THEGAYUK

Tag: LGBT Movie Review

Read the latest LGBT+ film reviews from THEGAYUK.

  • FILM REVIEW | Concussion

    This is the story of a mid-life crisis where a marriage between a lawyer and an ex-real estate house flipper turned housewife who live with their two kids in a comfortable affluent NY suburb starts to get stale. ★★★★

    The housewife busy with running the home, taking Pilate classes with her friends, and hanging out with the other soccer kids’ mums doing the daily school runs etc., is bored out of her head. The same head that gets hit very hard one day when her son accidentally manages to throw a ball at it causing some bloody damage.

    It results in not just concussion but some sort of epiphany that she needs to make some changes to her life.

    The edge that this story has over similar tales of marriage woes is that this couple are lesbians which doesn’t alter the reality of marital disharmony but it makes it take on a whole different resonance.

    Abby goes back to work and buys a Loft in the city to refurbish and flip throwing all her energy into the project. It’s a start, but she is still sexually frustrated as her wife Kate, a divorce lawyer, seems to prefer celibacy. So Abby hooks up with hooker, but the woman she picks from a newspaper ad turns out to be dishevelled drug user and the experience is far from happy, something she confides to Justin her contractor/friend who is working on the loft with her. Justin’s girlfriend just happens to run a call-girl service out of her college dorm and so she insures that Abby gets a very hot date for her next encounter.

    It whets her appetite for sex, but at $800 a pop this is more than she can afford on a regular basis so Justin suggests that maybe the answer would be for her to turn tricks herself. Evidently there is a need for a beautiful older woman… Abby is 42… especially to service young wealthy women looking for an experienced lesbian. It takes time to persuade Abby to decide and even then when she accepts she insists on doing it in her own terms i.e. meeting clients in a coffee shop first. And thus ‘Eleanor’, Abby’s new persona, is born.

    At the beginning most of the clients are indeed young but when Eleanor gets one who is even older and sexually more experienced, she really starts to relish her new role. And then to top it all one of her new clients turns out to be Sam, a married ‘straight’ woman friend from her own town who she has always quietly lusted after, the fantasy of her new life becomes very real indeed.

    Abby insists that ‘Eleanor’ only has a few clients a week so that she can maintain all her usual routines at home, and very conveniently now that the loft is finished she even has a place for her assignations. Her wife Kate is so wrapped up in her work and being the ‘other’ mother at home that she is completely unaware that Abby has created this other life just to get some sexual fulfillment, and even when the penny eventually drops, she really doesn’t want to accept when she sees.

    It’s an intriguing drama that is primarily convincingly real because of exceptional and sensitive performance by Robin Weigert as Abby/Eleanor. She insures that we empathise with her from the very beginning, and although it is essentially all about satisfying her needs there is something very laudable about Eleanor as she goes out of her way to insist that the other women get the fulfillment they are craving too.

    It is an impressive writing/directing debut from Stacie Passon, and it was very beautifully filmed so that the sex scenes were never explicit but extremely erotic. The plot started to waffle slightly towards the end as if it was unsure of how to resolve the drama, but that still doesn’t stop it from being an extremely watchable fine piece.

  • FILM REVIEW | My Last Round

    ★★★★ | My Last Round

    Soon after middle-aged Octavio begins his romance with his young lover Hugo life gets complicated for both of them.

    Octavio is told he must give up boxing because he has a medical condition that could cause a brain hemorrhage, and Hugo gets fired from his job as he got the boss’s daughter pregnant. Determined to put this all behind them they take off to Santiago, the nearest big city, to start a new life together.

    Octavio gets a gig cutting hair at a traditional barbers shop but as Hugo fails to find work he ends up at home all day feeling sorry for himself. It puts something of a strain on the men’s relationship as both of them feel unfulfilled and unhappy with their lot. It doesn’t improve when Octavio, missing the excitement of the ring, accepts another boxing match, whilst at the same time Hugo, now finally employed, starts to get entangled with his new boss’s daughter.

    It turns out that both men quickly regret the new choices that they have made as they were done for all the wrong reasons. In trying to retain their own heavily masculine identities and their independence they inevitably put at risk the one thing that in the end was the more important than all the others i.e. their relationship with each other.

    The fact that this story is about two poor working class Chilean men sets it apart from most gay themed movies and the sheer brutality that prize-fighter Octavio puts himself through in the ring, that is shown here in bloodied detail, is not something we expect to see in a movie which is about a very tender and loving relationship between two very different men. There is a finality to their story which writer/director Julio Jorquera Arriagada makes sure we are aware of with the very poignant opening scenes of a funeral, but he very wisely does not attempt to draw any conclusions. It is very much what is and that is both tough and sad.

    Well cast and well acted it’s a tragic love story beautifully told.

  • FILM REVIEW | Tom At The Farm

    ★★★★ | Tom At The Farm

    Canadian filmmaker Xavier Dolan may be sick of being constantly described as a wunderkind, but when you are just 24 years old like he is and have already made four head-turning mind-blowing Award winning movies, then the description is more than apt. Not content with writing and directing each of them he usually loves to edit, design the costumes, create the music, and now in his latest one, a taut psychological thriller, he stars in it too.

    Tom is grieving the death of his boyfriend Guy (known to his family as Guillaume) and he travels to a rather bleak part of Northern Quebec to attend the funeral and share his loss with the family he has never even met. He quickly discovers from a very scary encounter with Francis, Guilliame’s older brother, that not only was he ‘not out’ to his mother, but that Francis had actually created an imaginary girlfriend so that she would never suspect. In the first of many threats, Francis menacingly insists that Tom stays and keeps quiet about being gay and also adds some credence to the existence of Guillaume’s ‘girlfriend’ before he then goes from the family farm for good, never to return.

    To avoid doing just this, immediately after the funeral Tom tries to leave to go back to the city but in his panic he forgets his luggage and turns the car around to head back to the Farm to retrieve it. In doing so he confronts Francis and so refuses to go along with the subterfuge, which results in first of the beatings he will get at the hands of this psychotic bully. It also soon becomes obvious that despite all the violence both men are attracted to each other…Tom to Francis despite all the vicious physical abuse… and Francis to Tom even though he is bitterly angry about his own repressed homosexuality.

    Tom settles into some sort of routine and looks almost set to stay at the Farm and when he actually arranges for the fake girlfriend to come visit to appease the mother, he refuses to leave even when it is obvious to her and Tom that he is in real danger if he stays there a moment longer with the mad sociopath brother. He claims that it’s because that Francis could not manage the Farm on the own, but it’s clear that he actually is drawn to Francis’s deranged behaviour.

    It is a superb fist-clenching piece with an atmosphere of real fear that never ever lets up. I am not sure what was worse, knowing what Francis was actually capable of (and there is much more that I haven’t even touched on) or the realisation of what a pliable and willing Tom would accept. In amongst all of this, there is one most glorious scene where the two men tango together in the barn where the intimacy will only give way to violence again. The high pitch tension never ever gives a clue as to how it will develop or end up.

    Mr. Dolan sporting tousled dirty blond hair turns in a convincingly effective performance as Tom, and it is matched by veteran Canadian actress Lise Roy playing the mother with such a defiant tone, and also Pierre Yves- Cardinal as a very intimidating latently gay Francis.

    I am unashamedly a big fan of Mr. Dolan’s work and have never subscribed to the notion sometimes proffered that he is always about style over substance… the reason I am passionate about the work is the fact that he combines both so very well. However with this movie you can sense a more mature quality, and I believe that Mr. Dolan really can quite rightly claim the crown of being an out queer Hitchcock.

    P.S. The only fact I have given this a less than perfect score is there were two strands of the plot that puzzled me. I couldn’t believe that the mother could have been so completely unaware of what was going on in either of her son’s life. And secondly would an urbane copy editor at a city ad agency really take to farming so eagerly as Tom did?

    It did however won the prestigious FIPRESCI Prize at the Venice Film Festival, and is a totally unmissable movie.

  • FILM REVIEW | In The Name Of

    Father Adam is the pastor of a minute parish in the hinterlands of Poland where he has opened a centre for ‘difficult’ teenage ex-reformatory boys. In this bleak countryside he, and his lay helper Michel, have fashioned their small group of unruly charges into almost responsible young men.

    They play football, go swimming and work together but despite his firm control over them, there is always this underlying feeling that tempers could rail up over the slightest excuse at any time, and so there is always a veiled threat of potential violence.

    There is little to do in this remote hamlet and Michel’s bored and neglected wife puts the moves of a rather shaken Adam. When he rejects her advances, he does so by explaining it is because he is ‘already taken’, which we assume refers to his Catholic vow of celibacy, and it isn’t until the second part of the story we realise its because he is not attracted to woman at all.

    Adam is always focused on being in control, but when he rushes to the defence of Lukasz a local boy who does odd jobs at the Center on two different occasions, it starts becoming apparent that despite his intentions he has deeper feelings for him. Lukasz is a good-natured young man whose usual silence at first seems to indicate sullenness, but in fact it is he who shows the lonely Priest warmth and openness that green lights what is to follow.

    Before this can happen, Adam tries desperately to repress his feelings by resorting to his old habit of getting rip-roaring drunk on his own, and he turns up the some rock music very loud and dances around the kitchen clutching a picture of the Pope as a partner. If it wasn’t for the fact that he is such a deeply unhappy man, it would be a very funny scene indeed.

    Michel suspects something is amiss and tells the Bishop who lets slip that he had already had to forcibly transfer Adam from his last position. Despite the remarkable success that Adam has made of the Center, his position is considered untenable now, and this will mark the end for him. Or will it?

    This emotional charged drama has an overwhelming sense of such utter sadness for most of the story. The whole piece gels so well because Father Adam (superbly played by Andrzej Chyra) is an engaging, seriously devout priest, generous to a fault to his parishioners, but one who struggles with his human foibles. When he tries to share his secrets with another person… his sister… she wants to be in denial of the reality just like Michel and The Bishop, and it simply reinforces Adam’s feeling of abandonment and hopelessness.

    Lukasz, like the other boys, is a young adult so what we are dealing with here is not paedophilia but a consenting relationship between two man, albeit that one is considerably older. It is his Lukasz’s final resolve that makes him appear mature enough to be a match for the Priest.

    The movie quite rightly won the prestigous Teddy Award at Berlinale (the highest award for a LGBT film) for writer/director Malgoska Szumowska who is back in form after that rather odd ‘Elles’. A nod to her cinematographer Michal Englert (also co-screenwriter) for the stunning haunting feel he gave to the bleak outside landscapes in particular, and another to young Mateusz Kosciukiewicz who looked more than tad like Jesus and who played Lukasz.

    What sets this remarkable and unpredictable movie apart from others that have dealt with repressed Catholic priests dealing with their homosexuality is Szumowska’s very real understanding of Adam’s personal struggle and the very straightforward way she tells his tale. The fact that its set in the Polish Catholic Church makes it that much braver, and also controversial.

  • FILM REVIEW | Yves Saint Laurent

    ★★★★ | Yves Saint Laurent

    Yves St Laurent was regarded as the most consistently celebrated and influential designer for twenty-five years. He is credited with both spurring Haute Couture’s rise from its 1960’s ashes and with finally rendering Ready-to-Wear reputable. He was unquestionably a genius and it’s no exaggeration at all to state that some of his ‘creations’ were stunning masterpieces.

    He was however, a very troubled and tormented soul. An aspect that this new biopic on M. St Laurent makes a point of labouring on. As a piece of fiction the story of how this timid gentle soul who, at the tender age of 21 took over from his mentor Christian Dior to head up the Couture House is totally compelling. The year is 1957 and his first Collection as Head Designer at Dior catapulted him to international stardom. A year later he met Pierre Bergé, an industrialist who became his lover, and later his business partner after Dior had sacked St Laurent. He and Bergé set up the House of Yves St Laurent together.

    The movie focuses on how St Laurent, who had always been a manic depressive, became heavily dependent on alcohol and drugs just to cope with his daily pressures. As he sought solace (and sex) in the arms of other young men, his exploits landed him in police stations and on newspaper front pages, and he was always being rescued by Bergé who saved the day yet again. The couple spilt up romantically in 1976, a fact that is not mentioned in the movie, but remained business partners until St Laurent’s death from brain cancer in 2008.

    It’s a real treat to see the scenes of St Laurent at work in his Salon watching him create unforgettable pieces that were greatly influenced by his love of non-European culture. Also some of the scenes of almost debauchery when he is out partying with close friends like Karl Lagerfeld and Loulou de la Falaise when he looks like he is actually enjoying himself for a change. However fact and fiction start to really cross wires, and whilst we are expected to believed that this was a man who refused to take responsibility for anything, it’s nigh on impossible to believe that Bergé was such a saintly figure who never ever even dreamed about sleeping around or sniffing a line of coke or anything remotely bad.

    The movie based on Laurence Benaim’s biography was made with with Bergé’s ‘approval’ who has always had a reputation as a control freak and in the same way he micro-managed YSL, he has obviously totally manipulated the way that both he and St Laurent are portrayed in this movie. It’s such a pity as I believe that the real truth of this remarkable and tempestuous relationship is a great story still waiting to be told.

    Maybe it will be in Bertrand Bonello’s new movie ‘Saint Laurent’ currently being made now without Berge’s approval.

    Fact or fiction, there were still two incredible performances from the lead actors Guillaume Gallienne as Bergé, and Pierre Niney who was completely pitch perfect as the vulnerable St. Laurent.

    There was one remarkable touching scene when St Laurent arrives home, the worse for wear after an all night bender and has collapsed in the bathroom. As Bergé helps him, St Laurent tearfully confesses that he loves his new boyfriend Jacques, but that Berge will always be the love of his life. And you really want to believe that this indeed really was the case.

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

  • FILM REVIEW | Any Day Now

    ★★★★★ | Any Day Now

    So, here’s the thing, I can be an old, hard cynical fart when I want to be – but occasionally, just occasionally along comes something that makes me weep like a baby.

    This film is one of those things.

    What starts out as a simple story of love and acceptance quickly turns into one of bigotry and spite – leading to an unexpected ending. Based on a true story, this is one emotional roller-coaster.

    The storyline is simple, boy meets boy, boy blows boy in front seat of car, Rudy (Alan Cumming) is a low rent drag queen/singer, Paul (Garret Dillahunt) is a closeted lawyer – and these are our two main characters. Set in Los Angeles in 1978, Rudy lives in a flea pit apartment block, and when his drug addicted neighbour is arrested and sent to jail, the twosome take in her teenage son Marco (Isaac Leyva) and become the family unit they all want and need.

    However, this is the late ’70s, and their family soon draw the wrong kind of attention, and then the prejudice kicks in. A biased legal system, people perceptions of gay life and children – a far cry from the current ads being run by several councils offering fostering with images of smiling gay or lesbian couples as images of happy families.

    It highlights a time when it was “in the child’s best interest” to be placed with a convicted drug addict, rather than a loving same sex couple. When a downs syndrome child may be better off incarcerated in an institution rather then even consider that a gay couple could give him the love and caring he needs.

    There are some lovely set pieces in the film, the loving couple Rudy and Paul portray, the stories Marco needs to sleep (always with a happy ending), his love of donuts and Isaac’s acting ability – the heart wrenching scene when he cries himself to sleep as he can’t go home.

    A strong cast and crew make this one of the best films of its kind in a long time with Travis Fine doing a great job as director, writer and producer.

    My advice, buy a big bag of Minstrels and an entire box of Kleenex before hitting play – enjoy the film, and the cry!

    BUY ON AMAZON | BUY ON ITUNES

     

  • FILM REVIEW | Cupcakes

    ★★★★ | Cupcakes

    The Eurovision Song Contest, which is the epitome of the true meaning of ‘eurotrash’, really owes its continuing success to the thousands of gay men throughout the world who slavishly watch the Broadcast every year with such glee.

    There are few programs on television these days that are camper than this outdated competition that seeks to find a winner from amongst some of the most innocuous pop songs ever written.

    When director Eytan Fox was visiting the Berlinale Film Festival a few years ago and was channel surfing in his hotel room he came across the show and something must of clicked. Hence the man who gave us intensely serious gay dramas such as The Bubble and Yossi & Jaegar decided that this should be the basis of his new fluffy confection of a movie about agroup of disparate friends trying to win what he dubbed as UniverSong.

    Six motley neighbors in an apartment building in Tel Aviv each with their own hangups or quirks who don’t actually want to go public, do just that when the song they write together almost by accident, goes viral on YouTube and they somehow get chosen to be the official entry for Israel.

    The oldest one is middle-aged Anat whose husband has just walked out on her and their bakery business; there is serious Dana who works an aide to a government minister just to please her orthodox father and who is paranoid at doing anything remotely frivolous. Yael was once a beauty queen and is now a lawyer and is also desperate to be taken seriously; there is painfully shy Karen who prefers to just share her life with her cybermates rather than step outside of her front door; and punky lesbian Efrat the alternative singer/songwriter who thinks such a frivolous undertaking as this competition is completely beneath her. It’s only kindergarten teacher Ofrat with a penchant for sequin drag who is really excited about accepting the invitation to compete, despite the pleas of his neurotic closeted boyfriend who’s family business actually sponsors the show.

    As in a typical show business fashion the professionals who decide that as they know best, they take over and create a monstrously big production routine for the group to perform. It is a total disaster as it takes out every single nuance of homespun charm, and at the same time, completely exasperates the patience of these bewildered amateurs.

    This is a fairy tale after all… literally… and they seize back the song and the competition in order for them all to win the prize, which is not actually the trophy, but mainly about them getting the lives they all really want. Even the Baker comes back. It is after all, that kind of story.

    I’m still shocked that this is the work of sober filmmaker Fox, but in this lightweight, pretty colored, camp romp he shows he can be as whimsical and entertaining as the next man. Maybe Pedro Almodovar even.

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

  • FILM REVIEW | Age Of Consent

    ★★★★ | Age Of Consent

    Age of Consent, tells the story of The Hoist, one of London’s few remaining leather bars, which opened in 1996.

    It being the story of a sex club, we get to see plenty of sex, some of it quite graphic. Ultimately, though, it turns out to be not only a fascinating glimpse into London’s leather scene, but a history of gay sex since decriminalisation.

    Did you know, for instance, that there were more convictions for gross indecency in 1989 than there were in 1966, the year before homosexuality was made legal for “consenting men in private”?

    The “in private” part was something the police vigorously enforced it would seem, often using pretty policeman to entrap gay men and secure a conviction. Against a backdrop of leather men grunting and groaning with pleasure, Peter Tatchell talks eloquently, as ever, about the continuing battle for equality under the law; co-owners Kurt Striegler and Guy Irwin tell us all about how the club got started., and some of its regulars tell us what makes the club special for them.

    There are no doubt those amongst the gay community (like James Wharton who was only recently proposing the closure of all gay saunas) who will find the goings on in the club quite disgusting, but surely the point is that we should all have equality before the law, whatever our sexual preferences, a fact that was brought brilliantly home by this excellent documentary.

    I do hope it gets an official release.

     

  • 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 | 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