★★ / ★★★★
Russ (Tom Cullen) was a gay man with mostly straight friends. After attending his best friend’s party, Russ decided to go to a gay club with hopes of hooking up with a stranger. After attempting to make eye contact with several men as a signal he was willing, Russ eventually encountered Glen (Chris New). Morning came and the two engaged in their first real conversation over coffee. They liked each other enough and thought what they had was worth exploring. But, initially without Russ’ knowledge, Glen was supposed to head to Oregon after the weekend and live there for two years to study art. They now had to make a decision whether their one night stand was viable enough to turn into a relationship. Written and directed by Andrew Haigh, “Weekend” could easily, even understandably, appeal to those craving for realistic stories about gay lifestyles. There’s just not that many of them. Great ones are rarer still. The casting was good given that neither looked like a chiseled Adonis. In fact, their appeal was in embedded in the ordinariness of their looks. In return, we were forced to look within–their personalities, motivations, and perception of the world. Given that neither looked like a steroid-obsessed, stereotypically dominant beefcake or a stick-skinny twink, the sex scenes, mostly unnecessary, held a certain honesty: the unshaven corners, fat hanging about the torso, and wrinkles unhidden by make-up. Having the camera so up close to their bodies and faces, we could easily get the sense that the two had just had sex. Like in reality, the morning after is usually far from glamorous. Most of the time, you just want to jump in the shower to wash the night away. However, despite my best efforts, I felt no spark between Russ and Glen. It was critical because they were supposed to be increasingly attracted to one another over the course of the film. The reasons why they wanted to take their relationship on another level weren’t at all clear. Glen was condescending to Russ. He was repulsed by the fact that Russ didn’t like to kiss or hold hands in public as heterosexual couples generously often do. Because of this, he was convinced that Russ was not comfortable with being a homosexual. I was extremely annoyed with what he represented because he felt it was his prerogative as an out and proud gay man to constantly remind people that he was gay. To him, being ostentatiously gay was tantamount to being comfortable with his sexuality. No, it’s not. It means you’re being obnoxious. In the end, Russ subtly accepts that ideology. The supposedly sweet ending left a bitter taste on my lips. It sends the wrong message to audiences, especially to LGBT youths who are still deciding how they want to live their lives. Furthermore, the constant usage of drugs was an issue I had due to its mixed messages. I found it ironic that the two men were supposed to be connecting with one another through sex and deep conversation while snorting cocaine and smoking marijuana. How can you really get to know someone while being under the influence? All the discordant factors and hypocritical implications made me feel angry. While I understood Russ’ loneliness and the dangerous lengths he would go to assuage that emotion, the rest lacked practicality. It’s a shame because I do have friends like Russ who engage in casual sex with strangers and experiment with all sorts of drugs. The film implies that such a lifestyle is A-OK. It’s certainly not okay when you hear news that your friend has contracted HIV or died from overdose.
★★★ / ★★★★
Oliver (Ewan McGregor) was still mourning over his father’s death when he met Anna (Mélanie Laurent) at a costume party, who couldn’t speak at the time due to laryngitis, an actress who was always on the move. Through her, he hoped to determine his place in terms of making a genuine, stable commitment with another person. Along with grief, Oliver felt confusion. His father, Hal (Christopher Plummer), at seventy-five, came out as a gay man right after his wife died. He claimed that he didn’t just want to be “theoretically gay” and he wanted to do something about it. So, he posted an ad and met Andy (Goran Visnjic), a younger man who was able to give Hal happiness for four great years. “Beginners,” written and directed by Mike Mills, seamlessly jumped back and forth between life and death, father and son. Oliver and Hal’s relationship, though sad and somewhat strained, was fascinating to observe. Not once did we get to hear them say, “I love you” to one another yet we felt that unspoken sentiment through their actions. It may come off that Oliver was a bit repelled by his father’s homosexuality. Regardless whether it be the truth or not, I was convinced that he respected his dad. Hal was, essentially, a prisoner his entire life. He was a prisoner of the times and his sexuality before he came out. When he did, he was still a prisoner because he almost immediately learned that he had a tumor in his lungs and that it had metastasized. What I loved about him was the fact that he didn’t allow himself to be a victim. He was a fighter. He faced difficulties with optimism. He didn’t allow the disease to limit who he was. I could look in his eyes and feel that he thought he deserved happiness. Not even his own son, an adult, could get in the way of that. And it shouldn’t. Most of the picture’s source of comedy was Hal telling his son about his adventures like how much fun he had at a gay club. But telling stories over the phone or in person was different than being physically included. When surrounded by gay men, Oliver almost distanced himself. His discomfort was apparent. There were several scenes that involved Oliver’s childhood and his relationship with his mom (Mary Page Keller). He valued the idea of his mother and father being together even though he, as a child, felt like there was something wrong in the marriage. The idea and the fears that came with it was probably why he consistently had trouble staying in a relationship. Unlike his father, I got the impression that he, subconsciously, felt like he didn’t deserve happiness. But he does. He just needed to let go of the rules, relax, and live his life the way he wanted to. He was a product of an American society that characterized itself as having one “right” answer, one “right” way to live. “Beginners” had a defined theme which was adaptation: Hal’s sexuality and cancer, Oliver’s sense of self-worth, and even Arthur, Oliver’s dog that can telepathically communicate, getting used to his new owner. Touching but never too heavy or suffocating, it was able to impart valuable lessons for both young and old.
★ / ★★★★
Written and directed by Richard Day, “Straight-Jacket” was about a popular 1950s actor named Guy Stone (Matt Letscher) who must hide his homosexuality with the help of his agent (Veronica Cartwright) in order maintain his fans’ adoration. When a jealous fellow actor took a photo of Guy being arrested and was accused of being gay, his agent and the studio head (Victor Raider-Wexler) came up with a plan to keep his name clear by means of marrying an unaware fan/secretary named Sally (Carrie Preston). But things didn’t go quite as planned when Guy met a writer (Adam Greer), someone totally different from his type of “big, dumb and blonde.” I detested this picture’s exaggeration of pretty much everything: the slapstick, the wordplay, the acting, the set, among others. I felt as though it was looking down on me because it didn’t let me try to figure out what’s really going on in the characters’ heads because it was too busy hammering me with “this is funny!” moments. I also found this movie particularly difficult to watch because it had great trouble when it came to finding a consistent tone. With all the craziness that was going on screen, a little stability pertaining to the style of storytelling really would’ve done wonders. I like energy when it comes to the comedy but there’s a vast difference between energy and manic randomness. I found no redeeming factor in “Straight-Jacket” but I really have to mention one thing that deeply bothered me while I was watching it. The characters talked about having different kinds of homosexuals out there in the world, yet the film only focused one kind of a homosexual male: good-looking in the face, a built body, with snappy comebacks readily spit out. They’re in Hollywood, for goodness’ sake! Where are the lipstick lesbians, the drag queens, and stout effiminate directors? For a story that touches upon the glamour of Hollywood, this one simply lacked color and diversity. And I guess that’s why I hated this film: it’s unaware that it’s one-dimensional. There are a plethora of bad LGBT movies out there and this one, unfortunately, belongs in that category. What a waste of a hundred minutes.
★★★★ / ★★★★
I have a weakness for characters who desperately try to keep their families together, especially when they go as far as to sacrifice their own hopes and dreams. Zach, played expertly by Trevor Wright, is that kind of character and I loved him the minute he appeared on screen. Wright plays Zach with such charisma and complexity. I felt like Zach could indeed be a real person: a surfer who genuinely loves his dysfunctional family and wants to pursue his talent for the arts but can’t quite do so because of pecuniary issues… who happens to be gay, instead of the other way around (which what separates this from most LGBT films). There are many memorable scenes but I’m not going to mention them all. But I do want to express how much some scenes affected me. The one scene when Jackson Wurth (who plays Zach’s cute little nephew) revealed that he sees Wright as his father instead of his uncle says a lot about how much Wright acts a parental figure in Wurth’s life. As much as Wright tries to clarify Wurth’s thinking, it’s all for naught because his actions speak louder than his words. Another stand-out scene was when Wright was driving back home in the morning after he and Brad Rowe finally got together. In the car, when Wright finally smiled (he’s so good at playing depressed, I didn’t know he knew how to smile), the camera caught glimpses of light penetrating through the clouds as they hit Wright’s face. That scene, with a little bit of luck, was done so perfectly, it defined the whole film: little pockets of light amidst a Sahara of sorrow.
All of the side characters are very memorable because they contribute to the main character’s already simmering inner conflict. Rowe, who added a much-needed warmth to the story, wants to be with Wright but Wright is not out of the closet. When Rowe tries to kiss him or even merely touch him in a public area, Wright would be so beyond scared/irked. Wright and Rowe’s chemistry is undeniably sexy. On the other hand, I wanted to punch Tina Holmes’ character in the face because she puts herself and other potential husbands in front of her son. But Holmes is a smart actress for putting subtleties in her performance so her character is not viewed as a complete monster. I loved her interactions with Wright because even though their characters are siblings, there’s this awkwardness to the whole thing because all she ever does is ask favors and keep her brother from spreading his wings. Katie Walder as Wright’s girlfriend sometimes breaks my heart because he’s so miserable around her even though all she wants to do is keep him happy. But sometimes it’s just plain hilarious because Wright has this look annoyed/disgusted look on his face whenever Walder tries to kiss him. Ross Thomas as Wright’s best friend is probably the only (deceptively) one-dimensional character because, in pretty much every scene, all he does is either drink beer or surf. I would’ve liked him to have had a bigger role because he is, after all, the best friend.
This is one of the best gay-themed movies I’ve seen in a while because every element worked. If one was to watch this closely, I’d say take notice of the use of color and symbolism to reach a deeper understanding of Wright’s character. It’s so refreshing to see a lead gay character who is not into fashion or going clubbing or money/shopping at all (not to mention no one died of AIDS, no cross-dressing, no suicide attempts). I can relate to Zach because he really is a serious person; I wanted to scream for him because Zach is so trapped due to the expectations of his family and of himself. He endures each hardship with such composure, and when he finally breaks I seriously wanted to cry. If this does become a cult film amongst the LGBT community, I wouldn’t be surprised.