| Our GLBT Film section includes all available generally queer genre films from the USA and the UK. There's a great range of movies from mainstream hits like Priscilla: Queen of the Desert and The Birdcage to moving drama's like Boy's Don't Cry and Philadelphia. Whether it's romance, comedy or drama you're looking for, we have queer films here to suit all tastes. |
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| Queer Film Review of Splendor | ||||||||
You might expect a ménage à trois movie called Splendor to be some sort of steamy, soft-lit sex romp, but it is, in fact, a witty, sassy romantic comedy. Writer-director Gregg Araki set out to make a '30s screwball comedy with a modern twist, and he's mostly succeeded. Splendor is brisk and funny, and if it seems a bit convenient that two guys could love (and sleep with) one woman without killing each other, it's all in the service something bigger--the story of a woman forced to choose between love and security. |
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| Queer Movie Review of Stonewall | ||||||||
The fictional story line of Stonewall is framed by a piece of re-created gay history that has been chronicled before, primarily in such documentaries as Before Stonewall and After Stonewall. But here director Nigel Finch constructs a multilayered entertainment set in and around the Stonewall riots of June 1969 (in New York) that marked the start of gay rights and activism. Stonewall is engaging and sympathetic to the plight of gays everywhere, who survived a world where homosexuality was a fate worse than death (and often resulted in it). |
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| Queer Movie Review of Tales of the City: Complete Set | ||||||||
"The City" in question is San Francisco, and the tales are novelist Armistead Maupin's, his romantic, affectionate, and spirited homage to the glory days of his hometown. Maupin's idea of SF's glory days isn't the drug-filled Summer of Love (1967), but rather the drug-filled lust-in of the late '70s. Replacing acid with coke and ludes, psychedelic for disco, this six-hour miniseries (which caused controversy for its open drug use, nudity, and direct depiction of homosexuality upon its initial airing on PBS) follows the romantic struggles and identity crises of a colourful cast of characters. |
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| Queer Movie Review of Teresa's Tattoo | ||||||
In this movie, a grad student gets drugged, kidnapped and tattooed by a group of not-so-smart gangsters who incidentally work for a frozen food factory owner. The action and laughter go on and on in a zany and unbelievably imaginative plot that intertwines lesbian hookers, a redneck step-family and a corrupt FBI agent. But the one-liners in this movie make it worth seeing, alone. There are also many familiar actors and actresses in the cast, but actors Lou Diamond Phillips and Dietrich Bader put on the most brilliant performances. |
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| Queer Film Review of All About My Mother | ||||||||||
When a woman loses her son, she returns to Barcelona, rekindles a dormant friendship with a transvestite pal, and becomes involved with a stage actress her son admired. Almodovar's most moving film - more serious than most, but not without his trademark humour - and distinguished by exceptional performances. |
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| Queer Movie Review of Torch Song Trilogy | ||||||
You don't have to be gay to love this surprising and unpretentious little movie, which should appeal to the hidden sense of "outsider" in most viewers. The story of an overweight, overly emotional, gravel-voiced and very unglamorous drag queen who seeks true love in a society that prizes appearance over values, TORCH SONG TRILOGY is a hilarious and often poignantly touching film with a break-out performance by Harvey Fierstein, who adapts his Tony-award winning stage script and performance for the screen with considerable aplomb. |
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| Queer Movie Review of Totally F***Ed Up | ||||
Jarring, portrait of a group of bored, alienated L. A. teens. They hang out and talk about sex, relationships, and their parents; their language is littered with such words as "grossomatic" and "gagorama." And... they're gay, so there is no shortage of venom vented against homophobia. |
| Queer Movie Review of To Wong Foo, Thanks for Everything! Julie Newmar | ||||||||
Destined to be forever referred to as the "American Priscilla," this bit of cross-dressing whimsy lacks that film's exhilaration and sharp character definition, but ultimately pleases with its good humor and spirited performances. Tough guys Patrick Swayze and Wesley Snipes get in touch with their feminine side as they don sequins and high heels as two New York drag queens who win a preliminary drag contest and ride off towards Hollywood for the finals. Along for the ride is Latina spitfire John Leguizamo, an ill-refined drag looking to learn the ropes. En route, they run afoul of the law, and are stranded in a small Midwestern town (and befriend the locals) which provides most of the story. Though the gay characters are positively portrayed, they are virtually sexless fairy godmothers who neither love or have partners and who help the hapless heterosexuals with no fashion sense. This is so tame you can watch it with your mom. Looking like Tony Curtis in Some Like It Hot, Swayze seems to enjoy himself as the demure Vida; Snipes is rambunctious as the glib Noxeema; and Leguizamo steals the show as the fiery Chi Chi. Blink and you might miss Quentin Crisp's appearance as a beauty pageant judge. |
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| Queer Movie Review of The Velocity of Gary | ||||||
Life in New York City, apparently, ain't what it used to be. In director Dan Ireland's "slice of life," Vincent D'Onofrio is a former porn star named Valentino (how's that for subtle metaphor?) who is slowly dying of AIDS. That's the least of your worries. He's also one third of a symbiotic ménage à trois that includes waitress girlfriend Mary Carmen (an obnoxious Salma Hayek) and fetishistic gigolo boyfriend Gary (Thomas Jane, strutting like Madonna on valium). The movie comes across like some Midwestern housewife's salacious idea of what life is like "on the edge"--teeming with drugs, wild dancing, and drag queens. There's even a deaf, Transgendered, Patsy Cline-wannabe who, no kidding, gets hit by a car while trying to call for an ambulance. Ireland and screenwriter James Still make such an embarrassing show of being outrageous that it's almost offensive; everybody is so busy being dangerously fabulous that nobody is even remotely human. - Steve Wiecking (Amazon) |
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| Queer Film Review of Velvet Goldmine | ||||||||||
Todd Haynes, ever unpredictable, follows up his experimental trilogy Poison and his restrained Safe with this flamboyant study in glam rock through the kaleidoscopic lens of Citizen Kane. Christian Bale plays Arthur Stuart, a reporter sent to investigate the legend of rock legend and bisexual pop icon Brian Slade (Jonathan Rhys-Meyers as a not-so-thinly veiled David Bowie), who disappeared a decade ago after staging his own mock assassination. But Arthur is flooded with memories of his own adolescence as he interviews Slade's friends and business associates, peeling back the layer of makeup and spangles that was the model of rebellion for a generation of middle-class British kids and discovering a hollow center. Ewan McGregor almost steals the film as the punk pioneer Curt Wild (equal parts Iggy Pop and Kurt Cobain), the genuine article to Slade's calculated, coifed image of glitter stardom. Haynes's film lacks nothing in capturing the flamboyance and spectacle of the era with flashy filmmaking and kitschy costumes, and if the plot seems lost in the preening and visual fireworks, perhaps that's the point: behind the façades and manufactured fronts is nothing but glitter, energy, and a beat. - Sean Axmaker (Amazon.com) |
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| Queer Film Review of Victor/Victoria | ||||||||||
An essential film whose DVD release celebrates twenty years for this
marvelous and intelligent gender-bending, slapstick comedy. |
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| Queer Film Review of Wild Reeds | ||||||||
This resonant, engrossing 1994 film by André Téchiné (Thieves) is an unusual coming-of-age story set at a French boarding school in 1962, when news of France's war in Algeria is still plentiful. Téchiné focuses on a handful of students, measuring their transition into adulthood against the reality of love, sex, and the war's controversial cost. Strikingly sensitive and sophisticated, beautifully dramatized, and perfectly acted by a young cast, the film feels like one of those universal touchstones for the final days of childhood grace. Téchiné's typically blunt-but-gentle manner is perfectly suited for this tale of youthful gains and losses. - Tom Keogh (Amazon.com) |
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