THEGAYUK

Category: Review

  • DVD REVIEW | Shelter

    Thwarted by his family circumstance and finding it hard to find his place in a small industrial Californian town, heartthrob Zach (Trevor Wright) is a trapped, talented artist.

    Stymied by his situation; a selfish and homophobic sister, a loveless relationship with his girlfriend and a father who is next to useless. With Art College and a new life calling him, Zach finds himself suffocated by his life with a hopeless acceptance. However, things begin to change when Shaun (Brad Rowe), Zach’s best friend’s brother returns to town. Life begins to click into place when a drunken night together shows Zach a new existence. One that offers a life unlimited.

    As the relationship develops between the two would-be lovers, the reality of his new secret life mounts pressure on his daily existence. Zach is torn between the release of who he wants to be and the pressures of his real life. Zach has become a surrogate father to his sister’s five-year-old son, the adorable Cody (Jackson Wurth) in-between his shifts flipping burgers. His small town, wrong side of the tracks existence and expectations battle directly with the possibilities that lay ahead with Shaun, Art College and escaping from his humble beginnings.

    What makes Shelter a wholly charming film to watch is its warmth and honesty. Its tentative steps and its revealing of Zach’s new potential is stunning. You know where you are with Shelter and you know where you’re going and clichés aside, it’s a magnificent film for many reasons. It’s a hazy, sweet, Gaussian, Californian coming out story. Filmed with a sensitivity that’s not often found in gay cinema. The sex scenes aren’t graphic, but leave enough to the imagination. It’s everything you wish your vanilla first time with a man might be. Its lack of reference to the gay scene or to gay culture makes it a film that can be enjoyed by most audiences, who appreciate a good romance. Filled with instamatic – esque shots of the Californian shoreline, crashing waves mix well with a thoughtful and provocative soundtrack.

    The camera does linger on Trevor Wright and he deserves the attention. Acting with an introspective knowing, Wright leads the story through and along with Brad Rowe gives great screen. Their chemistry is undeniable, their potential promising. It is an entirely shameful that Wright hasn’t garnered more film success because he is a riveting actor to behold.

    Shelter never fails to deliver what you’d expect from a coming out story, perhaps a little less complicated than real life situations, but definitely a film I’d revisit.

    Perfect if you like: Rainbows, Hollister and Hollywood endings.

    Dreadful if you like: Slings, fisting and earthy dramas.

    Buy on Amazon

  • FILM REVIEW | Borg vs McEnroe

    ★★★★ | Borg vs McEnroe

    FILM REVIEW | Borg vs McEnroe

    1980 was the year that Swede Bjorn Borg competed against American John McEnroe for the Wimbledon men’s championship, and what a game it was. The new film “Borg vs McEnroe” totally captures this exciting match.

    Not only does the film capture, in very good detail, the match to end all matches, it also goes deep into the lives of both men, their upbringing, their careers as the world’s top tennis players, as well as their relationships with others. However, this being a Swedish production, the film mostly focuses on Borg (played by a practical look-a-like in Sverrir Gudnason). McEnroe, played by Shia LaBeouf, is also very good as the bad boy of tennis which almost mirrors LaBeouf’s offscreen behaviour.

    We see Bjorg as young man (played by his own son Leo) in the city where he grew up and started playing tennis against a wall near his home; we see him as a successful tennis player, living the life of luxury, high atop a luxurious apartment building in Monaco which he shares with his partner Marianna (Tuva Novotny). She stands by his side and allows him to stay focused on his games, even if that means him being very obsessed with the preparation of each match, and the torment by his parents who have taught him never to be second best. Borg’s relationship with his coach Lennart (an excellent Stellan Skarsgard) is a volatile one, but it’s also like father and son. Meanwhile, McEnroe has demons of his own – his reputation precedes him, and it’s going to be a duel to the finish at the Wimbledon championships as to who’s going to come out the winner.

    Borg vs McEnroe, a multilingual film, ends with the play by play of the 1980 men’s championship final. And if you don’t remember who won, it’s a nail-biting 20 minutes that will keep you on the edge of your seat. And it’s this finale that makes Borg vs McEnroe one of the best sports films since 2013’s racing car film “Rush.” Danish Director Janus Metz keeps the suspense and drama very much alive while writer Ronnie Sandahl expertly crafts the 110-minute movie to include aspects of both champions lives as well as their tennis successes.

  • FILM REVIEW | It

    IT – The big horror movie of the year is here as we welcome back Stephen King‘s homicidal shapeshifting sewer dwelling killer clown so what does this mean for the larger world of scary movies?

    FILM REVIEW | It

    Nutshell – From the original 80’s blockbuster book through the very popular two-part TV series in 1990, our favourite grinning red helium balloon fan is once again crawling out of the gutter to terrorise a new raft of dysfunctional kids. Set in classic small-town Stephen King’s Ville, this hugely anticipated thrill-fest sees the youngsters slowly work out why their town is the world’s hotspot for missing kids and decide that Pennywise needs to have that fu*king smile wiped off his smug face once and for all.

    Running Time – 135 minutes; That is the longest butt-numbing horror film we can ever remember.

    Certificate – 15

    Tagline – ‘You’ll Float Too” & “It Comes In Many Forms” is the best they could come up with really?

    THEGAYUK Factor – All the heroes are kids and the villain is a murdering bugger so unless you jerk off to clowns playing with balloons then save the man gravy for the muscle studs in the upcoming Kingsman, Thor, Jumanji and Bladerunner.

    Cast – Bill Skarsgard plays Pennywise and his most famous appearance to date is in the unsuccessful Atomic Blonde. Everyone else are newbies – this is not a star vehicle as the book and concept take that role, that will change with the adult sequels.

    Key Player – Stephen King probably the world’s most famous writer, whose books have been turned into classics like The Shining, The Green Mile and Stand By Me but just as many right wank rags such as The Mangler and The Dark Tower which make us shudder for all the wrong reasons.

    Budget – $35 Million and so far it has made back a whopping $189 Million and climbing, parts 2 and 3 are already in the works expect that budget to start going way up and returns to fall as severe disappointment kicks in.

    Best Bit – 0.07 mins; The keynote scene of a young lad losing a toy boat down a large water drain and coming face to face with the never-blinking clown of everyone’s nightmares and then it gets really nasty.

    Worst Bit – 1.45 mins; Basically anything in the last third is not brilliant and sometimes laughable. Nothing is quite as scary as that opening scene and as the CGI takes over and the baddie turns up everywhere and in every shape, this becomes as realistic as a steroided muscle mary’s stuffed jockstrap – this could have been so much better.

    Little Secret – Bill Skarsgard was on set for the whole 32 week schedule but did not go in front of the cameras until the 18th week. Yes the clown is in it that little! This is the original story where the kids’ “The Losers Club” face Pennywise for the first time, they then have to face him again as adults hence the first sequel due 2019. Jessica Chastain is up for one of the parts and they also want sex gods Chris Pratt and Jake Gyllenhaal too.

    Further Viewing – The Shining, Thinner, The Green Mile, Pet Semetaries 1 & 2, The Stand, Carrie, Christine, Children Of The Corn, The Mist, The Running Man; basically any of the 43 King adaptations you can find but maybe not that last Arnie one.

    Any Good – This is so similar to the original film and book that the first question is why bother and no Tim Curry this time. Its problem is that it is just not scary and so very very long. It was truly anticipated and the box office should lead to a wealth of new big-budget horrors next year and beyond and not just the cheapie Saw, Purge, Paranormal & killer dolls we have had to suffer lately. Just expect huge diminishing returns and disappointment to this franchise.

    Rating – 48% out of 100.

  • THEATRE REVIEW | Holding the Man, Above the Stag Theatre London

    ★★★★★ | Holding the Man

    THEATRE REVIEW | Holding the Man, Above the Stag Theatre London

    Holding the Man is a show that will rip your heart out and reduce you to tears.

    Now playing at Above the Stag Theatre in Vauxhall, it’s true story of two Australian men, Timothy Conigrave and John Caleo, who fall in love in the late 1970’s, who have their ups and downs during the 1980’s, and who both are diagnosed with the HIV virus and must deal with not only death knocking on their door but also the shortened time they have to be together. The show is based on the 1995 book by Conigrave and was written by Tommy Murphy. Most of you might have already seen the excellent 2015 film, or previous London productions (including the 2010 production at Trafalgar Studios). The Above the Stage production is just as hard-hitting.

    It’s the storytelling and the extremely strong performances of the cast at the Above the Stag that rate this production five stars. Jamie Barnard is excellent as Conigrave while Ben Boskovic as Caleo eerily captures his quietness and reserve. Both actors bring to this production a strength and resolute to their roles that they are almost living out these characters lives right in front of us. From the beginning of the show, we can feel that these two men were meant to be together. But this being the early 80s, not much was known about HIV, so, unfortunately, and I’m not giving anything away here because it’s a well-known story, AIDS was to rear its ugly head directly at these two young, beautiful men.

    Holding the Man takes us on a heart-stopping and heartbreaking journey while we travel with them in their relationship with each other in life and in death. And it’s Barnard and Boskovic who take us on this remarkable journey. Joshua Cole as a best friend of the two men provide welcome comic relief in a show that’s very serious: he’s charming and has the best lines in the play. Faye Wilson adds some much-needed sparkle as another one of the boy’s friends, while Liam Burke, Annabel Pemberton, and Robert Thompson round out the ensemble in various roles as parents, friends and fellow students. One scene that includes the whole cast is a hilarious masturbation scene that’s cleverly done and something I’ve never seen on stage before.

    But’s is the relationship between these two men that is at the heart and soul of this show. Director Gene David Kirk keeps the drama up and running while designer David Shields provides an excellent minimalist backdrop so the audience can focus on the story, and acting unfolding right before our very eyes.

    Kudos to Above the Stag Theatre for producing a serious, dramatic and extremely well-acted show that’s a welcome relief from their previous camp and silly previous productions. Categorise Holding the Man as a must see!

    Holding The Man runs at the Above The Stag theatre until 21st October 2017

     

  • DVD REVIEW | North Sea Texas

    ★★★★ | North Sea Texas

    Pim is a young boy from a small Belgian coastal town who lives a dreary existence with his mother, Yvette, who is a boozy accordion player.

    Pim dreams of beauty pageants, princesses and Gino, the handsome boy next door to escape life with his blowsy neglectful mother. As Pim moves into his teenage years, his life takes on unexpected turns as he becomes more deeply involved with Gino and his family and a hot and hunky young traveller called Zoltan arrives back on the scene.

    Cult short filmmaker Bavo Defume has made a film which is inspired more by beauty than by social realism. The intention was to make a film which depicts more than the sometimes grey and gritty world we can inhabit. The film is set in an unspecified time period with classic retro patterns and furniture and luscious coastal landscapes.

    Although the world that the characters inhabit is sometimes stylised, the acting is natural and convincing. The result is a film which is both moving and beautiful to watch. It also holds the viewer’s interest through the drama played out so convincingly between the young actors. Coming of age dramas don’t get much more luscious, stylish and watchable than this.

    BUY FROM Amazon  | iTunes

    Originally released: 2012

  • THEATRE REVIEW | Five Guys Name Moe, Marble Arch Theatre London

    ★★★★ | Five Guys Named Moe

    THEATRE REVIEW | Five Guys Name Moe, Marble Arch Theatre London

    There’s a new theatre in town, it’s fabulous, and the show now playing at this theatre is fabulous as well.

    The Marble Arch Theatre, which is an Underbelly production (the team that brings us the excellent shows in the Southbank), is cleverly located right next to the arch in Marble Arch, is the newest theatre to pop up in London. It’s a gorgeous 650 seater wooden structure that includes a very large bar and an auditorium with a stage that is semi-circle in the round, a design that reflects the 1940’s New Orleans Jazz bars. And theatregoers will be able to take their seats at the cabaret tables in the Funky Butt Club and have drinks served directly to their tables for an up-close and personal musical experience all around them. And the show at this new theatre is Five Guys Named Moe, which is a show about Five Guys Named Moe (Big, Little, Eat, Know and Four-Eyed) who give guidance, advice and support to Nomax, who is single, broke and lamenting about a broken relationship with a woman named Lorraine.

    The Moes sing and dance their way throughout this two-hour very lively extravaganza, while Nomax (played by Edward Baruwa) takes it all in. Songs, featuring the hits of original jazz king Louis Jordan, include “Early in the Morning,” “I Like ‘em Like That,” “Safe, Sane and Single,” and “Ain’t Nobody Here But Us Chickens” are sung by the Moes in such a fun and unique style. And there is also quite a bit of audience participation. One member of the audience who was chosen to recite some sentences on the night I saw it, and it was none other than stage and movie star Freddie Fox. The audience also gets to outdo each other, with the help of the Moes, in a sing-a-long that provides raucous laughter. It’s the oldest trick in the book to include the audience in the show to make sure they are having a great time, and the Moes use it to their advantage.

    Five Guys Named Moe is based on a musical of the same name by Jordan in 1943, and has been around since it’s 1990 UK debut (and a 2010 UK revival). With a book by Clarke Peters, it feels like this show has never left London. But if you’ve already seen it, seeing it again at the new Marble Arch Theatre will be a whole new experience, and perhaps more of an enjoyable one in a setting that matches the fun and frivolity of the show. Kudos to all the Moes who make it a fun night out (Ian Carlyle, Idriss Kargbo, Dex Lee, Horace Oliver and Emile Ruddock) and to Underbelly for copying their successful formula to Marble Arch, and to the production team for pulling it off and producing one big party.

    Five Guys Named Moe plays at the Marble Arch Theatre until 17 February 2018

  • THEATRE REVIEW | Dirty Dancing, Liverpool Empire

    ★★★ | Dirty Dancing, Liverpool Empire

    Set in the 1960’s, Frances “Baby” Houseman goes to Kellerman’s holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. When Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage with a show which follows the story of the film very closely, with the bulk of the script being comfortingly recognisable from the film. There are some additional scenes thrown in, which mainly expand on the political changes in the 60’s and some which flesh out the relationship between Baby and Johnny; whilst the show’s music came from a combination of both live and pre-recorded tracks, including “Hungry Eyes”, “Love Man” and “(I’ve Had) The Time of My Life”

    Katie Eccles and Robert Colvin took the lead roles of Baby and Johnny, and had some chemistry between them; and they were supported by a broadly competent cast of singers, dancers and musicians. Unsurprisingly, the dancing was better than the acting, but given that the show’s main focus is the musical numbers it doesn’t cause too much of a problem.

    The show has been given a major overhaul and is all the better for it. This production has a vibrant lighting design and has ushered in a luxurious, well designed and thoroughly detailed set which transform smoothly without ever interrupting the story; whilst the show has been sexed up a little with a few more bare chests and muscular arms on display. Overall, the production values here are very high and very impressive.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. For those who have not seen the film, the show is a good introduction to the world of Kellerman’s. For established fans of the film, the show will be hard to beat.

    Dirty Dancing is playing at the Liverpool Empire until 18th September 2017

    • Review taken from the Sheffield Theatre production

  • THEATRE REVIEW | Footloose, Peacock Theatre London

    ★★★★ | Footloose

    THEATRE REVIEW | Footloose, Peacock Theatre London

    Kevin Bacon became a worldwide star in the 1984 hit film. And while there have been lots of stage versions produced after this, “Footloose,” no matter how many times you’ve seen it or have hummed the title song, will always bring a smile to your face.

    Another revival, now at the Peacock Theatre near Aldwych, and arriving into London right after a UK tour, keeps the toe-tapping alive with the show about a small town that has banned dancing, and the young out-of-towner who plans to shake things up.

    Rem McCormack (Joshua Dowen) and his mom Ethel (Lindsay Goodhand) move from their hometown of Chicago to the very small town of Bomont after Rem’s father left the family home to go ‘find himself.’ Rem integrates into his new school, filled with all sorts of people (though none of them, curiously, are black). His fellow students include Willard (Gareth Gates, who gets star billing) and the minister’s daughter Ariel (Hannah Price). It comes to light that the powerful minister, the Reverend Shaw (Reuven Gershon), has banned dancing in town because five years ago his young son and three others were killed in a car crash, no doubt, according to the minister, caused by the kid’s night out of having too much fun and possibly drinking.

    But Rem wants to have fun, but at the same time can’t seem to hold down a job due to his motto of trying to do the right thing, and he’s gotten off on the wrong foot with Ariel’s boyfriend Chuck (Connor Going – who strangely disappears during the middle of the show but returns for the finale). The other kids end up getting Rem to speak up for them at the city council meeting to denounce the dancing ban while it’s no surprise that Rem and Ariel have the hots for each other. It’s lots of loose feet, catchy tunes, a hot and sexy cast and way too many crotch jokes that make this version of Footloose a slight winner.

    Gareth Gates looking super hot in the London Production

    The music and the talented cast make the show very entertaining, but the show as a whole could be better. While all the film’s hits are included (“Footloose” of course, “Let’s Hear it for the Boy,” as well as “Holding Out for a Hero”), with some of the arrangements of these songs a bit different than what we’re used to, some of the other songs make a very big thud, including the dismal “Heaven Help Me” sung by Gershon. However, “Somebody’s Eyes” is beautifully sung by most of the cast in a very memorable scene. So while there are more ups than downs, the cast at the end of show work very very hard to get their standing ovation, practically repeating, in very shortened versions, almost every catchy and lively song from the show. And even though Gates gets top billing (and he even takes his top off to reveal an absolutely stunning body), both Dowen and Price are the true stars of the show. Their chemistry on stage is very real – both very good looking with all-American looks. Director Racky Plews and Choreographer Matthew Cole have, almost, done Kevin Bacon proud.

     

    Footloose plays at the Peacock Theatre London

  • THEATRE REVIEW | Doubt, a Parable, Southwark Playhouse, London

    ★★★★★ | Doubt, a Parable, Southwark Playhouse, London

    CREDIT: Paul Nicholas Dyke

    It’s Autumn 1964 and young priest Father Brendan Flynn doesn’t fit into the spartan and puritanical ideals of the school as run by sour faced Sister Aloysius. He’s all warmth and casual attitude, bouncing a basketball around with the boys. Her view of the school system is one where art is a frippery, the children should be contained and disciplined and pastoral care involves telling people to buck their ideas up. Her ever watchful gaze is centred on Flynn and when a young nun divulges her suspicions of inappropriate behaviour between Father Flynn and a pre-pubescent boy she appears to relish the chance to get rid of him and launches into decisive and cunning action.

    If you want big acting shoes to fill then look no further than ‘Doubt’. This 2005 Pulitzer Prize and Tony Award winning play was made into an astoundingly good film with Philip Seymour Hoffman and Meryl Streep as the warring priest and nun. This version has pulled together an accomplished cast with Stella Gonet as the terrifying yet eminently human Sister Aloysius. It;’s a dense, dialogue heavy play that’s an intense ninety minutes but one that passes in a flash and will set you cogitating as you consider the facets of the situation and the personalities concerned. Oh, as well as thinking about that little matter of the truth. Much like life, there aren’t any wholly good or bad or stupid or clever people only people on a spectrum constantly sliding somewhere between the two.

    The confined space of a fringe theatre like Southwark Playhouse suits this piece as you get to see every thought flit across each face and the intensity ramps up a notch or two. This is a rarity: an entertaining and rousing play that’s also intelligent and thought provoking. Go see it.

    Doubt, a Parable, plays at the Southwark Playhouse, London until 30th September 2017

  • REVIEW | George Michael Fantasy

    When the announcement that there would be new George Michael music… I was terrified, disappointed, excited and desperate in equal measure.

    You see, usually the release of the previously unheard of material or remixed material never does the memories of a dearly departed icon, such as George Michael, justice.

    I was, I’m loathed to admit, disappointed with Michael’s latest work –  2012’s “White Light” was, to me, terrible. He launched it during the closing ceremony of the UK Olympics – and well, it didn’t quite hit the spot. Even after the massive exposure, the song limped to number 20 in the iTunes chart.

    It was a far cry from his works on Older, Patience or Faith albums. And maybe that’s the problem with George Michael (or us, his fans) – he’ll always be revered for his 80s and 90s output and that’s why today’s release is genius.

    Nile Rodger’s reworking of “Fantasy” restores the vision and with a contemporary sensibility. It’s sexual, edgy and unmistakably George’s work.

    The song’s choppy, edgy production sits well along with current hits – but it’s unmistakable in its George Michealness – the Faith era rips right through it, which will be sure to please hardcore GM fans whilst opening up his music to an entirely new generation of fans.

    Nile Rodgers proves, once again, that he is the producer, not only of the 70s, 80s and 90s but is – without a doubt giving this generation of producers a run for their money.

     

  • DVD REVIEW | Hedwig And The Angry Inch

    ★★★★★ | Hedwig And The Angry Inch

    I’ve got to say, I’m not a big fan of film musicals, but when I was introduced to Hedwig and the Angry Inch, this all changed. I’m a huge fan of John Cameron Mitchell, who plays the lead: Hedwig, a transgender entertainer who surgically changes sex in order to leave a segregated war-torn Germany for a life of stardom (she hoped) in the USA.

    The film follows Hedwig and her merry bunch of band mates following Tommy Gnosis, a world famous rock star, whom she wrote songs with before he got famous. Gnosis, once famous, denies Hedwig’s existence.

    The music is bitter sweet, with toe thumpers: “Wig In A Box” and thought-provoking ballads, like “The Origin Of Love”.

    At the core of this bright and brilliantly directed piece is a sad iconic transgender person, whose hair (slightly resembling a late Farah Fawcett) is looking for recognition, both for her music and for her Angry Inch…

    The soundtrack is a sound buy!

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