THE BIRDCAGE (1996)

Directed By Mike Nichols 
Written By: Elaine May 
Based on An Earlier Screenplay By: Francis Veber, Edouard Molinaro, Marcello Danon & Jean Poiret
Based in the play La Cage Aux Folles by: Jean Poiret
Cinematography: Enrique Lubezki
Editor: Arthur Schmidt 

Cast: Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, Christine Baranski, Dan Futterman, Calista Flockhart, Tom McGowan, Grant Heslov, Kirby Mitchell, Ann Cusack, Trina McGee-Davis

A gay cabaret owner and his drag queen companion agree to put up a false straight front so that their son can introduce them to his fiancée’s right-wing moralistic parents.


this film at the time was a little daring or a bit of a gamble for a mainstream audience. Though it was also self-assured because of the popular cast. Though behind the scenes you had a bunch of heavy hitters. Who managed to raise the bar on a familiar tale and still knock it out of the park. 

Which shockingly had some actors playing against type. Where we have a fun yet more restrained Robin Williams while playing more of a funny conservative grouch. Seeing gene hackman in drag is certainly different and new.

The film also tries to put in some satire of the political culture at the time and while camping up gay culture at least offers a glimpse inside of it and offers representation.

This film also is really the big screen introduction of Nathan Lane as Albert the drag queen lover who has been practically a mother to robin Williams son in the film. Playing a role that was abandoned by Steve Martin last minute due to scheduling problems. Thilough broadway star Nathan lane took it and made it a star-making Role.

Hank Azaria also makes his presence felt in his supporting role as the couples maid, assistant and cook. Who is also part of the slapstick laughs later in the film.

This is one of those films that came around at the right place and right time. As the film and play was already a hit In France and waiting for an American remake for years that never got made which might have been out of fear in the 1989’s to portray a gay relationship. non chalantly with mainstream big name actors. So that when it did come along the culture was a bit more relaxed and if made today might not even bat too many eyelashes.

Luckily it is still hilarious to watch even on this day and age. Even when the Jokes are a little more obvious they still make you laugh. As there is wit on display as well as physical comedy and just plain old slapstick in the third act.

Out of the cast if anyone is flat It’s the young couple looking to get married played by Claista Flockhart and Dan Futterman though in a film filled with flamboyant and over the top characters you need some to be more quiet and seemingly normal to even it out a little. though they come off a little dull and Futterman Looks way older than Flockhart 

While the film is a laugh riot from beginning to the end it also has character moments that come off more serious and dramatic. As even after the so called Macho lesson the scene where lane tries to act like a straight male in a suit is a thing of beauty and partial pain.

You can feel its theatrical roots throughout it truly strongly in The theirs act where everything comes to a head. What truly is amazing is that while it was dating at its time it plays off so cute that now it feels like a more modern comedic classic that the whole family can enjoy. Even if there are times when it feels overloaded with stereotypes. 

It is so styled yet feels so haywire. That while it might seem like it is filling turbulence it’s always smooth sailing. 

Though there is an overwhelming comedic quality with heart and care that had me going to see it in theaters more than once or twice. 

Grade: A-

SUBURBICON (2017)

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Directed By: George Clooney
Written By: Joel Coen, Ethan Coen, George Clooney & Grant Heslov
Cinematography By: Robert Elswit
Editor: Stephen Mirrione 


Cast: Matt Damon, Julianne Moore, Oscar issac, Noah Jupe, Richard Kind, Jack Conley, Gary Basaraba 

In the bosom of Suburbicon, a family-centred, all-white utopia of manicured lawns and friendly locals, a simmering tension is brewing, as the first African-American family moves in the idyllic community, in the hot summer of 1959. However, as the patriarch Gardner Lodge and his family start catching a few disturbing glimpses of the once welcoming neighbourhood’s dark underbelly, acts of unprecedented violence paired with a gruesome death will inevitably blemish Suburbicon’s picture-perfect facade. Who would have thought that darkness resides even in Paradise?

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