THEGAYUK

Category: Film

  • FILM REVIEW | Gerontophilia

    ★★★ | Gerontophilia

    Toronto based filmmaker Bruce LaBruce is no stranger to controversy, and so it is that, in his latest movie, Gerontophilia, he turns to the subject of age gap relationships, which, according to LaBruce transgress a very strong cultural taboo.

    Lake is an unusual young man with an unusual fetish. Though he has a girlfriend, he is attracted to old men, a fetish he gets the chance to pursue when he starts a job as an orderly in an old people’s home. Whilst in the home, he is appalled at the way the inmates are treated and strikes up a relationship with Mr Peabody, weaning him off the medication that keeps him easy to manage, and eventually helping him to escape so they can set-off on a road-trip together. So far, so good, but for me the problem at the heart of the movie was that the central relationship between Lake and Mr Peabody didn’t really ring true. Maybe Pierre-Gabriel Lajoie had been encouraged to play Lake with a sort of wide-eyed innocence throughout, but it made it hard to believe that there was a strong sexual bond between the two men.

    However, with the veteran Walter Borden putting in a wittily amusing performance as Mr Peabody, it is a very enjoyable film, as much about how modern society responds to old age as it is about age-gap relationships.

    Available to buy / view on: Amazon | iTunes

  • FILM REVIEW | Lilting

    ★★★★★ | Lilting

    Lilting is a gently moving piece about bereavement, grief and colliding cultures, beautifully scripted and played and directed with a sure hand by Hong Khaou.

    The way in which he dovetails past and present, real and imaginary, whilst making sure the movie flows seamlessly was really quite special. He was immeasurably helped by some superb performances, especially Ben Whishaw’s deeply broken Richard, reeling from the recent loss of his boyfriend Kai, a performance superbly seconded by Cheng Pei Pei, as Kai’s mother Junn, a Chinese-Cambodian woman who has never come to terms with the English world she was thrust into.

    She has never learned to speak English and Kai was her only connection with the alien world she finds herself in. Despite their closeness Kai had never felt it possible to come out to her, leaving Richard with the impossible task of wanting to do right by his lover’s mother without divulging the true nature of their relationship.

    Wonderful supporting performances too from Andrew Leung as Kai. Peter Bowles as the Englishman Junn befriends in the home she is living in, and Naomi Christie as Vann, the translator Richard employs for Junn.

    Subtle, poetic, almost unbearably moving without being mawkish, this is a must see.

    Available to buy / view on: Amazon | Amazon Prime | iTunes

  • FILM REVIEW | The StandBys

    There cannot possibly be any other job in show (or any other) business where you need the patience of a Saint, be as tough old nails, and as resilient as a rubber band whilst possessing enough talent to substitute for a Broadway Star at the drop of a hat. This is of course the role of a Standby who spends their whole careers in the wings looking at the spotlights that may never ever shine on them.

    Stephanie Riggs’s moving and fascinating documentary follows the heartbreaking stories of three such performers who have made careers out of just waiting to go on. There is Merwin Foard, a good humored seasoned actor, with his amazing deep baritone voice, who gets his chance one afternoon to play Nathan Lane’s role in The Addams Family. He goes on stage to the customary groans from the audience when they realise they are not going to see the ‘star’, to wowing them all with his performance and earning a standing ovation by the end. Foard has been at this profession for 25 years now and has been in 14 Broadway productions, nearly always as the standby, but it has at least allowed him and his family to have a comfortable life. He considers himself one of the lucky ones.

    Young Ben Crawford was the standby for Brian d’Arcy James who had the title role in ‘Shrek the Musical.’ His Agent had procured him a Contract that gave him the right to take over when the Star eventually left, and that’s exactly what happened. Crawford got to wow audiences with his own take on the role and received some really good notices for his performance. He felt secure in the knowledge that he had finally ‘arrived’. Then as the show was set to close on Broadway, the producers of the national tour asked Crawford to audition for the role he had already played so well for months. They also asked his standby too, and in a cruel twist of fate, gave the role to the new man instead.

    The third actor was Aléna Watters whose roller coaster career was the hardest to witness. She got her big break appearing as one of the Harlettes who were the backing group for Bette Midler. After a short stint in Bette’s Show in Las Vegas, the producers called Aléna and without warning told her she would be replaced by one of the original Harlettes was returning. She was told that she could remain as ‘the Swing’ who would understudy for all the girls, which cushioned the bitter blow slightly. But then a month later and a second phone call, and she was laid off from that ‘due to budget restrictions’. She was devastated, as are we watching this all unfurl.

    All three performers were generous enough to allow Riggs and her cameras to follow them around for a couple of years and show all of their daily tribulations. She in turn does at least allow them a moment to showcase their talents with a song or two. As Bebe Neuwirth, herself once a standby said, that if it wasn’t for Broadway’s obsession with filling the stages with big celebrities these were the real performers who should be starring in these roles’.

    And it’s left to another ex standby David Hyde Pierce to sum it up so succinctly about when they actually get to go on… ‘for the audience it’s just yet another afternoon, but for that performer it could the highpoint of their entire life.’

    A must view for anyone who ever dreamt that they could or should have won a Tony or Olivier

    Available to buy / view on: Amazon

  • FILM NEWS: The Only Colour Is Black

    Portobello Road Films is looking for sponsors to help create their next project The Only Colour Is Black which follows the life of a married white middle class police inspector who becomes infatuated with a young black man.

    CREDIT: Liam Hogg
    CREDIT: Liam Hogg

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  • FILM REVIEW | Kill Your Darlings

    ★★★★ | Kill Your Darlings

    The cinematic fascination with The Beat Generation continues regardless, following on the heals of Walter Salles’ take on Jack Kerouac’s ‘On The Road’, which the critics were quick to dismiss when it recently had a limited release in US theatres. We now have this new movie which, set in the mid 1940’s, is essentially a prequel to the movement that was about to begin. It’s Lucian Carr’s story, a central figure in Allen Ginsberg’s coming out, and the wittiest member of their clique at university, who ended up killing his obsessed older ex-lover David Kammerer who just wouldn’t leave him alone.

    It’s a heady period in these young men’s rite of passage into adulthood when despite the war going on in Europe they could indulge in whatever extreme pleasure they wanted too. For the wealthy William Burroughs it was an endless stream of drugs, and he coasted through it perpetually stoned. Ginsberg had shaken off his New Jersey roots, and now at Columbia University could finally shed the responsibility of the demands of his mentally ill mother, and nurture his writing and explore his sexuality. He was fixated with the charming, flamboyant and excitable Carr who incessantly quoted chunks of Yeats and Rimbaud but yet relied on Kammerer to actually write all the essays needed to keep him from being expelled from college. Carr’s past history was gradually exposed as the story developed, and he was revealed as possible the most confused of this very challenged bunch of friends.

    Through Carr, Ginsberg met many of the people that would remain in his life and play a significant part one way or another, including Jack Kerouac, one of Carr’s best friends. (Strangely enough another person that he met… again via Carr… was Neal Cassidy who he developed a major crush on, but there is no mention of him at all.)

    Whilst the movie is ostensibly about the murder and the subsequent trial, it is essentially much more about how this bunch of friends gelled together as a group and how that time really set them on course for what lay ahead and would eventual earn them the label the Beat Generation. Carr does get arrested for the murder of his ex lover, and pleads that it was an ‘honour slaying’ i.e. that he was straight and Kammerer was a predatory homosexual. Both Burroughs and Kerouac were also arrested as they helped dispose of the body resulting in Burroughs being forced to move back home, and Kerouac being forced to marry his girlfriend in return for her family bailing him out. But before this all happened, Ginsberg finally lost his virginity to Carr.

    Newbie director/co-writer John Krokidas worked on this movie for 10 years before he got it to its premiere at Sundance this January. It’s a refreshing look at the loss of innocence… Ginsberg’s and Carr’s in particular as it is hard to imagine that Burroughs ever had it to lose… and a much more palatable movie than ‘Howl’ the slightly inaccessible and tad pretentious vehicle in 2010 for James Franco to try his hand at playing Ginsberg. It may in fact end up being the best ever made of this clique, but maybe that’s too premature a statement as there are probably still many more to come.

    I’m still reeling from the fact that the unknown Krokidas could manage to recruit such a first rate coterie of actors for his first movie… The clue maybe in the fact that Christine Vachon of Killer Films (Boys Don’t Cry, Far From Heaven) is one of the producers. Daniel Radcliffe shakes off his Harry Potter mantle to show what a very impressive talent he really has. He also shakes off all his clothes to show that he can also make out with another man in a very convincing way. Ben Foster (The Messenger) was excellent as the very dry Burroughs, and equally wonderful was Jack Huston (Boardwalk Empire) as Kerouac, Michael C Hall (Dexter) as Kammerer and with a very small part, Elizabeth Olsen (Martha,Marcy,May & Marlene) as Eddie Parker, Kerouac’s girlfriend. There is an impressive list of supporting cast that included Jennifer Jason Leigh, Kyra Sedgwick, David Rasche, John Cullum & David Cross.

    However it was young Dane DeHaan (Chronicle) playing the extrovert Carr with a career defining performance, stole every scene he was in.

    The movie will attract a great deal of attention because of the mere fact of seeing Mr. Radcliffe all grown up, but regardless of that, he is definitely worth watching even if like me you have never sat through a Harry Potter movie!

     

    Available on Apple or Amazon

  • FILM REVIEW | Floating Skyscapers

    ★★★★★ | Floating Skyscapers

    Polish writer/director Tomascz Wasilewski’s second feature film is a dark tragic love story that you immediately sense from the opening scenes that is doomed.

    Although it is Poland’s first ever gay movie, it is so much more a story about the search for one’s identity and about being accepted for one’s own true self and accepting others for who they are. Essentially it’s a movie about love. Love between a girl and a boy. Between boy and a boy. Between a mother and a son, and a father and a son. It is completely heartbreaking.

    Koba is a young man who has been training to be a champion swimmer for 15 years. He lives at home with his mother who makes somewhat unnatural and creepy demands on him, plus Sylwia his rather sullen girlfriend of two years. He is also in the closet and furtively seeks out brief sexual encounters with other male swimmers in the locker rooms after practice. And then one evening it all changes when one Sylwia drags him reluctantly along to an art opening and he meets Michel, and there is an immediate attraction between the two men.

    Michel is open about his sexuality although his wealthy family, with whom he still lives, are having difficulty with accepting it. The two men surreptitiously embark on a relationship which Sylwia suspects but will do nothing about beyond being hostile to Michel. Uncharacteristically Koba falls totally for his new lover and as a consequence much to the annoyance of all, he neglects both women in his life, and his training.

    When it finally reaches the point of no return and the men decide to leave the closet once and for all, Kuba is confronted by an embittered pregnant Sylwia, and the fervent demands of his mother that he abandons Michel completely and become a full time father and husband. This is however not the only tragedy that befalls them, and makes for such a bitterly sad ending.

    By using such austere and somewhat foreboding locations Wasilewski has heightened the darkness in this heavyhearted tale in a society that is still unceasingly hostile to most gay and lesbian people.

    Watching here in the US where the acceptance of LGBT rights is now racing along and is reflected in the recent Supreme Court rulings somehow makes this groundbreaking film seem even more poignant and pertinent.

    Recently I reviewed Out Loud the first ever film from Lebanon that dealt with gay issues, and also ‘In The Name of’ the 2nd ever-Polish gay movie (and this one won the coveted Teddy Award for Best Feature at the Berlin International Film Festival earlier this year).

    Change is happening, and these excellent movies are both witnesses to the fact, but also more importantly, instruments of the change too.

    Unmissable.

    Floating Skyscapers is Out Now on Matchbox Films

    BUY ON AMAZON | BUY ON ITUNES

  • FILM REVIEW | Floating Skycrapers

    Polish writer/director Tomascz Wasilewski’s second feature film is a dark tragic love story that you immediately sense from the opening scenes that is doomed. ★★★★★

    Although it is Poland’s first ever gay movie, it is so much more a story about the search for one’s identity and about being accepted for one’s own true self and accepting others for who they are. Essentially it’s a movie about love. Love between a girl and a boy. Between boy and a boy. Between a mother and a son, and a father and a son. It is completely heartbreaking.

    Koba is a young man who has been training to be a champion swimmer for 15 years. He lives at home with his mother who makes somewhat unnatural and creepy demands on him, plus Sylwia his rather sullen girlfriend of two years. He is also in the closet and furtively seeks out brief sexual encounters with other male swimmers in the locker rooms after practice. And then one evening it all changes when one Sylwia drags him reluctantly along to an Art Opening and he meets Michel, and there is an immediate attraction between the two men.

    Michel is open about his sexuality although his wealthy family, with whom he still lives, are having difficulty with accepting it. The two men surreptitiously embark on a relationship which Sylwia suspects but will do nothing about beyond being hostile to Michel. Uncharacteristically Koba falls totally for his new lover and as a consequence much to the annoyance of all, he neglects both women in his life, and his training.

    When it finally reaches the point of no return and the men decide to leave the closet once and for all, Kuba is confronted by an embittered pregnant Sylwia, and the fervent demands of his mother that he abandons Michel completely and become a full-time father and husband. This is however not the only tragedy that befalls them, and makes for such a bitterly sad ending.

    By using such austere and somewhat foreboding locations Wasilewski has heightened the darkness in this heavyhearted tale in a society that is still unceasingly hostile to most gay and lesbian people.

    Watching here in the US where the acceptance of LGBT rights is now racing along and is reflected in the recent Supreme Court rulings somehow makes this groundbreaking film seem even more poignant and pertinent.

    Recently I reviewed ‘Out Loud’ the first ever film from Lebanon that dealt with gay issues, and also ‘In The Name of’ the 2nd ever-Polish gay movie (and this one won the coveted Teddy Award for Best Feature at the Berlin International Film Festival earlier this year). Change is happening, and these excellent movies are both witnesses to the fact, but also more importantly, instruments of the change too.

    Unmissable.

    Buy Now on Amazon

     

  • FILM REVIEW | Grand Budapest Hotel

    Wes Anderson’s latest extravagant cornucopia of cinematic delight is a visual overload that as it’s multi-layers are unpeeled, bombards one with such glorious minute detail at a frenetic pace one that there are times when you cannot fail to be dizzy with glee.

    Partly inspired by the works of Stefan Zelig a Austrian Jew who was one of the world’s most famous writers in the 1930s but is now mostly forgotten. The author who serves as narrator of the movie is based on Zelig, but Anderson also claims that the central character of the exuberantly fastidious concierge M. Gustavo is in fact modeled on him too.

    The setting is the fictional mid-European country with a Cinderella-esq pink palace precariously perched on top of the Alps is The Grand Budapest Hotel. The story told in flashbacks is of that glorious carefree pre war period when unseemly luxury was the order of the day. This temple of excess where the wealthy landed gentry were indulged in every whim was overseen by the purple coated M. Gustavo. Adored by both staff and guests alike nothing was ever too much trouble for this dandified perfectionist, from religiously handing out his mots of wisdom to his team, to sleeping with any of the elderly dowager guests. Preferably the ones who were very rich and blond.

    When one such lucky recipient of his sexual prowess upped and died and M Gustavo travelled to his late lover’s Schloss to pay his respects, he discovered much to the chagrin of her evil son, that she had left M. Gustavo with a priceless painting. By now M. Gustavo had taken a paternal shine to Zero his latest Lobby Boy, and the two contrived to snatch the painting and make off with it before the son could stop him.

    What follows is a joyous frenzied romp that includes M. Gustavo being jailed, Zero and his confectioner girlfriend aiding and abetting his escape, with the local militia in hot pursuit. Packed with incidents which really are all about marking the passing of this old World of a more leisured era before the War would end all of this and all that The Grand Budapest Hotel represented. Now as all the goings on are related to the author decades later by the new elderly owner, the Hotel is a sorry remnant of its glorious past. As is the owner, who was once the newbie Lobby boy Zero.

    Mr Anderson as usually sets out to prove that there is no such thing as a ‘small part’ in his movies by packing his cast with a roster of major Hollywood players that they ensure that no character is anything less than a star turn. They include Jeff Goldblum, Harvey Kietel, Edward Norton, Owen Wilson, Bill Murray, Jason Schwartzman, Saoirse Ronan, Willem Dafoe, Adrien Brody, Jude Law, Tom Wilkinson plus Tilda Swinton in her totally scene stealing cameo as an 84 year old Dowager. Ralph Fiennes is superbly sublime as the cologne-reeking reckless Gustavo M., and full credit too the unknown Tony Revelon who held his own in this star studded piece with his captivating performance as young Zero.

    For me like most of Mr Anderson’s previous movies he has to share the well deserved applause with his production designer Oscar nominated Adam Stockhausen and his cinematographer Robert Yeoman who made it look simply stunning. There were times I was so immersed with the impeccably choreographed shots on this candy-box covered set that I practically ignored the story line itself.

    Anderson’s wicked sense of humor and the outrageous characters and the sheer joy he imbues in these near masterpieces of movies unwittingly make them some of the sophisticated campest spectacles in our cinemas today that rightly attract a large gay following worldwide.

    Don’t miss one. It’s a real treat

    Available to buy / view on: Amazon | Amazon Prime | iTunes
  • FILM REVIEW: The Adored

    FILM REVIEW: The Adored

    ★★ | The Adored

    Maia is a model who finds her life in turmoil when a personal tragedy befalls her which severely impacts on her relationship with her husband.In an attempt to increase her self-esteem and to try and kick-start her career, she books a weekend with a prolific photographer, Francesca, in her secluded house in the remote Welsh countryside. But Francesca, who suffers from obsessive compulsive disorder, becomes increasingly fixated with Maia and tries to control her feelings towards her. But with a combination of guilt, paranoia and infatuation increasingly impacting on the relationship between the two of them, their past appears to be catching up with them.

    The film stars Laura Martin-Simpson and Ione Butler as the two women whose physical and emotional relationship develops over the course of the film’s 90 minute running time. The story unfolds with long scenes of the two women in the isolated house and surrounding area spliced with some rather intense scenes of a man called Adrian talking frankly with his therapist about his self-awareness of his violence and his troubled marriage. Who this man is and his relevance to the two women is a mystery which feeds into the slow burn of the story.

    The performances from the four cast members were all perfectly serviceable, with Jake Maskill as Adrian as the most notable. The direction of the film was functional, but never flashy or over-stylised and the scenery surrounding the house was a naturally beautiful backdrop.

    One of the main problems with the film was that the characters were all so unlikeable that as a viewer, there was the potential to not share any empathy or connection with characters. Furthermore, the development of the story was far too slow, so that by the time the reveal arrived, any dramatic impact was lost given that the narrative had struggled to hold the attention.

    Where the film does deserve some recognition is in its portrayal of the exploration of the female characters sexuality. Their intimate moment manages to steer well clear of tacky titillation and that aspect of the story is more about establishing their sexuality as one aspect of their complex characters rather than being the trait that their characters are built around.

    Overall, the film is a slow watch, which some viewers may find rewarding, but one which, unfortunately, runs out of steam. It is a bold attempt at a low budget film noir, but never quite lives up to its potential.

    The Adored is available to buy from Amazon and iTunes and further information about the film can be found on the films official website at http://www.theadoredmovie.com

     

  • ANALYSIS: The Oscars 2014

    In case you miss the SKY MOVIES TELECAST of the OSCAR CEREMONY here are some of the really gay highlights, many of which you can already catch on YOUTUBE.

    ELLEN DEGENERES was back to host again after a 7-year break and kicked in to top gear from the word go with her hilarious monologue by referring to LIZA MINELLI as being represented by a female impersonator. Flash to Miss Minnelli sitting with her half sister LORNA LUFT and you can see that they do unmistakably look like a couple of Drag Queens!

    The sisters were there as part of the celebration for their mother’s classic movie THE WIZARD OF OZ that was introduced by WHOOPI GOLDBERG complete with striped stockings and red Dorothy shoes. And then came PINK, looking shockingly feminine in her sparkly red dress, who simply blew the audience away with her spine-tingling version of SOMEWHERE OVER THE RAINBOW, which bought the whole House to its feet.

    There had been an earlier standing ovation for DARLENE LOVE who had been on stage to help accept the well-deserved BEST DOCUMENTARY OSCAR for ‘TWENTY FEET FROM STARDOM’, the compelling story of all the Back Up singers who stayed out of the spotlight. Instead of a speech, Ms Love simply sang her thanks in her own inimitable style

    Kudos to JARED LETO for his stirring tribute to his mother when he won his BEST SUPPORTING OSCAR for playing a transgender character in DALLAS BUYERS CLUB, and for the very moving dedication of his Award to all the people that had died from AIDS. A similar and equally touching gesture was made by ADRUITHA LEE & ROBIN MATHEWS who won OSCARS for HAIR & MAKE UP for the same movie.

    Most excited winner was young Kenyan actress LUPITA NYONG’O who picked up BEST SUPPORTING ACTRESS OSCAR for her part in 12 YEARS A STAGE proving that well-deserved unknown actors can still break through. Her exuberance was matched by her British Director STEVE MCQUEEN when the movie beat the favourite (GRAVITY) to pick up the BEST PICTURE OSCAR and as the closing credits of the Telecast roll he is literally jumping up and down on the stage with sheer joy like a kid.

    Most heartfelt and genuine speech was from CATE BLANCHETT when she picked up her BEST ACTRESS OSCAR, and for my money, her elegant beaded GIORGIO ARMANI DRESS was the best of the bunch too.

    A no-thrills BETTE MIDLER making her very first singing appearance at the OSCARS followed the IN MEMORIUM TRIBUTE to all the Hollywood greats who have gone to the movie theatre in the sky this year, with her anthem WIND BENEATH MY WINGS that ensured there were not many dry eyes in the audience.

    In was an fun albeit overly long evening with none of the usual big production numbers and had ELLEN mixing in with the star –studied audience a great deal … the popularity of hilarious ‘selfie’ she shot on her phone with MERYL STREEP and other front row stars actually managed ti bring TWITTER to a grinding halt. The whole night was just like the running gag had about JONAH HILL literally exposing himself in a scene in THE WOLF OF WALL STREET that Ellen declared was something she had not seen in a very long time.

  • FILM REVIEW | In Bloom

    ★★★★ | In Bloom

    This is the rather gritty story of a hip very young gay couple in Chicago’s ‘Boystown’ coming to terms with how tough one’s first love can be.

    Kurt is a small time drug dealer who supplies pot to his peers, whilst Paul his boyfriend of two years has a dead-end job in a local grocery store that he can barely tolerate. When the long summer starts, they are having fun and very much into each other and seem the perfect couple, but some seven months later they have separated and can barely talk to each other.

    Everything had been going well with them until one night one of Kurt’s good-looking customers puts the moves on him, and although he initially resists Kevin’s advances does it opens his mind to the possibility that there is more to life outside of his cosy relationship with Paul. Suddenly that starts to look painfully inadequate to him now, and in a fit of impulse he starts a ‘break-up’ that he will only regret when it is far too late.

    If that is not bad enough, the real world outside is even scarier than usual right now as there is a serial killer on the prowl whose victims have all been young gay man from the area. With Kurt making late night deliveries to hip parties all over he is probably more at risk than most.

    This look at contemporary edgy youth culture is the work of a 22 year newbie filmmaker Chris Michael Birkmeier who based this work of fiction on his own story of when he broke up with his first ever boyfriend. The plot is steeped in innocence and naivete and full of well-meaning intentions. It’s a remarkable debut feature and as such one can overlook the slow-moving story line that almost grinds to a halt at times.

    Credit too for the great wee cast full of untried talent, and very good photography too.

    The comparisons between Mr Birkmeier and the French/Canadian wunderkind Xavier Dolan who picked up Awards at Cannes for his first movie at the tender age of 19, are natural. Especially when Birkmeier makes no bones of the fact that he is a big Dolan fan. But there is very little similarity in their work and this movie is of a much simpler construction and far more straightforward. The two young filmmaker’s works complement each other, rather than complete.

    No doubt at all that C M Birkmeier (as he bills himself) is one to watch in new queer cinema, and I for one cannot wait to see how he follows this fascinating first movie.