Tag: LGBTQ

PILLION (2026)

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Written & Directed By: Harry Lighton 

Based on The Book “BOX HILL” by: Adam Mars-Jones 

Cinematography: Nick Morris

Editor: Gareth C. Scales 

Cast: Harry Melling, Alexander Skarsgard, Lesley Sharp, Douglas Hodge, Jake Shears, Mat Hill, Nick Figgis, Zoe Engerer

Colin, a weedy wallflower letting life pass him by, meets Ray, the impossibly handsome leader of a motorbike club, who then takes him on as his submissive. Ray uproots Colin from his dreary suburban life, introducing him to a community of kinky, queer bikers and taking all sorts of virginities along the way. But as Colin steps deeper into Ray’s world of rules and mysteries, he begins to question whether the life of a 24/7 submissive is for him. Has he found his calling, or simply swapped one form of suffocation for another?

The film is less graphic than I expected it to be.

Even though it does start off with a little bit of a shock. Though sexually frank it shocks more with its moments of tenderness. That is more universal for us all. 

Though I think it uses the BDSM aspects of the relationship as shocking at first, but also to show a kind I’ve avoidance of intimacy, especially when it came to emotions which Skarsgard’s character seeks to avoid. 

As he loves control and power, where we and Harry Melling’s character are not sure if he keeps him around just because he’s a willing consenting victim of sorts or if he feels that this is his way of showing his attraction and care for him. As obviously Skarsgard character is a fantasy come true. Skarsgard plays up the hot hunk with no emotions to the hilt. He has played this before and seems willing to try most freaky roles and go for it. Though making them recognizable human eventually.

What is interesting is what plays out a more hard-edged cruel version of how most relationships are where at first it’s all about the attraction and the sex were one person usually has to take the lead. Hear the roles are more defined as in most relationships. They are either switched communicate communicated about or naturally happen.

Whereas most thing, what’s the worst I could happen will be something sexual here, the relationship relationships or sexual upfront, but more afraid of getting emotionally and personally involved. As it ruins the dynamic and the power-play.

For a film that seems like it’s going to be hard to take or heart edged. It’s got a surprisingly sweet spot and story. It might be mine, the audience of the film. SECRETARY now this film is a little more hard, edged around the heart, and not quite as romantic..

That we do see a relationship evolve. I believe some of the more interesting scenes are with Harry Melling’s character and his parents them wanting to see him happy but his mother who is dying of a terminal disease can tell something is off. We’re not quite right or not quite equal in the way, the relationship is by the end our premonition proves to be right.

This isn’t a film that one would expect where emotions will become a commodity that you in the audience might find yourself choked up in a good way over the film so I can give the film that much credit. As the audience gets involved way more than expected.

As by the end, though it does have a definitive ending it still leaves you wanting more be it in the form of revelations and answers. As by the end it ends up being a coming of age tale. As Melling’s character learns all sorts of lessons and breaks all kind of virginities of his own. 

Grade: B 

TWINLESS (2025)

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Written & Directed By: James Sweeney

Cinematography: Greg Cotten

Editor: Nik Boyanov

Cast: James Sweeney, Dylan O’Brian, Aisling Franciosi, Lauren Graham, Chris Perfetti, Tasha Smith, Cree, Katie Findlay, Kody Harvard

In Twinless, two young men meet in a twin support group and form an unlikely friendship. Roman and Dennis both search for solace and an identity without their other halves and soon become inseparable outside the group. But when Roman meets Dennis’ ebullient co-worker, Marcie all is revealed to be not what it seems, as each man harbors secrets that could unravel everything.

This is a buddy comedy, but not a traditional one. Nor is it romantic, but it does involve intimacy. This also seems the type that film festival is like Sundance love. Though at least this film truly does earn it.

The film feels more with emotional humor and situational humor, all at once, as well as the absurdities of life and almost a comedy of errors that leave things awkward throughout the madcap situations the lead characters find themselves in. While dealing in loneliness and how when in that state any connection large or small might feel deeper and bigger to one individual. While the other might find it more casual or fleeting. 

Though for all of it comedic persona or personality, it gets deeply dramatic at times as a cloud of melancholy hangs over most of the film as the film looks at loneliness and the power of bonding in friendship. 

Dylan O’Brien gives a great performance in this film playing two roles and you believe him as two totally different characters. Even though they are related as they are both different and unique. As even though he is phenomenal in this film, kind of wanted to see more of him as the twin who has the shorter amount of Screen Time, who is the more entertaining in charismatic one.

Speaking of dazzling performances Aisling Franciosi again manages to transform herself to an almost unrecognizable character than she has played before emotionally and physically. So that throughout you can’t Take your eyes off of her. While you understand why she is fallen for 

Don’t get me wrong. The film is very quirky but at times it feels all too real not necessarily identifiable because of how deep the characters dig themselves but again there’s an awkwardness to it that is undeniable and feels very cringe while you watch.

The film can be understated and it stars the Writer/Director James Sweeney. Who also definitely comes across as memorable throughout the film. I’m playing the depressive yet obsessed lead but you appreciate his performance. As he seems to be smart, but makes all the wrong decisions and isn’t afraid to admit to and indulge in his dark side.

This is a film that is hard to describe or categorize exactly. As it does take you on quite the journey, even while It seems like it’s standing still though can say that it explores friendship, like any other relationship, but not one that mature is overtime more one that is intense though just as strong

GRADE: B+

A MAN OF NO IMPORTANCE (1994)

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Directed By: Suri Krishnamma 

Written By: Barry Devlin 

Cinematography: Ashley Rowe

Editor: David Freeman

Cast: Albert Finney, Brenda Fricker, Tara Fitzgerald, Michael Gambon, Rufus Sewell, David Kelly, Patrick Malahide, Mick Lally 

Alfred Byrne is a middle-aged bus conductor in Dublin, Ireland in 1963. He would appear to live a life of quiet desperation: he’s gay, but firmly closeted, and his sister is always trying to find him “the right girl”. His passion is Oscar Wilde, his hobby is putting on amateur theatre productions in the local church hall. We follow him as he struggles with temptation, friendship, disapproval, and the conservative yet oddly lyrical world of Ireland in the early 1960s.

Honestly if not for some course language and a particular scene of sexual nature. This could have been a television movie. Thankfully it is a feature film for the big screen which explains the high quality cast.

I will admit I came for actress Tara Fitzgerald who I had a teenage crush on in the 1990’s and whitening e always wanted to watch this film. It took me so long. Because it reminded me of the film BRASSED OFF with her in it.

Watching this film after it being out 30 years truly shows how times have changed. As this might have been a bit stirring at the time, but watching it now seems almost quaint.

As we watch Albert Finney as an effeminate older man who is obsessed with theater. Plays in particular and puts together the locals I. Whichever place is obsessed with that time of year. His friends think he should find a nice girl to settle down with, others think he is eccentric and passionate only about his interests. 

Though we can tell that he is gay or has feelings for men. Even as he coddles and curates a local female who he has star in his play and it looks like it could be a cute little love story of acceptance and being about more than physical love.

Then he third act happens and everything goes toosy turbulence and what he and we thought of certain people is exposed. By the light of day and their true ide tires come out in the open. 

Honestly that is when the film seems to come alive or at least gets a lot more interesting whereas it feels like there was a ton of buildup just to get to this and it works effectively as a kind of shock but also of everyone showing their cards good and bad

What does work for this film is how deeply rooted the film and characters are in the community who offer a kind of chorus for all the moods and feelings and most of them might not get their time in the sunlight, but they certainly get to shine and help influence and entertain the audience. They are at the heart of the film that has its obvious stars, though luckily it’s quite ensemble.

It’s shocking again that they got the cast that they did Albert Finney, Michael Gambon, Brenda Fricker, David Kelly and a young Rufus Sewell and of course the enchanting Tara Fitzgerald. All for a coming out story.

Then again we all have our stories and coming out can be a defining moment in one’s life, so why not tell it with the best cast that you can get of acting superstars even at the time even if they are way above the quality of the material as Michael Gambin is more supporting and feels almost like an extended cameo throughout.

Give the film a chance but don’t expect too many fireworks. It’s like Levi’s blue jeans in fact, dependable durable something you can count on, but not necessarily a brand you go on and on about, but you’re glad exist and is there

Grade: C+

FIRST PERIOD (2013)

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Directed By: Charlie Vaughn 

Written By: Brandon Alexander III

Cinematography: Olivia Kuan

Editor: Corey Ziemniak 

Cast: Brandon Alexander III, Dudley Beene, Lauren Rose Lewis, Michael Turchin, Leigh Wakeford, Karli Keiser, Cassandra Petersen, Jack Plotnick, Judy Tenuta 

An uproarious cross-dressing comedy, First Period follows a new girl and an outcast as the most awkward girls in high school. Together, they set out to take over the annual talent contest and win over the whole school.

Watching this film, you can tell it’s a film done out of love. as it is low budget and the actor director and cast are few as are the locations as well as the extras, which are mostly made up of family and friends of the cast and crew.

Especially as most of the cast like most teenage shows and movies of the 1980s look way too old for their roles, which only adds to the films strengths inadvertently.

It is a campy standup of 1980s high school movies that has its main two stars cross-dressing as teenage girls. The film is filled with double entendre in innuendo. It is quite naughty, but sassy.

It is also hilarious as it works as a spoof and homage, As well as it could easily be one of those teenage 1980s films told from a teenage girls  point of view.

Lead actor Brandon Alexander III,wrote the screenplay and the film is an excellent launching pad for hikmas an actor, performer and screenwriter 

Of course, the stories of service but this is a film that you just sit back watch and enjoy, and it’s over the top brilliance and just have fun with it not a family really think too deeply about in our amazed by the two lead performances as the dialogue and jokes fly so fast and furious. It’s almost like a screwball comedy of its own only lacking the more physical comedy.

fans of the show STRANGERS WITH CANDY will definitely enjoy this film. As it has a similar tone and feel. Only none of its budget.

This is an excellent LGBTQ film that unfortunately I didn’t even knew existed until recently and it’s a shame because it’s truly an undiscovered gem cinematically. It doesn’t offer anything new but this is definitely a comfort film and a film that deserves a cult audience as through it all as ridiculous as it is, the film truly does feel heartfelt.

Hopefully someone decides to do this as a play or stage performance in this films audience can grow. At under 90 minutes,Luckily the phone never wears out. It’s welcome.

Grade: B 

WHISTLE (2026)

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Directed By: Corin Hardy

Written By: Owen Egerton 

Cinematography: Bjorn Charpentier

Editor: Nick Emerson

Cast: Dafne Keen, Sophie Nelisse, Sky Yang, Jhaleil Swaby, Ali Skovbye, Percy Hynes White, Nick Frost, Mika Amonsen, Michelle Fairley 

A misfit group of unwitting high school students stumble upon a cursed object, an ancient Aztec Death Whistle. They discover that blowing the whistle and the terrifying sound it emits will summon their future deaths to hunt them down.

unfortunately, this film is pretty basic. There’s nothing revolutionary, except for some pretty good special effects and the first lead starring role for Dafne Keen. As it helps to feed off her Internet buzz and and X-MEN, LOGAN and DEADPOOL following.

The film does offer some LGBTQ representation, especially in the leading roles. Though the film feels very 1990s teen horror movie craze. Only more supernatural instead of having a slasher.

It’s strange that the film is lacking, a memorable soundtrack, even though the lead character is obsessed with music.

The film feels like it tries too hard to create or be something original, but then in doing so it makes it all the more laughable as it tries too hard. 

The drug dealing faster is stupid, but wish the film leaned more into him and his character as he seemed the only thing that was fresh in this phone and while he gets more screen time in the third act, it feels way too planned and expected, especially as third act freak out

At least with the film, the events and actions start very fast so there’s no moping around in lore and mystery. Which then leads to the problem that we barely know the characters before they start getting eliminated and because of that we generally don’t feel sorry for them as we have no personal connection or sorry to see them go as we would seeing any random person get killed. Especially as the film tends to feel cruel when it doesn’t have to be.

At least the black guy doesn’t die first, but he is the only non-believer and gets paid back by having the most violent death in the film. It’ made worse as it happens in frintnof his parents, but makes for a standout scene. 

The film comes across as a desperate FINAL DESTINATION rip off with mystical sacrifices thrown in. Even the one character played by Sky Yang, who is obsessed with a superhero. The superhero is a knock off

The film also never presents any real joy. It’s pretty bleak throughout. so much so that only two scenes in the whole film feel genuine. 

One of which is the typical teenage crush admission and the crushes answer that is the closest the film ever comes to being heartfelt. The Lesbian romance reveals are sweet also. When she is creaking out about what to text and show interest but not too much interest 

The film at certain points gets silly and so bad that it becomes entertaining to a point, which is what keeps the audience watching other than the gory deaths not so much inventive. But miraculous special effects.

There’s also barely rarely any adults shown in major roles, other than an initial kill, and the one to inform them about the whistle and the curse.

If I have paid to see this, I would not be so nice when it comes to this film. I’d actually would’ve been best but watching it for free it’s OK. It’s a popcorn movie a time waster but one I don’t ever really need to watch ever again.

if anything come for the films gory special effects you might find some other things you might like about it, but I’m betting not too much. Though I really wanted to like it. It just didn’t have enough to truly admire.

Grade: C 

I DON’T UNDERSTAND YOU (2025)

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Written & Directed By: David Joseph Craig & Brian Crano

Cinematography: Lowell A. Meyer 

Editor: Nancy Richardson 

Cast: Nick Kroll, Andrew Rannells, Amanda Seyfried, Morgan Spector, Eleonora Romandia, Nunzia Schiano, Vincenzo Gallo, Arcangelo Iannace 

An American couple, on the verge of adopting a baby, goes on an Italian vacation – an opportunity to reconnect before the new addition arrives. Everything is picture-perfect; the epitome of a European baby moon, when things begin to spiral out of control. On the way to a fabulous dinner, they get their rental car stuck in a ditch and are stranded in rural nowhere in a downpour. These two Americans, who are used to being catered to, are now in a foreign land without service, an Italian language comprehension of about zero, and clear relationship turmoil that could explode at any minute. Fear obviously takes over.

This is a film that at first seems like it will be your typical couple comedy. Which it stays throughout until it takes a dark turn and seems to stay on that road until the end.

Where usually I enjoy films like these. There is something a bit off. As it stays true to it’s title. As most of the trouble comes from miscommunication. That seems to escalate Into violence seemingly accidently.

It’ not the characters exactly as they seem to be normal and just reacting to their situations that seem to get out of hand. it’s the films attitude that tries to humanize the victims, but also makes them caricatures and easily either forgettable or challenges. There isn’t much to truly dwell on or feel sorry for.

While the characters aren’t hateful or malicious. They might be a bit extreme in some situations, but by the ending they cone off too easy. That leaves a bad taste in the audiences mouth. That just feels like a reminder of rich caucasian males getting away literally with murders. Not that they should be especially punished but it feels like there should be something they lose or some way in which they have to pay or lose something. As there is some evidence that they left behind that could come back to haunt them.

Though the film seems to want us to root for them Abd let them drive off and be happy. As the film gives them something that humanized them and makes us identify with them in the form of having them await the birth of a baby they are adopting. After bei g brined before they are hoping this time. They will finally get a chance to be parents. That is the only sympathetic part of the story. We truly have for them.

The movie constantoy up’a the stakes but nothing lingers. So that it feels like it’s making a cake and it comes out as a tart. As the film reminds the audience of so many sitcoms only with better production values. As at least Nick Kroll and Andrew Rennells work well off of one another that makes their pairing feel effortless and like they are inorigng in the situation that makes them and their relationship come across as natural and real. If only the rest if the film came off that way. 

In the end, It just never feels like it has any real stakes. It breezes through like a wind storm (not a hurricane as the material isn’t that strong or wacky) and throws plenty against the wall to see what sticks.

Grade: C

FIRE ISLAND (2022)

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Directed By: Andrew Ahn

Written By: Joel Kim Booster

Cinematography: Felipe Vera De Rey

Editor: Brian A. Mates

Cast: Joel Kim Booster, Bowen Yang, Margaret Cho, Tomas Matos, Torian Miller, Conrad Ricamora, James Scully, Matt Rogers, Nick Adams, Zane Phillips

A group of queer best friends gather in Fire Island Pines for their annual week of love and laughter, but a sudden change of events might make this their last summer in gay paradise.

FIRE ISLAND is the kind of romantic comedy that feels both delightfully old-fashioned and refreshingly modern equal parts screwball, heartfelt friendship story, and gloriously chaotic summer escape.

Andrew Ahn’s film wisely refuses to treat its queer characters as symbols or saints. Instead, it lets them be messy, funny, flawed, and fully human and that’s what makes it so refreshing. Beneath the flirtation, parties, and razor-sharp one-liners, there’s a thoughtful look at the social hierarchies that exist even within supposedly inclusive spaces: class, beauty, race, and status all quietly shape the world these characters move through. The film smartly acknowledges that prejudice doesn’t disappear just because a community has historically faced it themselves.

At the same time, FIRE ISLAND never forgets its first duty: to entertain. It’s hilarious, genuinely laugh-out-loud funny with the energy of a classic rom-com and just enough raunch to keep things spicy without losing its sweetness. Joel Kim Booster’s screenplay is clever and emotionally grounded, giving the film both bite and heart, while Bowen Yang emerges as its emotional anchor, delivering warmth and sincerity beneath the jokes.

What is refreshing about this film is that it doesn’t make it’s characters saints and gives them a chance to be three dimensional and make mistakes.

The film shows the class system both financially and physically that goes on in that culture showing there is prejudice all around no matter the strides.

Especially as the main characters themselves are Asian and tell stories of facing racism. It is an creative platform to show the racism they face and from an Asian American perspective from the lead actor who wrote the screenplay to the director. 

While It’ nice to be diverse it would be something to be more representative even if that is not the main point of the movie. 

Though written by star of the film Joel Kim booster and proved to be quite a launching oad for his career. Bowen Yang’s character seems to be thebehart of the film. 

If there’s one small disappointment, it’s that the side characters. who are often scene-stealers in their own right, deserve even more time in the spotlight. Their presence is so funny and vibrant that you can’t help wishing the film made a little more room for them.

Still, what Fire Island gets right, it gets very right: it’s funny, heartfelt, and far more honest than your average romantic comedy. A charming, sharply observed crowd-pleaser that feels like a summer vacation you wish lasted longer.

Grade: B 

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