An impressive performance by Brenda Vaccaro as a high-powered magazine editor – she received an Oscar nomination. Ironically, because the movie has a tiny modicum of taste, it has never developed the Midnight cult following that made the infinitely more dreadful Valley of the Dolls immortal.
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It is, of course, a GROUP EXPERIENCE with those inspired zingers going back to the screen, composed by a generation of audience members over the years.
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In “Barry Lyndon” there is a moment where Ryan O’Neal finds two soldiers naked and holding hands in a pond as they confess their love for one another.
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“In Celebration” is another filmed stage play that makes no attempts to hide its origin. However, the performers are so engaging that you stay with them. All of the actors have their moments, with Alan Bates making the most significant impression.
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One of those rare instances where the remake is marginally better than the original, Farewell My Lovely not only keeps the original title of Raymond Chandler’s novel but is also more faithful to the book’s spirit.
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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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His life becomes a kind of performance art and Hurt is phenomenal. One of the great queer performances as one of the great Queers.
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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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John Colicos’ DeMarigny is a loathsome excuse for a human being who harbors queer desires.
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Part mob comedy and part drag review, this exhausting adaptation of Terence McNally’s hit play wears out its welcome in the first thirty minutes
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What we do have, however, is Redd Foxx as the dad and thank God for that! The result is a laugh every other minute. Foxx does not have to work for it, he’s a natural and he basically saves the movie.
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You come to “Car Wash” for Antonio Vargas’ Lindy, who delivers razor-sharp shade to his homophobic coworker Duane (Bill Duke). You stay because a day at the Dee-Luxe Car Wash in Los Angeles is, despite the slurs, occasionally fun.
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Lenny Baker delivers a marvelous, lived‑in performance, radiating zest for life. Tragically, Baker’s career was cut short; he died of thyroid cancer at just 37 in 1982, never appearing in another film.
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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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After two hours of heterosexual escapades—casual hookups, fleeting romances, and Theresa’s own search for identity—the story reserves its harshest judgment not for the straight milieu it has been dissecting, but for queer desire.
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Russell’s worst film, it cannot even be enjoyed as camp. The audience either walked out or slept their way through the movie.
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Blaney (Michael MacKezie Willis) is a young gay man who is cruising MacArthur Park in LA. The cops are there as well. When Blaney opens the police van’s door, he mistakenly thinks that Officer Lyles (Don Stroud) is waiting for him. Lyles, a Vietnam veteran, is in the middle of a PTSD flashback and shoots him in the face. The death of “the fag” gets a big cheer and a big laugh from the audience.
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Italian director Dario Argento’s supernatural horror sensation! Jessica Harper is a ballet student whose school is a front for a coven of lesbian witches.
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How this managed to get eleven Oscar nominations only Hollywood knows. Browne and Baryshnikov cannot act and all of their scenes are painful to watch.
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Unfortunately, Elliot’s director (Paul Benedict) is a raving, mincing queen who insists that Dreyfus play the part of Shakespeare’s Richard III like Bette Midler.
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Loren Hardeman (Paul Ryan Rudd), the heir to Bethlehem Motors, is queer. Loren kills himself – it is Harold Robbins!
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That old you-can-switch-at-any-time scenario raises its ugly head. Interestingly, no photos of Foster with Curtain or King with Donat – their previous queer partners – appear in the stills library.
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Handled with the right tone, these scenes could have been funny, but Milius bungles it, and they end up as some of the most homophobic cinematic moments of a very homophobic decade.
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Meanwhile, Richard Prior, Bill Cosby and their onscreen partners suffer through one cringeworthy slapstick sequence after another.
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The movie “Midnight Express” is primarily based on fact, but the finished product is mostly a work of fiction.
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Influenced by the films of Nicholas Ray, particularly Rebel Without a Cause, Peck uses a relaxed cinema verité style with innovative use of hand-held camera and superb use of close-ups.
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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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What may have seemed like a scream fifty years ago now seems jaded, with just the occasional laugh. Still, it’s way better than the labored US remake.
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