THEGAYUK

Tag: LGBT Movie Review

Read the latest LGBT+ film reviews from THEGAYUK.

  • FILM REVIEW | Triple Crossed

    ★★ | Triple Crossed

    After he had finished his posting serving in the military in war-torn Afghanistan during which time he witnessed his best friend being killed, Chris Jensen is struggling to adapt back into civilian life. Unable to find a job, as no one seems prepared to want the services of a somewhat damaged ex-serviceman, he has resorted to living in his car.

    Out of the blue, he gets a call from Jackie who wants to offer a job that he would like to turn down. Her recently deceased half-brother has left his controlling share of the family’s multi-million business to his boyfriend Andrew, and she is having none of it. She wants to get his share but doesn’t want to pay a cent for it, but she is however prepared to pay Chris a handsome sum to kill Andrew so she can get her own way.

    He is desperate enough to take on the assignment but first he goes to check out his ‘target’ who naturally turns out to be as hot as hell. The two men are soon grappling with each but not quite in the way Jackie had wanted as they are naked and in bed. The question then is to kill or not? Not an easy one to answer as the title of this drama implies everyone has their own agenda, and so we are never sure how this will play out.

    What makes this small-budget indie stand out from others of this genre is that it marks the debut of Sean Paul Lockhart; aka ex-porn star Brent Corrigan behind the camera as well as in front for a change. Although it is full of the good intentions the movie does sadly fail to be a thriller in or out of the bedroom even though it does have a gun-toting finale.

    Sean doesn’t ever quite manage to convince us that he really did go to war, although he does put in a pretty good performance as a potential new boyfriend for Andrew who seems to have soon forgotten his ex dead one. If you are a fan of Sean aka Brent then you’ll want to see this,but if you are not, then you may just want to wait for a rainy afternoon when you have nothing better to do.

  • FILM REVIEW | Sexing The Transman

    When the opening credits roll in Buck Angel’s new documentary and you see that it is an ‘I Love My Vagina Production’, you know that this is going to be a no-holds-barred look at demystifying the whole aspect of sexuality of trans men.

    What the charismatic handsome hunky Angel does is fill this highly unusual ‘sex education’ movie with scenes of explicit sexual activity to ensure that we are shocked enough not to forget his message of how liberated these men became after transitioning.

    In a series of in-depth interviews Angel talks to a several FtM (female to male) trans people about how they felt alienated from the bodies that they were born with and their decisions to transition into a male persona. They all had a great deal in common as they discussed the surgeries to get rid of their breasts, and how the effects of taking testosterone changed their lives in ways they never expected.

    Before transitioning some of them had played the traditional female roles with their boyfriends, some of them were in relationships with lesbians, but once all the hormone treatments kicked in, they all seemed to notice that their sexual libido shot through the ceiling and they started to be much more fluid and open to all different types of people to have sex with. Most of them also followed the same route that Angel took and opted not to have ‘bottom surgery’ with the end result that have started to be proud of the vaginas that had disgusted them previously, and now they were being penetrated and actually enjoying it.

    They all unanimously agreed that transitioning had changed their lives completely and for the better. Some of them are now in relationships, some have sex with other FtM guys like themselves, some like sex with men, some others like it with women. In terms of gender they all feel male. In terms of sexual orientation, they are very different – some of them are heterosexual (they like sex with women), some are gay (they like sex with other men or FtM men) and some like to experiment with men, women and FtM guys.

    As an outsider, it is often hard to get beyond our preconceived ideas of gender and the labels that society insists that we all use. One of Angel’s talking heads was the comedienne Margaret Cho who perfectly articulated her take on it all. Her sexuality had been ‘straight’ and then ‘lesbian’ and then she realised that she loved men sexually, and trans men in particular. She now identifies, as being queer as that, she feels, is not limiting and it makes sense to her as ‘gay’ simply doesn’t cover who she is. And she aptly sums up the feelings she shares with many trans men by saying that she is happy with strap on’s…’a dick is a dick, whether it’s been bought or grown.’

    The message that is loud and clear in Angel’s film is that the effects of injecting so much testosterone is that it makes you aware of many more possibilities and that your sexuality is never finite whatever your gender is. I am however also convinced that we would have completely grasped that concept without nearly all of the film’s subjects getting naked and playing with themselves on camera.

    Above everything, Angel is a powerful advocate for making this community visible and giving them a voice, for which he needs to be applauded for.

  • FILM REVIEW | Seek

    Twenty-something-year-old Evan Brisby is ambitious. Currently working on a gay magazine that covers the local community in Toronto his hometown, he aspires to bigger things and so sends samples of his writing to The Gazette, one of the city’s daily newspapers.

    ★★★

    He doesn’t get offered a job but the editor is suitably impressed to give him the assignment to write a freelance piece on the city’s nightlife, something that shy Evan is not really an expert on. He does, however, accept the challenge, as he knows that this could be his big break, and he also knows that Aidan his colleague at the gay magazine will be able to connect him up with exactly the right sort of people.

    Aidan comes up trumps and hooks him up with Hunter who despite the fact he is Evan’s age is evidently THE king of the night who runs clubs and hosts parties that are the best in the city. It is also obvious that Jordan quickly takes a shine to his interviewer who is so single-minded and determined to get the best story he can, is totally oblivious to his new admirer. Evan is also distracted by the fact that he cannot shake of the memory of a recent ex who very inconveniently keeps popping up in his mind and his dreams quite regularly.

    This micro-budgeted homegrown movie from first time writer/director Eric Henry is evidently partly autobiographical and besides being a fond love letter to the city of Toronto, is very much about different kinds of acceptance. When Evan is not shadowing Hunter for his article he is still doing his regular writing job that includes interviewing people like the gay couple into fetish sex, or the straight couple who have embraced the husband’s cross-dressing. Even when he is off-duty having a drink he has an uncomfortable encounter with an old man looking for company. Very admirable reminders about everyone needing to find their own path to happiness, but still a tad too preachy and really unnecessary to the flow of the story.

    Kudos to the fact that the production values of the piece that are much higher than one has come to expect from movies of this type. Henry helped this by making good casting calls using Adrian Shepherd-Gawinski a very impressive newbie as Evan, Ryan Fisher as Hunter, and hunky male model/actor Matthew Ludwinski as Evan’s lost love, even though the script he gave them had more than the occasionally grimacing moment.

    The whole affair is an enjoyable boy-lite romance that may not stretch your mind too much, but if this is a genre you like, will nevertheless put a big smile on your face when you see that everyone does in fact live happily ever after in the end.

     

     

  • FILM REVIEW | More Than Friendship

    ★★★ | More Than Friendship

    Twenty-something-year-olds Lukas, Mia and Jonas have been best friends since their childhood, but then three years ago this all changed.

    They fell in love with each other and became a very happy ménage-a-trois. They decried society’s contempt for their unusual relationship and became totally committed to each other even though it meant making a break from their parents who vehemently disapproved of their arrangement.

    Since then once a year every summer the trio went on a camping trip together touring the countryside where they were able to be completely free from everyone’s prying eyes and pointed fingers. This year, however, is different as Lukas has just been diagnosed with terminal pancreatic cancer and although the tight-knit lovers agree to take an oath that the holiday should be focused just purely on joy, they soon realise that it is difficult to completely forget that this will be their very last summer together.

    The trip starts off all light and love and it is surprising that they actually get to their first destination as they cannot keep their hands off each other and are always making out in the back of the van. However, it is inevitable that they cannot avoid the elephant in the room especially when Lukas shares with them the Living Will that he has written that gives them both control over his final days rather than his estranged parents.

    When Jonas gets taken sick and is rushed into hospital the trio’s joy and hope deserts them and is replaced with fear and grief and they have also to deal with the anger of Jonas’s parents who turn up and insist that the Doctors keep him alive even though that is against his express wishes.

    This sophomore film from German writer/director Timmy Ehegötz is overly melodramatic even given its themes. The three good-looking young leads play their parts passionately but despite this, it still seems that there is not enough actual chemistry between them to convince us that their relationship is as deep and real as the script would have us believe.

    This well-meaning movie is full of energy and brimming with enthusiastic performances and has a lot to commend it for particularly, in its attempt to de-mystify the whole thruple relationship concept.

  • FILM REVIEW | Folsom Forever

    ★★★★ | Folsom Forever

    Mike Skiff’s illuminating new documentary on the Folsom Street Fair, one of San Francisco’s iconic gay events, starts off by dispelling a few of the myths that surround its 30-year history.

    Initially, the Fair was created in 1984 as part of a growing protest movement that objected to the enforced gentrification of what previously had been one of the most blighted areas of the city. The inhabitants of the skid row houses and the working men bars were being forced out as the authorities bulldozed their way through the area to put up shiny new expensive buildings.

    This was also the height of the AIDS crisis, which would go on to decimate the city’s gay population so the advent of the Fair created an opportunity for much-needed fund raising. Audrey Joseph a local activist stressed the point that the presence then of so many women supporters, who were the most accepting of AIDS victims, helped create a crucial space without judgments at the Fair.

    The whole area known as South of Market was already home to a plethora of leather bars which local historian Jack Fritscher Ph.D. explained had sprung up as bolt holes for gay hyper-masculine men who were not interested in the stereotypical roles that were most prevalent in the community at the time. Dr Fritscher who also worked for Drummer the now defunct leather magazine talked about the oft-misunderstood leather and BDSM community who came into its own then by promoting their safe sex practices. He explained said the whole concept of successful BDSM is sexual acts within agreed lines of limits to make sure each part is safe and pleasurable. It wasn’t an argument that sat well with the Authorities who at the time were panicking like everyone else and wanting someone to blame for this uncontrollable epidemic.

    Skiff added: “In the 1970s, Folsom Street was the West Coast’s mecca for anyone on their leather journey in life and his movie goes on to explore why the Folsom Street Fair couldn’t have got started anywhere else but San Francisco.”

    When someone talks about Folsom Street Fair now, the leather and fetish elements of the historic outdoor celebration of sexual diversity are likely what come to mind, and it follows the tradition of where members of the LGBT community are given the space to explore the full spectrum of their sexuality and queerness.

    It’s the one time of the year when those into kink and fetish can literally dress anyhow and do anything they want and the Fair security staff who police the streets will only stop them if they engaging in full on sex. Evidently that you can do in any of the bars on the strip.

    Nowadays the Fair is not only a major social event it is also one that has an enormous economic impact on the city. Demetri Moshoyannnis the Executive Director estimates that San Francisco benefits to the tune of some $35.4 million in revenue, and the Fair itself raises some hundreds of thousands in profits that it distributes to fund important local non-profit organisations.

  • FILM REVIEW | Italy

    ★★★★★ | Love It or Leave It. In 2009 I remembered being totally enamored with an irrepressible young Italian gay couple that documented the struggle of acceptance of gay rights in their country and being totally horrified about the vitriol and power of the far right political parties that seem to make the American Evangelistic Conservatives seem like real sweethearts by comparison.

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  • FILM REVIEW | Candid Love

    ★★ | Candid Love

    Filmmaker Kurtz Frausun’s voyeuristic record of an ill-fated relationship between two desperately troubled men is a disturbing sight that raises all sorts of questions.

    The first one of which is why they even allowed the intrusive camera into their lives at a time when they are both clinging on to the last vestiges of hope as their worlds continue to unfold in front of their (and our) eyes. Frausun even jumps in front of the camera at one point to question the morality of being a witness to this highly personal situation especially when it soon becomes apparent to us, if not the two men themselves, that it is doomed.

    Jon is gay and bi-polar and Daniel his partner is a recovering alcoholic and suffers from depression and has still not recovered from the love of his life who is his (ex) wife of 11 years. He doesn’t identify as gay per se but admits to dating gay men in the two years since his marriage fell apart. Jon is his second boyfriend and they are fast approaching their first anniversary when Daniel’s father is suddenly taken to hospital with an aneurysm.

    The ‘story’ starts after Daniel has rushed from the apartment he shares with Jon in Texas to his father’s bedside in Wisconsin. A quick session of events follow resulting in the father’s death and Daniel needing to deal with both planning the funeral and taking care of his mother even though it is clear from the morose and confusing phone conversations with Jon that his depression has really kicked up a notch or two and that he will not be able to resist slipping back into hitting the bottle again.

    In all of his conversations, first on the phone and then when he eventually comes back to Texas, he uses Jon as a verbal punching bag, although judging from his disclosures, sometimes in the past he resorted to physical violence as well. His is obviously a deeply unhappy man struggling with his mental health issues who makes no secret that his ‘relationship’ with Jon started falling apart just after two months and as he goes into detail of its disintegration, it’s remarkable that he even considers continuing wanting to be with someone he has such scant regard for and seems to positive loathe.

    Jon is not much better as all he does is complain to the camera about how miserably unhappy he is with the state of affairs between the two of them and the only thing that makes it all bearable is smoking. Legal and illegal cigarettes.

    It’s infuriating at times watching these two people’s obvious pain as they just stumble around directionless and as the totally unsatisfactory compromise that they clumsily piece together hasn’t a chance in hell in succeeding, doesn’t make their reality any less unpalatable. I simply have no idea why they put themselves through it all let alone why they allowed the camera to record it. I for one, wished they hadn’t.

    ‘Candid’ means straightforward and honest, and frankly, neither Daniel nor Jon were capable of really ever being this. Plus of all the emotions they showed in the 60 minutes of this film there was very little ‘love’, if any at all.

  • FILM REVIEW | Private Romeo

    ★★★★★ | Private Romeo

    Over a weekend eight male high school cadets are left behind when the rest of the McKinley Military Academy go away on an exercise and they are ordered to carry on with their studies regardless.

    In the English Literature Class, they are studying ‘Romeo and Juliet’ and the two young men reading the leads begin to take it all very seriously and live their roles as the star-crossed lovers for real.

    Rather than the city of Verona, the setting is the hallway, gym and dorms of the School, and whilst the script is punctuated with occasional references to their daily routine, it sticks faithfully to Shakespeare’s glorious text. It transforms the piece into a modern-day gay tragedy.

    This totally enchanting production by writer/director Alan Brown of shirtless teenagers falling in love with each other and spouting this magical prose is a real breath of fresh air. The energy and exuberance of the talented young cast oozes through, and what they may occasionally lack in technique certain more than compensates with such enthusiasm which makes all of their performances so very watchable, especially Hale Appleman as Mercutio.

    This is not one for Shakespearian purists but if you ever had the same good fortune of ever catching Joe Calcaro’s play ‘Shakespeare’s R & J’ (which I was lucky enough to see Off Broadway in the late 1990s) which served as the inspiration, then you will love this one.

    A refreshing wee gem of a movie.

  • FILM REVIEW | Futuro Beach

    ★★★★★ | Futuro Beach

    Karim Ainouz’s mesmerising melancholic drama starts and ends in a very similar fashion.

    In the opening scenes we see two motor bikers racing across the sand dunes and when they reach the end of the beach discard their bikes and clothes and run off into the high rolling waves. They soon get caught in riptides and despite the efforts of the lifeguards, one of them drowns.

    Donato one of the lifeguards is so shaken by his first ever death whilst on patrol, he takes it upon himself to break the sad news to Konrad the swimmer who they had managed to rescue. He is repaid for his kindness by Konrad working out his grief on him sexually. The two men spend the next few days together whilst the authorities search for the missing body. When it’s time to give up on that, neither of them are prepared to let go of each other, so Donato makes the decision to leave his sun-kissed beach in Brazil to try life with Konrad in his native Germany.

    In the second chapter of the story that Ainouz has called ‘A Hero Cut in Half’ (the first was ‘The Drowner’s Embrace’) we see the two lovers trying to make a go of urban living in the middle of a dreary winter in a country that is alien to Donato. They almost seem to succeed but Donato obviously misses not only Aryton his younger brother that he was extremely close too and his mother, but he feels he cannot live without a beach. The fact that he doesn’t catch his return flight to Brazil when his visit is over is covered in the third chapter called ‘A German Speaking Ghost’.

    It’s 8 years later and Donato has a new life, still swimming, but now as a maintenance diver in a city aquarium. He and Konrad are no longer an item but still important to each other as is apparent when an angry Aryton turns up on his doorstep unannounced. It appears that Donato had abandoned his family when he decided not to return back to Brazil and they have had to fend for themselves ever since. Now all grown up, and with their mother dead, Aryton wants to confront the brother he so idolised and who ruthlessly deserted him without a single word.

    Together the three men try and establish some form of forgiveness and reconciliation to be able to move forward. The final scenes are of them in the middle of winter roaring down the fog-drenched Autobahn to a stark desolate beach. It has another kind of beauty totally different from their precious Futuro Beach back home but just as stunning, and it’s where they realise that this is where home is now.

    Ainouz’s movie, co-written with Felipe Braganca, is light on plot as it focuses much more of the sensuality of each moment. There are certain pivotal scenes, which are sparse of dialogue where he allows the camera to remain much longer than the norm with such riveting effect. Whether it be Donato letting off steam dancing rather manically in a club, or when he and Konrad are making rough and passionate sex together, or in the closing scene of the final motorbike ride. It’s also clever that the script is guarded in revealing too much detail or any real insight into the three men and we are simply left to observe and imagine what emotional state they are in at any time.

    It is unquestionably a real visual treat from the wild untamed uninviting ocean in Brazil to seeing young Aryton acting out his ‘Speed Racer’ fantasy racing through the deserted streets of Berlin. The acting is astoundingly good with award-winning Brazilian actor Wagner Moura as the over sensitive Donato, handsome German Clemens Schick who’s prior claim to fame was that he played a baddie in ‘Casino Royale’, and young Jesuíta Barbosa, who stole our hearts last year in ‘Tatuagem’ was the bewildered Ayrton.

    Futuro Beach is one of those movies that linger with you for days as you run it through your mind time and time again. It’s Karim Ainouz’s fifth feature film. And it’s been 12 years since he gave us ‘Madame Sata’, and this new one is every bit as good, if not better as that. Winner of the Sebastiane Award for Best LGBT film at the San Sebastian Film Festival, it was nominated for a Golden Teddy Award at the Berlin Film Festival too.

    P.S. Interestingly enough Mr. Ainouz is a Brazilian who has now settled in Germany, so maybe there is part of his life in this story too.

  • FILM REVIEW | Beyond The Walls

    ★★★★★ | Beyond The Walls

    This unexpected and rather remarkable film from first-time writer/director David Lambert realistically scrutinises the intimate details of the rise and fall of an edgy gay relationship, devoid of stereotypes.

    It premiered at Cannes Film Festival during the Critics’ Week (picking up an award) and most of the reviewers then made a point of commenting that after Andrew Haigh’s very successful Weekend and Ira Sachs’ Keep The Lights On that there is a now a new movement of realism in gay cinema. And very refreshing it is too.

    Drinking rather heavily in a Brussels’ bar one night, Paolo a young slim youth catches the eye of Illir a hunky bearded Albanian bartender and ends up waking in his bed next morning. Bisexual Paolo slinks back to his girlfriend but she eventually throws him out two days later, and Paolo now homeless, persuades Illir to put him up even though the barman knows that shacking up together after just a couple of dates is not a good idea.

    However thrown together, love blossoms between the inexperienced young man and his ‘daddy’ figure boyfriend and everything is going really well until Illir, a part-time musician leaves town for a gig and ends up being arrested and jailed for possessing hash and resisting arrest. The clingy dependent Paolo is distraught and makes every visit to jail emotionally explosive, and Illir conscious of the tough guy image he wants to maintain in front of his cellmates, tells him never to return again.

    Paolo eventually hooks up with an older successful businessman who he clearly doesn’t love, but the relationship empowers him to mature and find his own sense of worth. Halfway through Illir’s jail sentence, Paolo is still willing to jeopardise his own freedom by smuggling in some hash, but later by the time Illir is eventually freed, Paolo can resist Illir even though he is obviously still in love with him.

    Like both Weekend and Keep The Lights On there is no fairytale ending where everyone lives happily after: it is what it is. The relationship reaches giddy heights but both men in their different ways accept that it has run its course and that they cannot turn the clock back.

    The story dips a tad in the later part losing the excellent pace that it started out with, and although by no means a perfect film it has much too highly recommend it. ‘Realism’ does not mean gloomy and Lambert obviously has a keen sense of humor and has written a couple of funny and affectionate scenes like when the normally closeted Illir grabs the microphone in the supermarket to ask anyone if they could point out the condoms so that he and his boyfriend could have a good afternoon making out. Plus there are the two lead actors Guilluame Gouix and Matila Malliarakis who are perfectly cast to add to the rawness of the piece. Well photographed too.

    We’re giving this a high rating because not only is this a refreshingly enchanting heart-warming movie from this newbie Belgian filmmaker, but it strives (and succeeds) to help break the mould and not make this very real story into the usual frothy lightweight gay movie.

  • FILM REVIEW | Broken Gardenias

    ★ | Broken Gardenias

    Jenni is a misfit and a nerd. She is so clumsy that she breaks most of the plant pots at the nursery where she works and that really annoys her boss.

    Her self-absorbed roommates all but one ignore her, and she is totally friendless. It gets even worse after she is hospitalised and loses both her job and her home. Clutching one cardboard box of her worldly possessions she makes tracks to the nearest park and sets about hanging herself from a tree.

    Even this does not go to plan as she is cut down and rescued by Sam (short for Samantha) a feisty lesbian with a buzz cut and ripped jeans and a great big grin. ‘This’ she tells a downcast Jenni ‘is the face of a nice person’. Something she feels the need to point out after listening to the miserable girl pour out her tale of woe as it seems likely that she has never encountered a nice person ever before in her life.

    Part of the story is Jenni’s father who she hasn’t seen since she was brought to the city and dumped there when she was very little. He is still in Los Angeles. Maybe. Jenni is very sketchy about details, but that doesn’t deter Sam who declares that they will set off for LA in search of him immediately. Even the fact they do not have a car, or even the faintest idea where in the vast city he will be is considered irrelevant by the overly optimistic Sam.

    Their road trip is littered with characters that Sam just shrugs off, but which wind up Jenni even more. When they arrive in the city and the search for the father starts, Sam has a detour when she runs into an old fling who invites her… and Jenni… to a wild party. Whilst Sam goes off to make out with her ex, wide-eyed Jenni ends up tripping on a psychedelic cupcake and getting into some bedroom action that she didn’t didn’t count on. She freaks out and then as she has angered the owner of the house as well, runs off into the city and is really on her own now. The question is will she survive, and will she find her father? Even more important will we have lost interest just like Sam does?

    Broken Gardenias is billed as a dark comedy and is the work of first-time director Kai Alexander whose bio states that he spent his childhood with his parents who were part of a travelling circus which may account for the bizarre roster of characters the two women encounter. The script is by newbie writer Alma S. Grey who also plays Jenni.

    The sole bright spot of this film is the performance of Ashley Morocco as the bubbly Sam as asides from this the movie just simply fails to really engage, and for a comedy, it is painfully unfunny.