The story unfolds, in real time, almost entirely within the confines of Sardi’s bar in New York, where Hart spends the evening grappling with his fading relevance, alcoholism, homosexuality and mental health struggles.
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Director Michael Pearce moves with visceral precision and Julianne Moore shows us, yet again, what a magnificent actress she can be.
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Leaving out vast chunks of the great conductor’s life, Cooper gives a vain impersonation of a vain man while Carey Mulligan takes the acting honors.
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Doug Stanhope is “The Road Dog” of the title in writer/director Greg Glienna’s inspired blend of the road movie and stand-up comedy.
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Min, playing a dislikeable character, manages to make Ben, if not exactly likable, then certainly sympathetic. Both Sherry Cola and Debby Ryan are superb.
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If you can take moments of extreme gore and disfigurement – it succeeds more as a horror movie than as a piece of social satire – you could do worse.
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Aamu Milonoff is exceptionally good, giving a beautifully grounded yet magical performance. The kind that makes you sit up and take notice.
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Bridget Fonda does a fabulous Lesley Gore (thinly disguised) in Alison Anders’ 1996 movie “Grace of My Heart”
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Powell is in excellent company, and he acquits himself admirably. He also gets props for being the first to play Marlowe.
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“Brute Force”: Our homosexual is interested in art and music. Hume Cronyn, a consummate actor, plays him to the hilt.
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It’s Howard Hawks again, this time adapting the Jule Stein/Leo Robin Broadway smash “Gentlemen Prefer Blondes”. With Jane Russell and Marilyn Monroe.
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Nancy Kelly is ON 100% of the time straddling the twin minefields of camp and drama yet managing to accomplish both simultaneously.
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Unlike their American counterparts, French critics, including Godard and Truffaut, adored Jean Seberg in “Bonjour Tristesse.”
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Richard Brooks’ respectable adaptation of “Cat on a Hot Tin Roof” opens with Paul Newman mourning the suicide of his best friend (read Lover), Skipper.
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Although it lacks the emotional depth and the great supporting cast of Minghella’s film, this version has a unique style thanks to director Rene Clement.
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They say that this film did more to sway public and political opinion on homosexuality in England than any parliamentary discussion.
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Although he was playing a teenager, gay actor Murray Melvin was almost thirty when he made “A Taste of Honey” with Rita Tushingham.
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As a chic Greenwich village lesbian named Theo, whose couture is designed by Mary Quant, Claire Bloom is a knockout in Robert Wise’s 1963 movie “The Haunting”.
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“Darling” stars the impossibly beautiful Julie Christie, even if far more people saw in her as Laura in David Lean’s “Doctor Zhivago”.
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Not nearly as shocking today as it was in 1967, The Producers remains wildly entertaining. A huge part of its staying power comes from Roger De Bris and his exquisitely mannered assistant Carmen Ghia
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“The Fox” does interesting things with color saturation (Bill Fraker) and the Lalo Schifrin score has entered the jazz canon.
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There will always be an argument as to who was the real auteur behind the camera.
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A fascinating look at gay life in the seventies, it’s one of a dozen great movies Fassbinder wrote and directed in the decade before his untimely death.
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Screenplay by David Schaber and Walter Hill based on the novel of the same name by Sol Yurick, which, in turn, was based on Anabasis – the journey of the Ten Thousand from Greece to Persia in 401BCE – by Greek soldier Xenophon. Directed with great style by Walter Hill. Cinematography by Andrew Laszlo.
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Bette Midler made a spectacular movie debut playing The Rose, a rock singer who is emotionally unraveling during what she insists is her final concert tour.
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I do have fond memories this movie. It was my first deeply queer film and my first glimpse a gay relationship, albeit with an age disparity. It mattered to me. It’s beautifully acted and photographed (Romano Albani) and well worth seeing.
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American high school/college football is one big exploitation racket that massively exploits the young men on whose backs the whole system rests.
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Known “the first Black supermodel”, she was the first African-American model to grace the cover of Vogue – shot by photographer David Bailey – in March 1966.
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“Fellow Travelers” is “The Way We Were,” with Jewish being replaced by Queer, Redford by Bomer and Barbra by Bailey. It’s compulsively watchable, just not a classic.
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