Tag: LGBTQ

PORN THEATRE (2002)

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Written & Directed By: Jacques Nolot 

Cinematography: Germain Desmoulins

Editor: Sophie Reine

Cast: Vittoria Scognamiglio, Jacques Nolot, Sebastien Vala, Arden Bajraktaraj, Olivier Torres, Lionel Goldstein, Frederic Longbois, Fouad Zeraoui

A tale set in a decaying Parisian porn theatre, where within its dark confines, male patrons–soldiers, transvestites, married men–regularly engage in anonymous sex acts. In the ticket booth of the theatre, a wise Italian woman serves as benevolent gatekeeper, observing–but never judging–the proceedings occurring under her watchful eyes. One day, one of her regulars engages her in a conversation that leads to an unusual friendship, as these two worldly souls share their common experiences.

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The film takes place entirely in a porn theater hence the title focuses on the day-to-day actions mostly of this theater 

This French language film is similar to SERBIS and even GOODBYE DRAGON INN. 

It revolves around a movie theater, its workers, and its audience. We get to see the ins and outs of the theaters, literally as well as the various patrons, most of whom are recurring, who all have their own little side stories that we get into but don’t overtake the narrative.  

The only difference about this film other than the other two is this one has a lot more homosexual sex involved throughout it simulated but it’s basically where men are watching a straight adult feature, but hooking up with one another as well as male prostitutes, cross-dressing, prostitutes, and one another.

Though the film does go for shock and intimacy throughout. 

The film will show interactions and even some sexes, but then become very philosophical about the life experiences of the characters 

As we get to know the audience and the regulars, as well as the staff, which is truly only the projection is the owner who works at the ticket booth 

The interactions are really where the interest of the film comes in. It’s the meat of the story. 

The film displays openness, and honesty though what will throw some off is the lack at times of sexual scruples and probably the action 

Even though they’re watching a movie, where they seek to hide their kinks to only be kind and open to those who are strangers in the dark like them. We are the voyeurs during all of this and spying on them at their most vulnerable

The film at times can be perverse human touching and sad. It is not for the prudish or repressed and especially not for homophobic.

The film offers an interesting dynamic of how the owner hates and treats the homeless who she sees as junkies and lazy, but is nurturing to her audience

The film offers a glimpse of how the customers are treated by the outside world when the cops come in to check that nothing illicit is going on how they are treated and the comments they make to them and about them.

So that this theater is not only a hotspot but its kind of universe or considering it’s not that big maybe just its planet . As is this offers plenty of glimpses, but essentially seems more about representation and an ensemble cast.

A Testament to a location in the souls that inhabited that helped define it

Grade: B 

BOAT TRIP (2003)

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Directed By: Mort Nathan

Written by: Mort Nathan and William Bigelow

Cinematography: Shawn Maurer

Editor: John Axness

Cast: Cuba Gooding Jr, Horatio Sanz, Roselyn Sanchez, Roger Moore, Vivica A. Fox, Lin Shaye, Maurice Godin, Bob Gunton, Artie Lange, Richard Roundtree

Two straight men mistakenly end up on a “gays only” cruise.

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One can’t imagine what the thought process was behind this film. As it’s suppsed to be a sexual comedy for straight people by seemingly stereotyping and making it seem like a journey into homosexual lifestyles, focusing more on the hedonistic aspects. While also easily being seen as homophonic Maybe inviting the controversy and commentary and hoping that it would sell tickets.

That seems to seek out the message Hey Homosexual’s they are just like us. while throwing in a sitcom were the curve plot about to Street man who gets sent on a singles cruise after one has just had some heartbreak and being sent as revenge on and gay singles cruise That they can’t escape from, and when one falls in love with the few single available woman on the boat, but must play long as she thinks he’s gay and wants to get closer to one another.

This film is purely tasteless but strangely has a talented cast or lease big Name cast, and it seems to want to level the playing field envy open, but with most of its stereotypes, it still feels a bit mean-spirited.

The Movie was filmed in 2001 but wasn’t released till 2003 which kind of tells you the studio releasing a new they had some thing controversial on their hands

Despite all involved, the only reason to truly watch this film is Roselyn Sanchez, who is sexy as hell in this film they should have made her a big screen bombshell As it is one of her all-time sexiest appearances, though she is obviously Icandy, for the mostly straight audience that actually probably watch this film, but people avoided this film, like the plague due to his flight and it’s just such bad taste. I will also and it’s kind of insulting, Crude and stupid.

In its own weird way tries to show that hey gay humor and gays can be just as juvenile, a straight sex, comedies and humor even though the film like most sex comedies deals more and stereotypes, I found this also feels oddly misogynistic for a film that seems to be trying to bring all men together.

You already know somethings up with Cuba Gooding Junior is the star of the film. It all really depends at which part of his career. That you are witnessing his acting during as pretty much after he won the Oscar, other than MEN OF HONOR. it all seems to go downhill from there, except for maybe a handful of rolls here and there.

Grade: F

MONICA (2022)

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Directed By: Andrea Pallaoro

Written By: Andrea Pallaoro and Orlando Tirado

Cinematography: Katelin Arizmendi 

Editor: Paola Freddi

Cast: Trace Lysette, Patricia Clarkson, Joshua Close, Adriana Barraza, Emily Browning, Bobby Easley

The intimate portrait of a woman who returns home to care for her dying mother. A delicate and nuanced story of a fractured family, the story explores universal themes of abandonment, aging, acceptance, and redemption.

This is a slow, strong, subtle-moving film. 

As we watch the pain, the main character goes through taking care of a mother who doesn’t remember who she is especially after she changes her sex. 

There is a lot said in the silence of this film that we are left to read into, guess, and infer. No, they clearly speak loud and clear even when subtle.

There are a lot of close-ups that reflect a familiar distance between the characters that keeps them apart or at a certain length as we can quite see them fully and framed, in quite a few scenes.

Most of the characters are seen at odd angles and revealed slowly and only important to the character of Monica and the story

Trace Lysette as the title character is the only one always in focus and fully framed. She is beautiful and penetrating in a powerful performance, full of anger, sadness, and ultimately confidence.

I will admit, I have followed Trace Lysette career for a while, and online, and admit, I am a fan so getting to see her starring in a film and knock it out of the park. Also getting to be luminous brave strong, a little romantic at first victim, standing her ground and becoming a winner.

We see the pain of her having to watch her mother deteriorate and also lavish, loving feelings on her brother about family and how it’s important hello even though her mother gave her up to a certain extent. While she is there and not recognized and is being treated like a stranger, which seems to be a special kind of torture, especially when caring for a loved one. 

Helping support is a kind of adversary that she keeps trying to please or find a connection with or hopes to start reconnecting with. Revealing herself to a family and a new identity, but with the same old history between them.

Like the title, the film stays tightly focused on her never really allowing that much room for other characters or quite a bigger picture.

It seems that throughout this film. When it rains it pours before Monica as bad things just keep seeming to happen one after the other. 

Rejected by an ex Who constantly keeps trying to reach out to she’s desperate to find connections when her family seems not able to. She even has a one-night stand with a rather random male just to feel some pleasure and have someone care and desire her. The character is not sexless. 

Patricia Clarkson plays the slowly dying mother, and she is good here as she’s always been a good actress but never gets enough credit or work.

The second half is more like all the characters getting to know each other and the family more.

For some reason, the film reminds me of a Bon Iver album, peaceful with some sharp notes with a certain calm that occasionally gets disrupted by reality and time. Though for the most part stays in Its own place.  Does the film never feel like it’s a conventional movie or like anyone is truly acting.

The film dives into the depths of the agony of losing a parent, especially the second time as the first time you were banished and abandoned.

The film ends up being a character about facing the past and informing the present. As you fall in love with the family as well as her the character who is quite the bombshell, but whose emotions or emotional landscape might seem closed at first, but is always open. I can’t say this is enough Ms. Lysette is definitely a star.

 this film is quite personal in its material and effective 

Grade: B

MAKING LOVE (1982)

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Directed By: Arthur Hiller

Written By: Barry Sandler

Story By: A. Scott Berg

Cinematography: David M. Walsh 

Editor: William Reynolds 

Cast: Harry Hamlin, Michael Ontkean, Kate Jackson, Terry Kiser, Wendy Hiller, Arthur Hill, Nancy Olson, John Dukakis, Dennis Howard, Asher Brauner

Follows a young, idealistic married couple, Zach and Claire. They seem to be the perfect couple: college sweethearts with similar tastes and opinions, they are each very intelligent, sensitive, and caring individuals who can be both fun-loving and serious, in turn. Zach and Claire like one another as people as well as lovers. Each one is rising in his/her career and they talk about having kids someday; Claire, especially, wants them to have a boy and name him Rupert. When Zach meets a guy named Bart, Zach has a very personal human crisis: Is he happy?

This movie is a dramatic romance from each point of view in an unknowing love triangle. 

This is one of the first films to show, gay male characters in a loving relationship. And being intimate the development of their relationship from meeting to being charmed to seduction to finally consummating and having feelings for one another. That might be love or might not be.

No, they have great chemistry.

 There are no villains here as each has their reasons for what happens and gets to explain their point of view. Captures great character moments throughout. 

You feel sorry for Kate Jackson as she and Michael Ontkean seem like a perfect couple and truly did love one another.

You can definitely feel the love story and dynamics. It’s simple and plain yet has its own clean-cut basic style. That offers a no-frills and conventional film. which leads to some blandness at times. Which makes it come across as a television movie material. That was directed by Arthur Hiller who also directed the movie LOVE STORY might be one of the reasons why it feels this way.

Also brings you back to a time when if you had a big enough budget star and offered a hook that material could still make it to movie theaters even if it seemed like a controversial subject which was a selling point.

The movie goes along with Kate Jackson’s character gaining success as her relationship deteriorates, though that is not what drives her husband into an affair. Even before happy times to flirt with homosexual feelings, though it seemed like it was more out of frustration. With his lover, can’t seem to get it up with her. As it seems he’s a romantic, and he can only be intimate like the one who intrigues him or where his heart or attraction lies.

Kate Jackson is a powerhouse in her role going through so many emotions and situations and she is so fetchingly beautiful throughout.

This was something new and different to general audiences and offered some representation of a community. It’s not all lovey-dovey so much but offers real communication and emotions that take their time with the material.

In particular, I was taken by the character’s love of movies and references throughout On a Roof as a constant reference and character working in the entertainment business.

This is actually the best role. The two male leads have come and they come off as more natural than anything. 

There are some strange twists in the film, like one of the characters’ reluctance, and afraid of being emotionally available. His lover has admitted his truth and love virtually destroying his marriage, which seems to scare Harry Hamlin’s character, the single writer off, especially when we learn of his past that might have damaged him. 

The psychobabble at the end, manages to let out the feelings, but feels a bit of an overkill as it explains too much rather than ambiguous and lets us make our own decisions and information. It offers an explanation.

Didn’t expect it to be more meaningful.  it’s not a true romance or love story. As it allows the characters to open up about something allowing each other to be truthful. Even if it gets overly saccharine probably due to a sensitive subject at the time. Also not looking to. Offend offers a too-safe love triangle. Leaving it to be meaningful if not, a grand romantic tale.

The ending is heartbreaking. as her husband ends up being her first love and best friend and you don’t feel like she truly is over him but must go on with her life, Just as he has.

Grade: B 

PLEASE, BABY, PLEASE (2022)

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Directed By: Amanda Kramer

Written By: Amanda Kramer and Noel David Taylor

Cinematography: Patrick Meade Jones 

Editor: Benjamin Shearn

Cast: Andrea Risenborough, Harry Melling, Demi Moore, Karl Glausman, Ryan Simpkins, Jaz Sinclair, Dana Ashbrook, Mary Lyn Rajskub, Alisa Torres, Cole Escola

Newlyweds Suze and Arthur become the dangerous obsession of a greaser gang that awakens a sleeping quandary into the couple’s sexual and gender identities.

This film is certainly original. It plays like an homage to biker movies of the 1950’s a bit with the gangs of WEST SIDE STORY and THE WILD ONE thrown in. Though the film Dwells on the homoeroticism of the times while being a send-up and satire of them. That offers the characters not as misunderstood but actually very violent and unrepentant.

As the story of the film is a throwback that works. As a kind of lgbtq west Side Story 1950-inspired set. Though supposedly modern. That seems to be more about repression and a bit of fetishization. As well as being free of gender norms. Though showing the hardships of dealing with it in a supposedly repressed society. 

Where everyone seems to be doing it in the shadows themselves. While also seeming to take a look at and send up the time it depicts. Making it more of a camp romp. Though it seems like a farce it tackles these subjects head-on and in a brave and revelatory way. That goes a long way for representation and not as a fetish of any kind. 

We are with a couple who are witnesses to a murder by a street gang. Who seem to invade their lives and territory more and more. It awakens a wanting feminization for the male in the couple and more of an aggressive masochistic side in the female of the couple. 

Demi Moore has an extended cameo that comes out of nowhere but adds to the action. As her character becomes very important overall.

The film is exciting as you watch it. As the audience never knows what is going to show Next. So we are on our toes. The film is campy and avant-garde at the same time. As the film seeks to say something, but the message always seems a bit off. Yet never quite reaches a level of true awe. 

Grade: B-

CRUSH (2022)

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 Directed By: Sammi Cohen 
Written By: Kristen King & Casey Beckham 
Editor: Melissa Remebalich-Aperlo

Cast: Rowan Blanchard, Auli’i Cravalho, Isabella Ferreira, Tyler Alvarez, Teala Dunn, Rico Paris, Aasif Mandvi, Michelle Buteau, Megan Mullally, Addie Weyrich

An aspiring artist and high school student who is forced, against her will, to join her high school track team. However, the situation isn’t entirely bad, as it gives her an opportunity to pursue a girl that she has had a long-term crush on. However, things get even more complicated when she finds that she is falling for another teammate entirely. Soon she will see what real love feels like.

This is the most agreeable teen film I have ever seen. As it seems most of the characters have open sexualities. Though this movie is definitely centered around the teen LGBTQ community or at least the characters. Most of the characters are teenagers and the few adults seem more quirky and horns than anything. So they never come Off as imposing and definitely not in control. 

Especially Megan Mullally who is the main character, an enthusiastic oversexed sex-positive mom. Who seems similar to Emma Stone’s parents in EASY A. 

Nice to see Rowan Blanchard back on the big screen and in a leading role no less. She is not as out there as she was in the show GIRL MEETS WORLD, but here has a more solid character to play. Who you root for throughout the film. 

It is a wonder why the main character is so shy when it seems like every character is supportive throughout the film. This school seems to have no bullying or even a social class system. As everybody hangs with everyone and the worst thing that can happen is not being LGBTQ but into a renaissance.

Even the straight kids seem to be the minority. Speaking of which it is noticeable that this film is diverse. As most of the cast is made up of different races and it is never brought up. So that it feels like a breath of fresh air 

The film is predictable as a girl meets a girl tale and while trying to go after her crush realizes she is more compatible with someone. She never expected and luckily the crush isn’t some kind of evil or vapid character, just not who she wants when she wants her. 

The film moves fast and is so good-hearted and cute it is hard to be mad at it. It keeps you fully entertained while you wait for the inevitable and makes you care when it hits the familiar beats. Where you want everything to work out for everyone. 

Even the characters who seem or come off as stereotypes prove to have some depth and character.

While this film matches the good-hearted romantic comedy teen movies that have become a growing genre on streaming. This film is one of the rare ones where it feels like this could have been released in theaters and found a loyal audience. It’s not as strong or dramatic as some of the others and not as believable but it does entertain and offer characters to either identify with or wish you had in your life.  

Grade: B-

JOE BELL (2021)

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Directed By: Reinaldo Marcus Green
Written By: Larry McMurtry & Diana Ossana
Cinematography: Jacques Jouffret 
Editor: Mark Sanger 

Cast: Mark Wahlberg, Reid Miller, Connie Britton, Gary Sinise, Charles Halford, Maxwell Jenkins, Morgan Lily 

The true story of a small town, a working-class father who embarks on a walk across the U.S. to crusade against bullying after his son is tormented in high school for being gay. Meanwhile, he realizes he is instead missing out on his son’s life back at home.

Though based on a true story it’s a movie that feels more ideal in its instincts to produce a message. Even as the exact message isn’t quite so clear and makes the film feel awkward about its own subjects.

As it is definitely a message movie that ends up being about the main character rather than its message. As we follow an all-American mid-west manly man the films seems to take aim at trying to court for the film. As he deals not only with his son’s sexuality but the lack of acceptance he offered which leads to tragedy and guilt that threatens to Tear him And his family apart.

So the film seems aimed at the character trying to Make amends for his past. What the film is trying to do, Spread the message of his cause and humanize it into acceptance. 

Especially with a tough guy action star Mark Wahlberg is sensitive and open emotionally. Learning the lessons of his wrongs while also learning to be accepting. Even learning to fight for it. Hoping to open more audience members eyes and hearts to teach them about being open to others who are not like them, but help and protect them against prejudice. 

Though for as honorable as the character might be. It shows how hypocritical the character can be and how damaged he is by guilt. Allowing for a complex character, but makes the film More about him Then the message.

Luckily all the performances are believable and strong. Which is a particular strength of director Reinaldo Marcus Green in his previous films KING RICHARD and MONSTERS AND MEN he usually Gets grounded performances out of the stars more than expected by burying them so deep that it never feels Like showboating or a stunt. 

The film manages to stay on message by trying to be poignant. It feels heavy-handed but that might be what is needed in trying to send this film’s message. As not to be some kind of saintly or martyred movie or make one of the wrong characters. Instead of trying to make it a character study.

The film is admirable, we see the main character break down and cry. We watch him as he goes downtrodden and even beat up.  

Connie Britton’s character is the strongest throughout. As she is no-nonsense and always feels truthful. She quickly becomes the film’s heart. As she always seems in the right place with most scenes built to get an emotional reaction.

The film shows the horror of bullying and the prejudices you face when being LGBTQ+ in a small and small-minded community and what is going Against them. 

The film also manages to show some good people in the world and that through it all. We are all Messed up and have our own personal problems, but we should try to help and support one another. That maybe you dislike or choose to hate, has nothing to do with them and says something more about you.

The film spells it all out in the third act. If you think it might be too subtle. Those you love let them know you love and support them. Accept them for who they ate or it might forever haunt you literally.

This is a good-hearted film that feels like it is pandering to a degree. As the story is more told in the aftermath. While literally showing is to don’t judge another until you have walked a mile in their shoes.

The film didn’t seem to ah e much attention upon release. It was on my radar to watch especially with mark Wahlberg trying a more dramatic socially conscious role. Which is a kind of relief from his other usual roles where there is always a certain comfort that can feel Smug or overbearing. 

Even if it feels hypocritical and heavy-handed at times. Especially the Ending. Where it really hits home. As a tragedy with flashbacks. Though have to go with the true story and try to inform. What might have happened on the road. As the film ends up being episodic more about dealing with guilt. That strays from

The message. Especially with speeches that seem not that special and just more short homespun wisdom That could be said at group therapy or an AA meeting. As they Don’t Come off enlightening just basic 

Grade: C+

THE BIRDCAGE (1996)

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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-

120 BPM (BEATS PER MINUTE) (2017)

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Directed By: Robin Campillo

Written By: Robin Canpillo & Philippe Mangeot Cinematography: Jeanne Lapoirie

Editor: Robin Campillo, Stephanie Lager & Anita Roth

Cast: Nahuel Perez Biscayart, Arnaud Valois, Felix Maritaud, Adele Haenel, Ariel Borebstein, Antoine Reinartz, Aloise Sauvage 

The early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant, who throws his last bits of strength into the struggle.

This film presents a Strong subject and story based on historical facts. As we learn about the early efforts of ACT-UP and what they were facing off against. At least the french chapter. That was similar to the US chapters efforts 

This film feels like a miniseries done in two hours. It is a very trying and powerful movie. That is as much a drama, as a history lesson in itself told more from the radicals Point of view. Rather than a white-washed film where they make the owners that be the heroes.

The film shows that if not for the efforts of the LGBTQ community at the time. The progress for national attention and treatment would have been slower if ever even developed.

This is more than just a movie about the subject or a disease Movie. The narrative here is more of an ensemble but it is also strong.

The film is designed more as a docudrama without so much handheld camera work, but still, you feel like a Participant and witness. As we see the movement from the inside out. As well as slowly get to know abs see the personal lives of the characters. Which allows the film to be more intimate.

The film focuses on a relationship more or less and its development. That is connected to the modern era of the group in various ways. While also showing us the evolution of the group. That helps us in the audience connect to the characters. Through this process, the film reveals events and situations dramatically and still manages to be shocking at times with its revelations.

So much material and information to cover here that it feels like a dramatized documentary that gets more personal. As some of the characters, we get to know each other deeper and stand out. Even as each character is important in their own way as part of the coalition.

This is just one of those films you can lose yourself in and by the end or realize how much time has passed but definitely feel like you have been through a journey. As this is a film mroe of experience where you feel like a fly in the wall. As the film takes over.

You just watch as it tells it’s take abd unfolds a large story like a book.

As all around the filmmmaking and cast are great not a weak link . No one drops the ball. As the film and tale are emotionally penetrating and the characters are portrayed as callable and not saints.

It’s one of these perfect movies into a culture and history one was not formed upon. Like the French film THE CLASS by Laurent Cantet only that was like this film a look into a social issue and the characters involved that offers no answers. Only this tale is based more on fact and events that actually happens

This is a film that has to be seen. As it dreams you in and offers you education and an experience. 

Grade: A

TOTALLY FUCKED UP (1993)

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 Written, Directed, Edited & Cinematography by: Greg Araki

Cast: James Duval, Roko Belil, Susan Behshid, Jenee Gill, Gilbert Luna, Lance May, Alan Boyce, Craig Gilmore, Johanna West

Life really sucks for a group of gay and lesbian teenagers living in Los Angeles. Their parents kicked them out, they’re broke and bored, their lovers cheat on them, they’re harassed by gay-bashers. If things are going to be this way, maybe suicide isn’t a bad idea; at least not in the mind of Andy, our major protagonist, who gives the film its title by describing himself as “totally fucked up.

This film plays out more experimental than his last film. This film more examines days in the life of a group of friends. We get to see their videotaped confessions and each seeks to show their own little stories that overlap. So they end up all having their adventures. 

That watching the film feels ahead of its time as it comes off a little like the reality show, THE REAL WORLD but also what social media would become eventually. 

As from the first frame of a new clipping about teenage suicide in the gay community. We know what the film will be tackling not that it will eventually be prophetic 

If the audience does as we watch we try to figure out who will either try or allow themselves to do that. 

The film at the time was one of the most penetrating looks at LGBTQ youth that includes sex reckless and romantic and facing consequences for being themselves such as parents throwing them out, infidelity, random violence, looking for love in all the wrong places and people. 

It sets a blueprint for later teenage dramas that were diverse and more hard-hitting in the new Millenium 

This film was actually not as bleak as his previous film. At least not until the ending where we get a dark ending but also feelings. Which the film Seems to lack. As like the teen’s characters. They play up a certain persona but each is vulnerable that they hide from each other. 

The film stays upbeat and energetic throughout and then comes a heaven ending. Whereas THE LIVING END seems so hell-bent on nihilism until the end where it offers actually hope.

This film still has an avant-garde presentation and punk rock attitude and Sensibility. As well as the soundtrack, but surpassingly by the end it also feels like a hardcore after-school special.

The more artistic expression throughout the film. Can be hard to take, even as it breaks up and focuses on characters. Some in the audience might want more story or action throughout. If that is what you seek you came to the wrong movie.

Watching this now through a modern lens. This film is ahead of its time but could have only been made when it was. As it is penetrating and a nice time capsule of the times. Style and politics and just day-to-day life.

This would also be the first of many collaborations between director Greg Araki and actor/star James Duval 

Grade: B-