in his own skin.  His interview with The Gay UK will be in out next issue, but meanwhile you can still catch him and his funny and enchanting movie playing at the BFI Flare Festival on 25/27th  March 2015

    www.bfi.org.uk/flare

  • FILM REVIEW | Silent Youth

    Marlo a young engineering student is taking a break from school and is visiting a girlfriend in Berlin.

    When she goes off to work, he takes off to explore the city. Crossing the street he momentarily links eyes with another man, and after the pass, they take furtive looks back at each other. Moments later as he crosses a bridge, Marlo espies the same young man, and starts to follow him. When he catches up he with him he hangs back for a few minutes before sidling up and tries awkwardly to start a conversation.  Both of them are unsure of themselves, let alone of each other, and even after they eventually decide to walk on together, very few words are exchanged.

    Kirill is Russian and has just returned to Germany after visiting his Grandmother and beyond saying that, he reveals very little about himself.  It’s a surprise then that after this he agrees to meet up with Marlo again and accepts his phone number.

    For their second outing Kirill’s father without uttering a word gives the two boys a lift to the Templehoff, Berlin’s old abandoned airport.  They wander aimlessly around the empty runways communicating intermittingly with brief snatches of conversation. Kirill, the more extrovert of the two, admits to having ‘tried it with a man’ then surprisingly fesses up to be the father of a baby girl who he is no longer allowed to see.  Poor reserved virginal Marlo who keeps stressing that his ‘girlfriend’ is just a friend has nothing to counter this new revelation with.

    Back at Kirill’s tower block apartment, the boys feast on bread and Nutella, before Kirill suddenly announces he wants to take a shower. Naked together the boys finally get physical but instead of this bringing them closer, once the lovemaking is over, Kirill seems more distant and odder than ever.

    There is a lot going on unspoken on in this movie as these two men deal with discovering their sexuality and sometimes it really is not clear what it is.  After watching these gentle souls very slowly interact with each and try to come to terms to discover what if anything is beyond all these awkward silences, you cannot avoid feeling a little numb even though it did almost redeem itself with its very sweet ending. All, however, a tad too slow for my liking, which is a pity as the two boy’s characters had great possibilities.

     

  • Sir Ian McKellen Tackles Sherlock

    Sir Ian McKellen reunites with director Bill Condon (Gods & Monsters) to star as the world’s greatest detective in Mr Holmes.

    The movie is a new twist on this famous private eye and is set when 1947, an ageing Sherlock Holmes returns from a journey to Japan, where, in search of a rare plant with powerful restorative qualities, he has witnessed the devastation of nuclear warfare. Now, in his remote seaside farmhouse, Holmes faces the end of his days tending to his bees, with only the company of his housekeeper and her young son, Roger. Grappling with the diminishing powers of his mind, Holmes comes to rely upon the boy as he revisits the circumstances of the unsolved case that forced him into retirement and searches for answers to the mysteries of life and love – before it’s too late.

    The move will reach UK cinemas in June, and in US movie theatres a month later, and as a preview Miramax and Roadside Attractions have released this brand new preview at what looks like could be a real summer blockbuster.

  • FILM REVIEW| Born To Fly: Elizabeth Streb Vs. Gravity

    Elizabeth Streb is an American performer, teacher and celebrated modern dance choreographer who is never happy until she pushes everybody beyond the edge and way out of their comfort zone. ★★★★★

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  • FILM REVIEW | Heartbeats

    ★★★★★ | Heartbeats

    If you have ever had an unrequited love, especially one in your (distant) youth then this wonderfully witty tongue-in-cheek movie from the remarkable multi-talented filmmaker Xavier Dolan will really appeal to you.

    The story is of a love triangle. Twenty-year-old best friends Marie and Francis spot Nicolas, a stunning Adonis, at a dinner party, and they both fall for him big time. Nicolas adores attention so encourages them to the point where they destroy their close friendship and become bitter rivals to win his heart. Nicolas is very self-absorbed and affected and it is impossible to tell if his androgynous personification will eventually reveal whether he is gay or straight. The three of them have sleepovers in Francis’s bed but nothing at all happens, and then one day they ago away to the country for the weekend, and after this life, for them, all will never be the same.

    As the story progresses Mr Dolan edits in some hilarious anecdotes in interview form from strangers whose love lives also fell part. The man definitely has a way with words.

    There is something totally entrancing about this second feature from Canada’s wunderkind filmmaker and as much as one can pick holes with annoying (and almost clichéd) touches like some of the slow motion scenes, you really sense that this is no ordinary movie from any ordinary director. Mr Dolan’s first movie I Killed My Mother a totally stunning and hilarious semi-autobiographic piece won 3 Awards at the Cannes Film Festival (and another 23 other Awards around the World) in 2009 when he was a mere 19-years-old.

    Sadly the US Distributor went into financial difficulties and the movie, trapped in legal no-mans-land, has never been seen beyond the Festival Circuit to date. Now at the ripe old age of 22, he has written, directed, starred, co-produced, edited, and designed the sets and the costumes for Heartbeats, which also picked up an Award at Cannes last year. He is an enormous precocious talent and I think this, his early work, shows that he is going to be one of THE most important filmmakers of the future.

    You would be a fool to miss this one.

  • FILM REVIEW | Mommy

    ★★★★★ | Mommy

    When Diana ‘Die’ Despres reacts quite violently after she crashes her car on the way to collect Steve her troubled teenage son from the special care facility after he set fire to the cafeteria, it’s initially not clear who is the craziest one out of the pair of them. However, life with Steve will be no picnic for his widowed mother after the two of them traipses back on the bus to the latest rental apartment in the suburbs that they now call home.

    Steve may look like an angel with his blond hair and blue eyes but he has attention deficit hyperactivity disorder which gives him extreme mood swings. They include many violent angry outbursts which then, without warning, suddenly change into some almost inappropriate ‘kiss and makeup’ sessions with his mother. Die seems to spend most of her time pleading and cajoling with her son who she is obviously very afraid of, but then again she too can be pretty frightening in her own right. Despite their traumatic daily life together she clings to her son even though she craves her freedom and so when a neighbour flirts with her she is reluctant to take it one step further in case it antagonises Steve more.

    They do however let someone else into their lives in the shape of their rather mousy neighbour Kyle. She has plenty of her own issues to deal, with most of which manifest in her rather mysterious stutter that greatly inhibits her ability to express herself. Kyle, an ex-school teacher, takes on the thankless task of trying to tutor Steve, and both he and his mother are desperate to make her their only friend which at first is something that she seems to welcome too.

    With one unpredictable scene after another, it soon becomes clear that no matter how strong and fiercely independent Die is, she is simply overwhelmed with trying to deal with this petulant head-strong unbalanced teenager. Love is just simply not enough.

    This remarkable and deeply disturbing film is the fifth from 25-year-old Canadian Wunderkind filmmaker Xavier Dolan and in a way he is revisiting a theme of his debut movie I Killed My Mother. This time however instead of it being about a son who felt completely misunderstood by his mother, the lack of misunderstanding seems to go both ways. It’s extremely raw, very heartbreaking, completely original and deeply personal as it simply has to be another of Dolan’s semi-autobiographical stories. What is especially effective is that despite all the melodrama he infuses it with some brilliant touches of humour which don’t just lighten the pace but make it really quite funny at times.

    It reunites him with his movie mother the dynamic Canadian actress Anne Dorval who, as the lynch pin for this intense drama, is manically mesmerising. She like Suzanne Clement who plays Kyle are stellar regulars of Dolan’s films and their performances (like the movies themselves) keep getting better every time around. Young Antoine-Olivier Pilon inhabits the often uncomfortable skin of the deeply disturbed Steve quite brilliantly too.

    The consummate Dolan’s hands, as usual, are not just restricted to writing and directing but are all over the movie from the editing to the soundtrack. He truly is a renaissance filmmaker and one that is seemingly maturing along with his movies which frankly get better and better. Multi-award winners … this one picked up a Jury Award at The Cannes Film Festival and then a César Award (French Oscar) for Best Foreign Film, but despite all this acclaim, Dolan’s movies have yet to make any significant breakthrough at the Box Office. This, however, may just be the one to give him the success that his movies so deserve.

  • FILM REVIEW | Dior And I

    ★★★★★ | Dior And I

    Bernard Arnault, the CEO of LMVH took a year to decide on whom to appoint as the new Creative Director of DIOR after the unceremonious firing of John Galliano for his alleged very public display of anti-Semitism.

    The interim in-house designer’s collection had been very poorly received so Arnault knew that he had to think outside of the box to save the reputation of the House. His unexpected choice was the Belgian Designer Raf Simons who had made a name for himself with his sublime minimalist collections for the Jil Sander label. Even though Simons had never designed an Haute Couture collection, Arnault threw him into deep end making this his first task and giving him just two short months to do it.

    The company also gave filmmaker Frédéric Tcheng what initially seemed like carte blanche to film the whole process from the time that Simons was first introduced to his new team right through to the Runway Show itself. Tcheng was a wise choice as he had been part of the team who had made the Diane Vreeland documentary The Eye Must Travel and the equally excellent ‘Valentino The Last Emperor’. This time, however, he was to be the sole director.

    Simons is a quiet reserved man which is the total opposite of his predecessor and relies completely on his right hand man Pieter Muller, who is more open and approachable, to execute a great deal of the work. Simons, who insists on doing away with the traditional formality of the House and been called Raf by one and all, creates in a very democratic manner. A very visual man who never actually sketches, he compiles extensive ‘mood boards’ of the ‘looks’ that he wants to constitute his debut collection that has to be good enough to lift Dior out of its current doldrums.

    He is not only fortunate enough to have a design team who are both eager and very capable of interpreting his concepts into reality, he has two workrooms who have for decades been lovingly hand-making all the couture clothes up in the attic floors of the building. Managed by two Ateliers (one for tailoring, the other for dresses) they are staffed by a dedicated bunch of seamstresses who at times seemed to show far more passion about the actual collection than their new Creative Director.

    Simons can, and does get anything he wants to help make this collection even if it means his fabric buyer must beg and plead with her printers, or if the seamstresses work into the early hours of the morning. Tcheng gives us a fascinating fly-on-the-wall look at how it all comes together, but apart from one incident when an Atelier is in New York doing a fitting for a customer ratter than toiling away upstairs in the Workroom, the whole process is presented as being totally drama free which is so completely unrealistic. There is one very real and funny moment when Simons wants a new white jacket made in black, and so to see what it would like, Muller just takes a can of spray paint and the offending white is covered over.

    Tcheng gets full marks for the innovative way that he incorporates part of the legacy of Mr Dior himself by imagery and narrating parts of the Couturier’s own biography. Simons is also aware of what he has inherited by stepping into the legendary Designers shoes (although he is the 7th one to date to have done so). Whilst he looks through the House’s archives as part of his research, he makes a point of stating ‘the past is not romantic to me: it’s the future that is romantic.’

    For a venue for the Show itself they find an empty very grand house in the centre of Paris and whilst walking around its many floors with his team, Simons says that what he would like to do is take the concept of Jeff Koon’s Puppy (outside Guggenheim in Bilbao) and cover the interior with walls of flowers. What Simons wants Simons gets, although when Arnault comes in to see a test run of the walls he takes the PR Director away from the prying camera when he asks ‘how much is this going to cost?’ Whatever the answer was he still stumps up for it and come show day and Simons is walking Anna Wintour into the venue to face this stunning beautiful sight, she takes off her dark glasses for one quick moment to mutter “No budget restrictions then?” with a smirk on her face.

    When the show begins in front of a star-studded audience and seemingly the entire world’s press, we finally get to see in full what we have only glimpsed at in part up to now i.e. the clothes themselves. They are nothing short of stunning, something that will be born out by the clamour of congratulatory hugging afterwards, and to be followed by rave reviews in the media the next day. But now as the skinny models glide from room to room whilst everyone is looking in awe, we finally see the emotional side of Simons as breaks down and quietly weeps and has to be comforted by Muller.

    The lack of real drama was not the only surprise it was the fact that Belgian Simons couldn’t speak French that was quite a shocker, which was hardly something that Tcheng could change. What however he was responsible was the total absence of Galliano’s name at all as if he never ever existed. Despite this unforgivable omission I was still completely enamoured by this otherwise enchanting record of this very talented man and his team creating these works of art that would be admired by so many and worn by so few.

  • FILM REVIEW | 54, The Director’s Cut

    ★★★★★ | 54, The Director’s Cut

    The movie opens with a very hunky bare-chested young man in a New York street late at night trying to cover up and keep warm. You can hear him start to explain. “I’m not going to bulls*** you, it was the greatest party in the history of the world. My boss said the road of excess leads to the palace of wisdom. Maybe it did. One thing for sure it was the ultimate escape from a f***ed up city in a f***ed up time. But like any great escape, it never lasts”

    He’s talking of course about the infamous Studio 54 which was THE dance club in Manhattan, that for a few short years in the late 1970s was where all the celebrities hung out and partied whilst all the desperate would-be’s were kept outside behind the velvet ropes begging Steve Rubell the co-owner and ringmaster to be let in. Their efforts were all in vain as you had to have either a certain look or a gorgeous body for him to relent and admit you in to mingle with the stars. Shane a rather gormless New Jersey boy who was as cute as hell was in the latter group. This is his story, which started off when Rubell told him to remove his shirt and after he stripped to his waist he got invited into more than just the Club, and he stayed until the party ended.

    What naïve Shane encounters inside the Club quickly blows his mind. Hedonistic excess and debauchery with people openly having sex whilst bare-chested glitter-painted waiters nimbly passed around the packed dance floor with silver trays carrying drinks laced with phials of coke. There are bodies everywhere and all of them behaving badly. Hesitant at first he soon joins in and as he discovers that he loves being the centre of attention he learns to parlay that into getting what he wants. He is very soon a regular fixture and asking a somewhat besotted Rubell for a job. He starts at the bottom as a lowly barboy but literally f***s his way to becoming the next new hottest bartender which is one of the most coveted jobs in the place.

    Rubell’s self-indulgent rapacious greedy lust for money and power knows no bounds and the seemingly unstoppable raging success of the club means endless drug-fuelled sleepless days and nights as he lures Shane and his other young staff into satisfying his sexual needs with the promise of promotion or a handful of cash. His creepy persona (a startlingly wonderful dramatic performance from Mike Myers) influences the once innocent straight Shane who readily now jumps in bed with older celebrities of both sexes as he earns a reputation of being able to literally screw them unconscious. His now insatiable appetite has him also making passes at both his married best friends who are also his roommates.

    For Shane, it’s simply a case of rags to riches story and when the IRS finally takes heed of Rubell’s public boasting of tax-avoidance and raids the Club, it’s back to rags again. He’s had his trip to the dark side and now it’s time get back into a light that is not just from the reflection of a disco glitter ball.

    Written and directed by Mark Christopher, this new Director’s Cut fulfils an ambition he has held since the original movie was released some 17 years ago. He’s added some 36 sparkling minutes, which makes a great deal more sense of Shane’s story, and it also reinstates all the sex and the morally ambivalent characters that frightened the distributors way back then. All’s well that ends well and Christopher’s love letter to the heady days of the New York disco scene is now a sheer joy.

    With the exception of Myers, the cast was relatively unknown. Newcomer Ryan Philippe, whose experience prior to this had been playing a gay teenager on Days Of Our Life (the first gay character on US daytime TV), played Shane so passionately. He not only looks the part … be prepared to swoon like Rubell when he first takes off his shirt to reveal THAT chest … but he imbues his role so perfectly with such convincing innocence. Playing alongside him were a very young Salma Hayek, Neve Campbell, and almost totally un spottable in his very first movie role Mark Ruffalo. Christopher has scattered quite a few celebrities playing themselves as regular habitués of the Club, some of whom you may not even recognise until the credits role at the end.

    As Shane so adroitly summed up the whole scene “one moment it is all around you and the next it’s gone forever”. Very true, but now thanks to this excellent entertaining movie we can relieve part of it again for at least 90 minutes.

  • FILM REVIEW | Kissing Darkness

    ★★ | Kissing Darkness

    New gay film Kissing Darkness can be summed up as summer camp meets the Twilight movies.

    Five college boys decide to skip the gay pride festivities in their hometown of Los Angeles to spend the weekend in a cabin in the woods. They are young, cute, sexy and believe it or not one of them is straight Vlad (the very hot Nick Airus). He’s vile, unhappy, homophobic and luckily for us spends more of the film with his shirt off. Why he would want to go on a camping trip with four other gay men is beyond me. Of course, all of other men fancy him, but Vlad’s nipples aren’t the only things lurking around. There’s also Malice Valeria, a local woman (ghost?) who, after catching her boyfriend in bed with another man decides to bite Vlad (and the rest of boys one by one) to turn them into her slaves.

    In between all of this we see the men in the house in various states of undress, it’s pleasing to the eye and takes away from a story that’s pretty bad. Unfortunately, it’s all Kissing Darkness has going for it – the eye candy (did I mention how hot Airus is)?

    The plot is quite ridiculous, the acting mediocre, and luckily for us it’s only 87 minutes. Gay Director and writer James Townsend, who plays one of the boy’s lover in the film (he shows up near the end), has put together a film that’s so bad that it’s not even good. Hey, but at least there are lots of young male bodies to look at.

    The tagline of the film is ‘Love Has Never Been so Cruel’ – that pretty much says it all!

  • FILM REVIEW | Three In A Bed, Where is the chemistry?

    ★★☆☆☆ | Three In A Bed
    three in a bed film review

    After his mother dies, twenty-something-year-old struggling musician Nate has taken on her mantle and the responsibility of looking after his two self-centered sisters.

    When both of his sibling’s lives take a turn for the worse: one finds out her live-in boyfriend is cheating on her and the other discovers that the married man she has been dating has got her pregnant, they move in with him in his small one-bedroom apartment. It doesn’t give him much privacy or independence at a crucial time in his life when he is slowly discovering his sexuality.

    The object of his affection is Jonny the boy-next-door who quickly falls in love with a confused Nate, but when the going soon gets rough, Jonny runs off to France to drown his sorrows by getting a job erecting tents! Nate discovers that not only does he miss Jonny, but also that he finally has something to write a song about.

    This micro-budget romantic comedy set in Manchester and funded mainly by actress Jody Latham who plays one of the sisters, is full of good intentions and a great deal of enthusiasm. Sadly that does not make up for the painfully weak script or some extremely lame acting that makes one wince instead of smiling much of the 81 minutes. What was particularly disappointing was the lack of any real chemistry not just between the two men but with the siblings too and all the other characters.

    The movie has a happy ending for Nate but not necessarily for us. When there are three in a bed, sometimes that can be at least two too many.