Some Like It Hot was only the third major studio film (after Otto Preminger’s The Moon Is Blue in 1953 and The Man with the Golden Arm in 1955) to be released without the Hays Office seal. Wilder assumed it didn’t stand a chance, and he was correct. The PCA rejected it. Instead, released by United Artists, outside of the studio system, it became an instant smash—and helped usher in the end of the Production Code.
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Eva Marie Saint gives Grace Kelly in “Rear Window” a run for her money as Hitchcock’s most elegant leading lady and the chemistry between the two leads is more palpable than in any Hollywood picture before or since.
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Anthony Perkins’ Norman Bates made him immortal while, at the same, time, ending his career in Hollywood. A masterpiece.
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Lawrence’s intense relationships with men, particularly Sherif Ali (Omar Sheriff), are emotionally charged. The characters’ gazes linger on each other in numerous scenes, creating a sense of tension and intimacy.
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Both of Hollywood’s grande dames Bette Davis and Joan Crawford are in top form with Davis getting the showier role as faded child star Baby Jane Hudson.
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“The Best Man” boasts three outstanding performances: Henry Fonda, Cliff Robertson and pre-code star Lee Tracy who returns to the screen.
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The couple are phonetics professor Henry Higgins and Colonel Hugh Pickering. The two actors are perfect together, practically finishing one another’s sentences
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A peak entry in the American political thriller genre, the film boasts four of the greatest performances of the sixties.
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Two of the world’s greatest actresses under the gaze of one of the greatest movie directors the world has ever known.
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Marlon Brando does something extraordinary with his closeted gay character. Major Penderton is one of his truly great interpretations, right up there with his Stanley Kowalski. Elizabeth Taylor gives one of her best and most relaxed performances in years. She was just beginning to pile on the weight at this time, and she uses her body fearlessly, like a weapon.
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In Stanley Kubrick’s “2001: A Space Odyssey”, HAL 9000 is the psychotic gay computer abord Discovery One. HAL is in love with Dave and quickly dispatches with copilot Frank.
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Starring a luminous Carrie Snodgress, the last movie that director Frank Perry and his screenwriter wife Eleanor made together is their best.
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Using Art Deco as a backdrop to the film’s narrative, the partnership of Bertolucci, Storaro and Scarfiotti changed the look of Cinema forever.
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Cabaret emerges from a remarkable artistic lineage: the 1966 Broadway musical by Kander and Ebb, itself drawn from Christopher Isherwood’s semi‑autobiographical Berlin Stories (1945) and John Van Druten’s 1951 play I Am a Camera. Under Bob Fosse’s revolutionary direction and choreography—and with Minnelli’s incandescent performance—the film stands as one of the defining achievements of the New Hollywood era.
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Beatty’s work is astonishingly brave for a debut role. He plays the aftermath of his sexual assault—shame, anger, and the need to reassert dignity—with a precision that keeps the film from slipping into caricature
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A landmark in both New Queer Cinema and the New German Cinema, Fassbinder’s examination of the dynamics of a lesbian love triangle was shot in der wunderkind’s apartment.
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Polanski captured the FEEL of LA better than anyone before or sense. Jack Nicholson gives his greatest performance as private dick J. J. ” Jake” Gittes.
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Pacino is magnificent. With Michael Corleone in The Godfather movies, “Dog Day Afternoon” is his defining role.
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After its release, the film’s high campness – a tragic story set in the faded milieu of New York high society – developed a significant gay following.
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In “Jeanne Dielman”, a feminist masterpiece, the everyday details of a caring mother contrast with her life as a prostitute.
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Weir, who showed, like Hitchcock, that horror can be visited upon us on the brightest and most beautiful of summer days.
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Brian De Palma’s masterpiece and one of the GREAT HORROR MOVIES with tremendous performances from Sissy Spacek and Piper Laurie. The unforgettable score is by Pino Donaggio.
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However, from a queer perspective, the standout, among all the gifts Woody gives us in this movie, is Meryl Streep’s blistering, low-key, no-nonsense turn as Isaac’s (Allen’s) second ex-wife, Jill. When they married, she was bisexual. When they broke-up she was a confirmed lesbian. She left him for another woman, and now she is writing a tell-all memoir about their marriage.
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Joe Gideon (superbly played by Roy Scheider, in an Oscar‑nominated role) is a Broadway director and choreographer, clearly modeled on Bob Fosse himself. Gideon is simultaneously staging a new Broadway musical (NY/LA) and editing a film (The Stand‑Up), mirroring Fosse’s real‑life juggling of Chicago and Lenny.
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Director/Editor Madeleine Gavin masterfully combines these two storylines with some astonishing insights into what it’s like to live in North Korea
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Caronna gives these five men back their dignity, something they were stripped of when they became victims of a horrific crime.
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A “haulout” is a place where walruses mate. Thanks to global warming, over 100,000 are packed into one tiny beach. The result is death on a horrific scale.
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A young mother (Natalie Press), who wants to rekindle an old relationship, neglects her four children for an evening.
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Nathan Fielder and Benny Safdie’s brilliant “The Curse” brings out the masochist in me. Thanks to the genius of Emma Stone, it’s essential viewing
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Amanda Seyfried is simply amazing. She gets Holmes’s uncomfortable stare and that otherworldly voice. But we also get Holmes as a real person.
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