‘Bridegroom,’ About an Unmarried Gay Couple
New York Times, October 4, 2014
“Bridegroom,”inspired by a viral YouTube video and deftly
directed by Linda Bloodworth-Thomason (“Designing Women”),
is about an unmarried gay couple in their 20s, and what happens when one
of them dies. That’s the simple summary of this simply told but
exceptionally moving documentary.
in the bad old days
Bay Area Reporter, December 13, 2012
Any Day Now is a moving, funny account of a gay couple's attempt to rescue
a developmentally challenged child from the clutches of a California judicial
system whose mindless cruelty could make Charles Dickens weep.
Day Now" makes injustice risible
Village Voice, December 12, 2012
Gay-male weepies have left a long trail of tears, stretching back to the
sobbing, self-loathing queens of The Boys in the Band, and including high-prestige
pictures like Philadelphia (1993) and Brokeback Mountain (2005). The shameless
heartstring-tugging of "Any Day Now" begins immediately, as
mentally disabled Marco, clutching a blond-haired doll, is seen—mostly
from behind—roaming the streets of Los Angeles at night.
Enduring Erotic Life Cycle of an Unpromising Relationship
New York Times, September 7, 2012
Ira Sachs’s sensitive, knowing new film, "Keep the Lights On,"
follows Erik and Paul for more than a decade, during which their relationship
blossoms, withers and renews itself like a perennial flower with a peculiar
and unpredictable life cycle.
My Queen" -- Another kind of queen
Dallas Voice, August 3, 2012
Marie Antoinette indulges in something other than cake in ‘Farewell,
My Queen.’ Director Benoit Jacquot wastes no time in portraying
the queen as flirtatious toward her handmaid, Sidonie. It’s not
10 minutes in before Marie has snuggled up next to her, their breath heating
each other so much even the frigid aristocrats who see them are scandalized
by the sexual tension.
Romeo" -- Shirtless cadets as Shakespeare's ill-fated young lovers
New York Times, February 12, 2012
Whose curiosity wouldn’t be piqued by the opportunity to see a clutch
of high school cadets re-enact Shakespeare’s “Romeo and Juliet”
as a modern-day gay tragedy? Even the playwright himself would spring
for a ticket to Alan Brown’s “Private Romeo,” an earnest
experiment in don’t-ask-don’t-tell drama as indebted to shirtlessness
as to iambic pentameter.
Lesbian Space Alien Seeks Same"
New York Times, January 6, 2012
In “Codependent Lesbian Space Alien Seeks Same,” Madeleine
Olnek’s witty ode to urban love and shoestring sci-fi, a lonely
Manhattanite and an exiled extraterrestrial find interspecies contentment.
a gay coming-of-age story that's come of age
Reuters, December 28, 2011
First-time writer-director Dee Rees avoids all the usual clichés
with the powerful “Pariah,” a moving story that’s told
with intelligence, heart and a working knowledge of the real world we
live in. Even coming in at a lean 86 minutes, the film paints a fully
formed picture not only of its budding protagonist but also of the family
and friends around her.
Skin I Live In" -- A Beautiful Prisoner Lost in Almodóvar’s
New York Times, October 13, 2011
There are several genres nimbly folded into “The Skin I Live In,”
which might also be described as an existential mystery, a melodramatic
thriller, a medical horror film or just a polymorphous extravaganza. In
other words, it’s an Almodóvar movie with all the attendant
gifts that implies: lapidary technique, calculated perversity, intelligent
wit. There’s also beauty and spectacle.
-- A summer of freedoms in boyhood
New York Times, November 22, 2011
If you didn’t know the title of the French movie “Tomboy,”
an intimately scaled film about a 10-year-old girl who wants to be a boy,
or at least enjoy some boyish freedoms, you might not know the sex of
the pretty child in the opener. And you might not think it mattered.
Edgar" -- Finding humanity in the F.B.I.’s feared enforcer
New York Times, November 9, 2011
Even with all the surprises that have characterized Clint Eastwood’s
twilight film years, with their crepuscular tales of good and evil, the
tenderness of the love story in “J. Edgar” comes as a shock.
Anchored by a forceful, vulnerable Leonardo DiCaprio, who lays bare J.
Edgar Hoover’s humanity, despite the odds and an impasto of old-coot
movie makeup, this latest jolt from Mr. Eastwood is a look back at a man
divided and of the ties that bind private bodies with public politics
and Armie on the Hoover Love Story
Advocate.com, November 11, 2011
Armie Hammer says it was the love story at the center of J.Edgar that
drew him to the project, while Leonardo DiCaprio suggests that it was
being emotionally repressed and an insatiable need for power that compromised
his feelings for Clyde Tolson.
up the 20th century with the cross-dressing head of the FBI
San Antonio Current, November 11, 2011
It's no secret these days that J. Edgar Hoover was a real bastard. But
back in the day he was a paragon of American idealism and fortitude. As
director of the FBI from 1935 to 1972, he built and ran the organization
as the nation's premier protector, champion, and defender of old-fashioned
values. He served under eight presidents, scaring the shit out of almost
all of them. He kept files on enemies. He kept files on friends. He spied
on U.S. citizens. He hated the Kennedys. And he liked to dress up in women's
clothing from time to time.
-- Morning after turns into dance of discovery
New York Times, October 21, 2011
“Weekend,” Andrew Haigh’s astonishingly self-assured,
unassumingly profound second feature is a matter-of-fact, tightly focused
observation of two young men who find their one-night stand growing into
something more serious. It is about the paradoxes and puzzlements of gay
identity in a post-identity-politics era, and also about the enduring
mystery of sexual attraction and its consequences.
Were Here" -- In a City’s Plague Years, Caring for Their Own
New York Times, September 9, 2011
“We Were Here” is an unblinking chronology of the AIDS epidemic,
recounted by five people who lived through it and watched countless friends
and lovers die. The humility, wisdom and cumulative sorrow expressed lend
the film a glow of spirituality and infuse it with grace.