THEGAYUK

Category: Review

  • FILM REVIEW | The Overnighters

    ★★★★ | The Overnighters

    After North Dakota introduced the controversial technology known as fracking in 2008 it suddenly became the nation’s second largest oil producing State.

    So as the economic recession started to kick in really hard over the next few years, thousands of unemployed men unable to find work in their part of the country flocked to the new oilfields hoping to secure jobs. Many ended up the city of Willaston which is located in the oil-rich region in the west of the state. Totally unprepared for job searching which could take some considerable time or at which they could fail as they were totally unqualified, many of these migrant workers ended up being homeless and destitute.

    Their one chance of surviving and making their dreams succeed lay in the hands of an extraordinary local Lutheran Pastor who mounted what turned out to be a one man band to help these men try and succeed and move on. Pastor Reinke knew that the City permitted people to sleep overnight in their own cars if they were parked legally, but for the people that had come by bus and train, he went one step further and opened up the church premises and allowed them to sleep on any floor space they could claim.

    This program called ‘the overnighters’ was started in the dead of winter and the church’s congregation went along with their leader’s plan assuming that when the spring came, the men would move out and on. But each day more and more men arrived seeking refuge and the trickle turned into a flood. The Pastor suggested that the men make a voluntary contribution towards their keep, but insisted on them submitting to a background check and also attending church.

    As this influx of cars and men impacted the neighbourhood and at the same, the crime rate also rose the local paper started to voice the concerns of the community and published a few damning pieces on the Pastor’s activities. In a badly thought out move he panicked and invited one of the men who had been a convicted sex offender to stay with his own family to take the heat off for a while… but when word got out, it was the start of the unravelling of the whole program and the Pastor’s own life.

    Director Jesse Moss was his own one-man crew when he filmed this in 2012/3 and he gets up close and personal in telling the intimate stories of some of the men that are passing through in the hope of a better life. And although their struggles simply to survive are a powerful indictment on the effects of the downturn of a global economy on ordinary working men, it is the Pastor’s own somewhat bewildering and incessant crusade that is the main focus here. Reinke is resolute in his sheer doggedness to offer these men shelter and hope despite the overwhelming objections of the City, and of his own congregation who are angry at being railroaded into giving their support to something they can no longer tolerate.

    The Pastor’s very blinkered approach to expecting all of his neighbours to act as he believes Christians too unfairly casts them as the devil’s advocate when the refuse to go along with all his plans, and he eventually pays the cost of pushing them all too hard. There is more than hint that he has his own troubled past and on one occasion when he sympathies with one of the men who is baring his tormented soul, he remarks that they have a lot more in common than the other man would think. There are also the tell-tale signs of sudden flares of anger when Reinke believes that anyone has betrayed his trust in him. And then when the chips are down at the end of the movie, Reinke shocks his placid wife (and us) with a surprising confession.

    Moss’s movie never steers shy from showing the sheer despair of these men, and even of their guardian angel too. This compelling feature length documentary is quite an eye opener, in every sense of the word.

    In UK Cinemas 31st October

  • FILM REVIEW | The Secret Path

    This new gay love story from a married couple of newbie filmmakers Daniel and Richard Mansfield is quite unique.★★★

    Essentially a two-hander, its the story of a pair of lovers in their late 20s who are on the run having deserted the British Navy in the early 1800s. Having come ashore near the rather lush grounds of the estate of an abandoned country house, the two men live ‘rough’ during the day whilst at night they dig up dead bodies to sell and get some funds to move on.

    In a script that is full of more holes than any net these ex-Mariners may have found at sea, we are never too sure why they do little beyond walking around in circles or just lying on the grass cuddling each other.

    They make out occasionally in a manner that one can only suggest that their clumsiness is due to being new to man-on-man sex, or that they are used to doing it on rough seas which gave them a natural rhythm. What is for sure is that the whole place is haunted, and in this supernatural thriller where Theo alone keeps seeing dead people, we know that it cannot possible end well for him or for his lover Frank.

    It’s a bold move making a gay period drama, especially on a micro-budget, and these two Brit filmmakers should be applauded for their valiant effort. The combination of the jerky hand-held cameras and an ominously eerie soundtrack go a long way to making this wee movie more watchable. The two very likeable actors, Darren Bransford & Henry Regan, do well with their parts but they, like the script could have so benefited with both more substance and better direction. The whole thin plot was far too stretched out and made one’s attention wander a little too often in the middle section in particular.

    This new movie is due to be premiered at the GayWise Festival in London in November but before that will be available on VOD/DVD at Amazon.

  • FILM REVIEW | You And The Night

    The opening sequence of French writer/director Yann Gonzalez debut feature starts with confusion that never really eases up through this avant-garde art-house film. ★

    CREDIT: Les Rencontres D’Après Minuit
    CREDIT: Les Rencontres D’Après Minuit

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  • FILM REVIEW | Love Or Whatever

    Like most Therapists who spend their working day advising people how to get their act together, Corey was not that hot at getting his own life on the right track. When he finally proposed to his muscle-bound airhead personal trainer boyfriend, Jon just freaked out and ran off into the arms (and bed) of the nearest woman. He had finally come of out of his gay closet to discover that he was bisexual, or maybe straight even. ★★★

    Corey crying his eyes poured out his woes to his best friend who was his lesbian sister Kelsey, who insisted that there was only one way forward for him viz. Grindr. And soon as she had taught her brother how to use this Gay dating app. the first man he spotted was the Pizza delivery guy. Pete is hotter than hell: handsome, intelligent, articulate and is running the pizza store whilst caring for his sick Uncle the owner. He’s a saint and too perfect to be true, but this is the movies after all.

    The two men have a very successful date and geeky Corey now has another muscle-bound super-fit boyfriend, but before they can even think about even living happily ever after, they must get through a couple of melodramas first. It turns out that Melissa, the woman who the newly proclaimed bisexual Jon is dating, is also a client of Corey’s and she insists on telling him every intimate detail of her new relationship not knowing that he was her predecessor. Eventually he tells her that his appointment book is full and she should go find another therapist.

    Meanwhile Jon decides he really prefers Corey after all so he comes back and they immediately jump in to bed only to be caught in flagrento by saint Pete. Before they can even get their underwear back on, in storms Melissa who had given Jon a lift and had been waiting in the car outside. And just before they can all say scream ‘How could you ? etc’, then into this now rather packed house comes Kelsey to say that she is broke and her coffee shop business is in Foreclosure and she’s leaving town.

    It’s a romantic comedy so you know that in this very lightweight fluffy piece it will work out in the end so everyone will have big smiles on the faces and a hot body to share their beds. Well most of them anyway. This one is cute, thanks mainly to a good cast, and not just the ex-underwear models who play two of the leads.

    As fun as it is you and perfect for a date night, you may still cynical just opt for the ‘whatever’ rather than ‘love’!

    Available to by from Amazon

  • FILM REVIEW | The Way He Looks

    FILM REVIEW | The Way He Looks

    The lazy summer is over and Leo and his best friend Giovana are back in High School for the new term when curly headed new boy Gabriel joins the class for the first time.★★★★★

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  • FILM REVIEW | The Fault In Our Stars

    16 year old Hazel Graze is permanently attached to an oxygen tank that now keeps her alive after her most recent bouts of cancer. If knowing that her days on earth are severely limited isn’t bad enough, she has to cope with her well-meaning parents and their enforced sunny dispositions to just get through each day. It’s no wonder that this sweet teenager is so depressed as she is dragged from counsellor to group therapy because the adults in her life tell her this is what she needs.

    It isn’t of course, but as stoic and brave as she is, Hazel is not sure that anything beyond her favourite post-modern novel (about cancer), will ever remotely make her happy. That is until one day in the Youth Cancer Group she meets Augustus. A clever tall and handsome 18-year old whose potential career as a baseball player was cut short when cancer took his right leg. He’s a carefree optimistic soul with a very quick acerbic wit who takes an instant shine to Hazel and pursues with an energy and enthusiasm that totally throws her.

    He takes her out on a few very chaste dates, reads the novel that she is addicted too and starts courting her with long late night phone conversations and they gradually morph into a couple in love. A few weeks into this budding relationship Augustus springs a surprise. He’s fixed it with the ‘Make a Wish Foundation’ for the two of them to take a trip to Amsterdam where Hazel can meet Van Houten the author of the book she will not put down. The elusive writer never produced the sequel he promised and Hazel has always been desperate to know what happened next in this unfinished story.

    Meanwhile, before she can go she has another close call with death when she suddenly gets very sick again. It turns out that she will recover to fight another day only to realise that Augustus’s cancer has reappeared and this time there is going to be nothing to stop it being terminal, and soon.

    If that is not enough grief, Van Houten is a major disappointment and breaks her heart too, and just to ensure that we use up at least two boxes of Kleenex watching this high-octane tearjerker, when the young couple are in Amsterdam they visit the Anne Franck house, giving us another reason to sob out loud.

    However what makes this melodrama work and keep our sympathy remaining high throughout is a beautifully understated and mature performance by Shailene Woodley who so carefully avoids any temptation to milk the part and make Hazel a tragic figure. She imbues her with such a serenity and a dignity, makes her warm and funny and never once makes this poor dying teenager a pathetic figure. She is a sheer joy to watch. Ansel Elgot has a slightly easy task as Augustus and he does it exceedingly well demonstrating such great chemistry with his co-star.

    Based on the best-selling novel by John Green who used his past experiences as a chaplain in a children’s hospital for the groundwork of his story. Adapted for the screen by Scott Neustadter & Michael H. Weber, who previously wrote ‘The Spectacular Now’ together, and it is director Josh Boone’s sophomore feature.

    Highly recommended.

  • THEATRE REVIEW | Blood Brothers, Birmingham Hippodrome

    ★★★★★ | Blood Brothers, Birmingham Hippodrome
    Sensational, Tear-Jerking and Nostalgic

    “Blood Brothers” celebrates its ninth visit to the Birmingham Hippodrome. Willy Russell’s dramatic yet effervescent musical marks twenty-nine years of existence, and its energy and emotion is still true to the performance today.

    I was heavily drawn to Maureen Nolan’s portrayal of Mrs Johnstone. Nolan conjured feelings within the audience that were so unique and precious that led to the well-deserved standing ovation at the very end. Maureen stands out for her tremendous ability in showcasing a wide range of emotions, especially with the way she talks of her children; contrasting with the unpleasant discourses with Mrs Lyons (Mother of Eddie), but most sincerely for the nostalgic effect that she summoned in the audience. The motherly manner in which she coated Mrs Johnstone and the tangible affection she had with her children drove a good few to memory lane.

    Another actor who created some ripples in the audience was Kristofer Harding, as the Narrator. It was one of those roles that, when present, an atmosphere is formed, atmosphere of which helped sew the emotion together. Harding’s voice resonated danger and mystery, which left audience members on the edge of their seats with anticipation.

    The most astonishing acting witnessed in the whole show was of Sean Jones, Mickey. His incredible imagination in portraying a seven-year-old to then later taking on the same role but as an adult, fascinating! His playfulness as a child was endearing and it felt as though the audience did not want him to grow up. The story is a little like Shakespeare’s “Romeo and Juliet” but instead of love, it is a friendship that is denied to them.

    A great effect, which I thoroughly enjoyed, was the actor doubling. Two actors that doubled throughout and stood out were Graham Martin and Daniel Taylor. Graham’s wit and creativity shone at the Birmingham Hippodrome: he brought the house down with laughter, as the teacher and as the judge. Daniel’s interpretation of Sammy was a treat. Not only did he capture the older sibling so perfectly well, he became a symbol of the time. Daniel demonstrated energy like no other, and though Sammy was not the lead role, he played every second of that stage with a spirit of a protagonist.

    The set was otherworldly. The houses were as real as the one I am sat in now. The effortless changes between scenes were an effect in their own right. The artwork on the back wall of the stage was something extraordinary; it made it look as though we were peering out of a window with the view to Liverpool.

    There is a reason why “Blood Brothers” has been running short of thirty years. I was ready to watch it again, but they asked me to put my wine down and leave.

    “Blood Brothers” is at Birmingham Hippodrome until the 25th of November.

  • THEATRE REVIEW: Urinetown, Apollo Theatre, London

    With a terrible title, something that the writers are keen to point out, Urinetown is the anti-musical- musical and it’s bloody brilliant.

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  • THEATRE REVIEW | This Is My Family, Lyceum theatre Sheffield and National Tour

    ★★★ | This Is My Family, Lyceum theatre Sheffield and National Tour

    Nicky loves her family very much, so enters a competition to win a holiday by describing her family in less than three hundred words. However, her description does not include details of her mother’s boredom at her routine life, her father’s impending midlife crisis, her grandmother’s increasing forgetfulness and her Goth brother’s lovelorn angst. So when Nicky finds out she has won the competition and can chose any location in the world for her destination, she eventually decides on a holiday which none of her family would have ever expected.

    Following its debut last year, this new British musical comedy embarks on its first national tour. Written by Tim Firth, writer of Calendar Girls and Kinky Boots, the quick paced script is delivered at a matching speed and produces a number of genuinely funny one liners, with humour reminiscent of the family sitcoms “Outnumbered” and “”My Family”. The show is akin to a sing through musical, with the songs being part of the narrative and moving the story forward (with the cast, in essence, singing their lines) but with sufficient dialogue in between to break up the numbers and a script and story which balanced comedy, conflict and sentimentality very well.

    Evelyn Hoskins was every bit the star of the show, with her outstanding voice and upbeat performance as Nicky. But she was very closely followed by Terence Keeley, as Matt, whose singing voice had a mature, powerful and almost operatic quality for such a young performer and whose deadpan delivery was spot on. The entire company had good comic timing, playfully cutting across each other and delivering the wordy script with aplomb.

    In the newly refurbished Lyceum Theatre, the sound was crystal clear with every word being audible, despite how quickly the cast spoke. The static set was functional, as was the lighting, but this play is more about the writing than the staging.

    Where the play fell short was the songs; which sounded far too alike each other to ever really stand apart from the previous on, and the repeating refrains somehow making the first act seem very slow. In terms of the story, there felt as though there was very little narrative progression in the first act, and it was more about building up characters and relationships than driving the plot forward. But the second act brought everything together quite nicely, and in hindsight, it was clear why the slow build up was necessary, with the show just managing to keep on the right side of sentimentality to head towards a feel good ending.

    This is My Family is not your usual musical – if you go expecting show stopping routines and big, bold numbers, you will be disappointed. But if you want a sitcom with songs, with plenty of laugh out loud moments, you will no doubt find much to enjoy.

    This Is My Family is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk/event/this-is-my-family-14/ ) before heading out on its first national tour, visiting Royal & Derngate, Northampton; Belgrade Theatre, Coventry; Liverpool Playhouse and The New Wolsey, Ipswich.

  • FILM REVIEW | Gone Girl

    ★★★★★ | Gone Girl
    When the movie opens on a quiet July morning in a small Missouri town there is no visible indication we are looking at a man who has fallen on hard times.

    It turns out that Nick Frost has been virtually unemployed since being laid off from his job on a magazine in NY and is now penniless. He and his wife live in a large ugly suburban house that they lease using the remains of her depleted trust fund, and this morning on his 5th wedding anniversary he is feeling sorry for himself and sipping a shot of Bourbon in the small empty bar he owns with his sister. As he sounds off about the stale state of his marriage the telephone rings. It’s his neighbour telling him that the front door of his house is wide open.

    That’s not the only thing he discovers when goes back home, as the house is totally deserted and furniture is turned over and broken as if there has been a struggle of sorts. When the police check it out they find signs of blood and enough clues to be concerned for Amy’s safety and decide to mount a Press Conference the next day to appeal for help. Nick is joined for this by Amy’s psychiatrist parents who are famous authors having once made a fortune on a series of books called Amazing Amy that ruthlessly exploited their daughter’s childhood.

    Initially, there is an overwhelming abundance of sympathy and support for Nick from both the police and local community but as Detective Rhonda Boney keeps uncovering further clues that indicate that Nick may be responsible for his wife’s disappearance, the mood rapidly changes. Egged on by local TV pundits who have already declared that Nick is guilty of killing his wife, everybody turns against him. When his young mistress goes public about their affair it seems like now that a motive has been established, they can be no further doubt about his guilt.

    Things are far from what they seem in this latest movie from the master of suspense director David Fincher who excels at complicated thrillers such as this. By using a series of flashbacks he has shown that this once fairytale romance is now on the rocks, but even so, it’s impossible to comprehend the depths that Amy will go to resolve it in a manner that will try and exact such diabolical revenge on her unfaithful husband.

    It is one of those movies that is best enjoyed knowing little beyond these bare bones of the plot because what follows is so astonishing it will certainly stupefy you. Just when you think you have it all worked out, the story will twist another 360 degrees to confound you yet once again. It is however unquestionably one of the BEST movies of 2014.

    Ben Affleck is superb as put-upon Nick who you may dislike for wanting his own way, but even he doesn’t deserve the punishment Amy wants to exact on him. The movie, however, belongs to the British actress Rosamund Pike who, in an Oscar-worthy performance, is nothing less than outstanding as Amy. It’s an amazing revelation to see her being so brilliantly devious, manipulative, demented and stunningly seductive when she wants her own way. She is such a sheer joy to watch (apart from all the bloody bits naturally).

    Lest I should forget, there are also some great supporting turns that deserve mention too. Kim Dickens (TV’s Sons of Anarchy) as the Detective, Carrie Coon (TV’s The Leftovers) as Nick’s sister Margo, Neil Patrick Harris as Amy’s stalker boyfriend, and Tyler Perry for once playing it straight as Nick’s hot shot lawyer.

    The script, the first ever written by Gillian Flynn, and adapted from her own novel gave Fincher a great canvass to work with, but it is his superb attention to the most minute detail that makes it such the spectacular roller-coaster ride that it is.

  • FILM REVIEW | This Is Where I Leave You

    ★★ | This Is Where I Leave You

    The ‘leaving’ in the title of this rather frenetic comedy refers to death and divorce and a few other departures in between. Everybody in the Altman family has both issues and secrets and the set up for us (and them) to discover them all is when the patriarch dies and his widow (their mother) insists that they must all sit the traditional Jewish Shiva even though none of them has been inside a synagogue for decades.

    Shiva means sitting there together for 7 days without exception or excuse and talking about life and death, and this family have a lot of it on their minds. Four days prior Judd just discovered his wife in bed with his boss and had walked out on both his marriage and his job. Judd’s eldest brother Paul has been trying to get his wife Annie pregnant for some time now and maybe firing blanks, so she looks for an alternative ‘donor’ in her ex-boyfriend, who just happens to be Judd. The youngest brother Phillip who is still just a big kid at heart shows up with his older cougar girlfriend/future fiancé who he met when she was his therapist. The 4th sibling is Wendy, the mother of two, and whose workaholic husband has a cell phone attached to his ear permanently, whilst she is still carrying a torch over Harry the man next door who was her childhood sweetheart and who she dumped after a serious car accident which left him with brain damaged.

    The only one who seems prepared to talk openly and frankly is the mother who proudly flaunts her new breast implants and incessantly hawks the best-selling book that she wrote some years ago based on all her children’s secrets. Naturally, it turns out that she has a big secret too, but this, the most surprising one is not revealed until almost the end.

    It’s all a little too much with an over-abundance of clichéd plot strands that are at best mildly amusing but in reality, give the overall feeling of an ill-conceived TV situation comedy that is too eager to please. Its one big saving grace is the stunning array of talented actors that make up the cast and do the very best with the script that they have been served up. Jason Bateman as Judd stoically takes most of the heavy load as the main character, and Adam Driver, Corey Stoll and the wonderful Tina Fey play his siblings. Timothy Oliphant is the man next door, Dax Shepherd bares all as the cheating Boss, Kathryn Hann is the motherless sister in law and Connie Britton as the put-upon cougar girlfriend. Mother is played by the great (and elegant looking) Jane Fonda but there are moments when you are convinced that she has just phoned her performance in.

    It’s one of those movies you will be happy to watch on a wet Winter evening when there is nothing else that grabs you on the TV, as its really not bad. It’s just that it could/should have been so much better

    Opens on the 24th October 2014