Pride Movies and Series

There’s less than a week left of Pride Month 2021, and I hope that some of you have had the opportunity to explore LGBTQ+ content over the past few weeks, whether that’s at work, with family and friends, or in a quiet evening alone. However, just because Pride Month is ending doesn’t mean that LGBTQ+ content is no longer worth finding and consuming. Fortunately, as a semi-professional queer, I’ve done some work for you, rooting around the movies and series available on Netflix, Amazon, NowTV, BBC iPlayer, 4OD and very noticeably not Disney+ to bring you a list of recommendations for whatever queer content you desire to carry you through until… next Pride Month, probably!

MOVIES

If you fancy a gay love story, then I recommend drama Brokeback Mountain, drama Call Me By Your Name or teen romcom Love, Simon for queer men, and I recommend drama Ammonite, drama Blue is the Warmest Colour, comedy drama Imagine Me and You, comedy musical The Prom and drama Portrait of a Lady on Fire for queer women.

If you fancy a movie with a queer protagonist where their queerness is explicit and yet totally irrelevant to the plot, it is simply who they are, then may I recommend Booksmart for a teen comedy, I Care A Lot for a black comedy, The Perfection for a horror, The Girl with the Dragon Tattoo for a crime thriller, The Talented Mr Ripley for a crime drama, and The Mitchells vs. The Machines for an animated family-friendly romp.

For movies which explore queer themes as subplots or with secondary characters, I recommend comedy drama As Good As It Gets, romantic comedy Four Weddings and a Funeral, drama American Beauty, dystopian drama V for Vendetta, action thriller The Old Guard and drama Perks of Being a Wallflower.  

If you’re looking for great trans representation, then may I recommend comedy-drama Tangerine (which actually stars trans actors), teen comedy Moxie (casting a trans actress), Italian drama The Life Ahead (casting a trans actress), crime comedy thriller Assassination Nation (casting a trans actress), biopic The Danish Girl and biopic Boys Don’t Cry.

Speaking of biopics, here are a few more recommendations from me: Rocketman about musician Elton John, Behind the Candelabra about pianist Liberace, Bohemian Rhapsody about musician Freddie Mercury, Legend about the criminal Kray twins, The Imitation Game about scientist Alan Turing, and Colette about author Colette.

Other movies inspired by queer stories, but which have stretched the truth too far to be called a biopic, include Gia about supermodel Gia Carangi, The Favourite about Queen Anne, Monster about serial killer Aileen Wuornos, Philadelphia about a man who was fired for having AIDS so sued his law firm, and Heavenly Creatures about two murderesses in love.  

Unfortunately, the experience of conversion therapy is very real, and some great movies which explore the subject are Boy Erased, a true story about a boy who went to conversion therapy, drama The Miseducation of Cameron Post starring Chloe Grace Moretz and the iconic cult comedy But I’m A Cheerleader starring a teenage Natasha Lyonne and Clea Duvall.

Other queer issues are explored in movies such as The Boys in the Band, which looks at the lives of a group of queer men in the sixties, Moonlight, which explores intersectional homophobia and racism, Mulholland Drive, a surrealist drama from the mind of David Lynch, and Being John Malkovich, which explores the relationships between a triad of individuals once they can experience life inside John Malkovich’s head (weird, but I promise you it’s good).

Sometimes queer people have to search for subtext to find queer content. Sometimes that subtext isn’t particularly hard to find, and we confidently claim a movie to be one of ours even if certain identities aren’t explicit, such as teen comedy Jennifer’s Body, surrealist comedy Swiss Army Man, surrealist drama Black Swan, drama Girl, Interrupted, comedy Some Like It Hot and the infamous, glorious Rocky Horror Picture Show.

SERIES

Some great series which explore queer issues during a particular period in time include Pose about the ball scene in 80s New York, It’s A Sin about the AIDS crisis in Britain, Hollywood about the golden era of Hollywood, Gentleman Jack set in the 1800s about notoriously queer Anne Lister, and Dickinson about the life and loves of Emily Dickinson.

There are some other brilliant ensemble shows which explore queer issues on a broad and detailed scale, such as prison drama Orange is the New Black, sci-fi Sense8, drama Euphoria and teen comedy drama Sex Education.

You can find some great queer love stories in shows such as gothic horror The Haunting of Bly Manor, romantic drama Tipping the Velvet, crime drama Killing Eve, comedy drama Feel Good and horror drama Ratched, and some great queer protagonists such as action drama I am Not Okay With This, Welsh drama In My Skin, comedy Special about a gay man with cerebral palsy, and teen comedy Love, Victor, inspired by Love, Simon.

Of course, there are now more shows which have queer secondary characters who have their own arcs and issues explored, and some of the best representation I’ve seen for queer characters has been in One Day At A Time with Elena (lesbian) and Syd (non-binary lesbian), Brooklyn 99 with Captain Holt and Kevin (both gay) and Rosa Diaz (bisexual), Unbreakable Kimmy Schmidt with Titus Andromedon and Mikey (both gay), Santa Clarita Diet with Lisa Palmer (bisexual) and Anne Garcia (lesbian), Schitt’s Creek with David Rose (pansexual), Jake (bisexual) and Patrick Brewer (gay), Atypical with Casey Gardner (bisexual) and Izzie (bisexual), The Umbrella Academy with Klaus (bisexual) and Vanya (bisexual), Derry Girls with Clare Devlin (lesbian) and Crazy Ex-Girlfriend with Daryl Whitefeather (bisexual) and Gabrielle Ruiz (bisexual).

OTHER

If you’re less of a movie or series lover and more of a documentary or reality television fan, never fear! I can confidently recommend to you the documentaries Disclosure, Circus of Books, Paris is Burning, A Secret Love and The Death and Life of Marsha P Johnson, as well as the reality television shows Queer Eye, RuPaul’s Drag Race and We’re Here. 

And that’s a wrap! Please let me know if there are any other movies and series with great LGBTQ+ content and representation that you recommend! As always, please support film and the art of filmmaking by watching movies and series legally. Until next time, Cheerio!

2021 Movies: The View from Halfway Down – The Bad & The Other

2021 Movies: The View from Halfway Down – The Bad & The Other

Hello everyone! As promised, here’s the companion piece to the article I wrote a couple of weeks ago highlighting some of the best that 2021 film has had to offer, and in this one we are looking at some of the worst. I don’t recommend any of these flicks, but if you enjoyed them (or if you hated them even more than me) then please let me know in the comments. Most of these movies are available on Amazon Prime or Netflix should you wish to put yourself through them, but I really can’t stress enough that these movies are pretty ropey.

However, I hate to end on a downer note, so for those of you who like documentaries, I have five quick reviews of some of the bigger releases to Netflix in 2021.

Without further ado, on with the show!

YOU CAN AVOID…

Olga Kurylenko in Sentinelle
  • Sentinelle

The best part about it is that the main character is a queer woman who does not dress sexily, but for combat, and her queerness is not oversexualised; she’s not morally pure and in her ambiguity, she’s addicted, traumatised and violent, which means that she’s not all hero. Unfortunately, the rest of the movie doesn’t do this great character justice.

Anna Kendrick in Stowaway
  • Stowaway

This movie is essentially the middle portion of Danny Boyle’s Sunshine stretched out to be a whole movie, and it gets dull fast. Toni Collette is underutilised. Watch Sunshine instead.

Sarah Paulson and Kiera Allen in Run
  • Run

This movie had so much going for it and then it fell apart in the third act. Great main character who is a disabled woman actually acted by a disabled woman, and the ever-adored Sarah Paulson plays her mother. A let down at the last hurdle.

The cast of Ghosts of War
  • Ghosts of War

I was actually prepared to really like this movie, even when it pulled the rug on me. Unfortunately, its last act is missing, presumed dead, just when it was starting to get really interesting!

Joe Keery in Spree
  • Spree

This movie, all things considered, is surprisingly entertaining. The commentary on social media and influencers is executed pretty well and Joe Keery is cringeworthy and terrifying in equal measure. However, it is extremely strange, and not always in a good way.

Neville Archimbault in The Block Island Sound
  • The Block Island Sound

I didn’t hate this movie, it’s just very, very slow. It’s a Lovecraftian horror that plays with some interesting themes and has decent cinematography. The characters and the acting and the plot, however, are painfully weak.

Amy Adams, Gary Oldman and Jennifer Jason Leigh in The Woman in the Window
  • The Woman in the Window

I was super disappointed with this flick. I guessed two of the ‘twists’ almost instantly and the sound-scaping was distracting and melodramatic. Such a good cast (Amy Adams, Gary Oldman, Jennifer Jason Leigh and Julianne Moore); this should have been a winner, but it really isn’t. It’s trying way, way too hard to be edgy and Hitchcockian, and comes across tacky and desperate.

Nanna Blondell and Johannes Kuhnke in Red Dot
  • Red Dot

This movie isn’t the worst horror I’ve ever seen, but it still falls down in a number of ways that horrors typically do. The dog dies and it is brutal and nasty so if you’re a dog-lover I would not recommend on that alone.

Kevin Quinn and Bailey Madison in A Week Away
  • A Week Away

It’s a faith-based musical. Every song is overtly pro-Christian and the message is “Jesus Christ can save you”. It’s very twee and campy; think High School Musical and Camp Rock had a baby and sent it to church camp. The acting is not great to boot.

Jacki Weaver and Adrien Grenier in Stage Mother
  • Stage Mother

This movie has a lot going for it, but the low budget makes this movie suffer. The costumes, the music, the editing: it all needs a lot of work. The cast aren’t that strong with the exception of Lucy Liu. It touches on a number of important LGBTQ+ issues however, and it’s nice to see them in the spotlight.

Melissa McCarthy and Octavia Spencer in Thunder Force
  • Thunder Force

I don’t think I’ve ever imagined that Octavia Spencer could flounder like this. Melissa McCarthy is Melissa McCarthy. Jason Bateman is some weird crab creature. It’s bizarre and it’s not very good.

Adrianna Chlebicka in Squared Love
  • Squared Love

This Polish rom-com is essential a modern day Cinderella story, but not too modern, falling into some tropes of sexism, heterosexism and misogyny that feel out of place and behind the times. The plot is so wild and ridiculous that it almost warrants merit because it was at least unexpected, even if the climax is entirely predictable.

Madeleine Petsch in Sightless
  • Sightless

It’s a pity that this movie was so badly acted and badly executed, because the perception vs. reality concept explored is fascinating.

Nia Long and Omar Epps in Fatal Affair
  • Fatal Affair

One of those movies about a married person who has an affair with a crazy, stalker-murderer that’s been popular ever since 1996’s Fear with Marky Mark. I loved that this movie cast is predominantly people of colour, but this script is horrendous, and the direction is worse.

Kristin Davis and Greer Grammer in Deadly Illusions / Grace
  • Deadly Illusions (re-released as Grace)

This really is as bad as everyone says it is. It is shockingly, despicably, ridiculously bad. I like Dermot Mulroney. I like Kristin Davis. I like mystery thrillers where you wonder which character is crazy. But this is just tripe. Almost unwatchable.

GOOD DOCUMENTARIES…

For those of you who enjoy a good info-dump, I recommend:

  • Disclosure

A brilliant documentary about trans representation in tv and film.

  • The Social Dilemma

Makes you want to delete all your social media, then all your other apps and then throw your phone away.

  • Seaspiracy

A controversial documentary that leaned a little too “veganism is the answer” for me, and it also paints the problem as being predominantly Asian, which is inaccurate, but it raises a lot of great points worth considering about fishing.

  • Operation Varsity Blues: The College Admissions Scandal

We all knew that rich people were buying themselves into college, but it’s nice to know that some of them were caught.

  • The Speed Cubers

A charming little documentary about the unlikely friendship between long-standing Rubix-cube rival champions Max Park and Feliks Zemdeg, that touches beautifully on the impact of kindness and engaging with key interests for people with autism.

And that’s a wrap! Let me know what you thought of these movies and if you have a recommendation for me to watch and review, please do shoot it over. Please support film and the art of filmmaking by watching movies legally. Until next time, Cheerio!

2021 Movies: The View from Halfway Down – The Good

It’s 2021 and we have too many streaming services. As such, movies are being churned out at a higher rate than ever before, and the once high standard of a ‘Netflix Original’ has been somewhat soured.

That’s not to say that there aren’t some absolute gems across Netflix, Now, Amazon, Disney+ and the rest, but it’s getting increasingly difficult to own and have access to everything, not least because cinemas have only recently reopened.

So, most of us pick one or two services at most and suffer through the bad to find the good or rely on IMDb and Rotten Tomatoes reviews to decide what’s worth watching.

Much to the chagrin of my partner who can’t fathom why I would ever sit through a film with a staggering 3.6/10 on IMDb “just to see if it really is that bad”, I’m more than happy to do some of the grunt work for you. I’ll watch some absolute tripe in the hopes of one day uncovering an indie jewel, so that I don’t just recommend you the same three movies that have paid to appear on everyone’s algorithm.

Since there’s not been as much to do during the pandemic, I’ve watched a lot of movies, many of which have just been released recently, and I’ve jotted some of the best of them down here for you to peruse at your leisure and maybe pop on your watchlist. I’m going to do a companion list of a few movies that you can skip and throw in a couple of good documentaries and shorts worth a watch too.

Without further ado, let’s get cracking with some of the best that 2020/21 has had to offer.

  • Nomadland

It won Best Picture and I think it’s deserved. This is a film and not a script; it shows far more than it tells, and there is very little in terms of plot, so don’t expect one. The cinematography and the score, however, are breath-taking and emotional. It feels very honest; there’s a lot in here that’s relatable even though many of us have never lived a life quite like this. Frances McDormand continues to show that she is one of the finest actresses working today and is tremendously engaging with very little dialogue. Sometimes it feels like this could have been a brilliantly made documentary, if not for the fictional characters of Fern and Dave.

  • Ma Rainey’s Black Bottom

This is the movie that Chadwick Boseman was nominated for Best Actor for, and he does an exceptional job. A lot of people seem to expect that this will be a musical movie, but really it’s a movie about music, not to mention racism, classism, homophobia and feminism. Viola Davis is absolutely astounding and utterly unrecognisable as Ma Rainey. Definitely worth a watch.

  • Palm Springs

This movie has absolutely no right to be as good as it is. The time-loop format à la Groundhog Day has been done and overdone, and yet somehow this movie feels fresh. Perhaps it’s because it doesn’t labour itself with explaining the scenario that our characters are in, because it knows that we know what a time-loop movie looks like, and so lets us just enjoy the comedy, the story and the characters for what they are: brilliant. An excellent comedy.

  • One Night in Miami

A fictionalised account of an evening with civil rights activist Malcolm X, boxer Muhammad Ali, singer Sam Cooke and American football player Jim Brown, Kemp Powers’ play of the same name as been expertly realised on screen by Regina King and four powerhouse performances. Considering most of the movie takes place inside a single hotel room, the drama ebbs and flows beautifully. Leslie Odom Jr (Hamilton) particularly shines as Sam Cooke, and you’ll never quite listen to ‘A Change Is Gonna Come’ the same again.

  • The Dig

Based on the true story of the excavation at Sutton Hoo in 1938, The Dig is a surprisingly elegant and enjoyable film. While Carey Mulligan (The Great Gatsby) feels too young to be portraying the ailing Edith Pretty, she does put in the performance we expect of her. However, Ralph Fiennes (Harry Potter) is the real star here. Emotional, nuanced and never melodramatic, this is a truly English story in the most romantic sense of the word.  

  • Oxygen

Oxygen is a French sci-fi thriller which takes place inside a cryogenic pod. A woman awakes to find that her oxygen is rapidly depleting, and having been in hyper-sleep, she has no memory of who she is, where she is or why, and needs to figure it out before it’s too late. Perhaps this film wouldn’t quite be what it is if not for the absolutely stellar performance by Melanie Laurent, famed for her role as Shoshanna in Inglourious Basterds, but I absolutely recommend it for anyone looking for an original, surprising, claustrophobic and tense sci-fi.

  • Love and Monsters

This movie shouldn’t be good, but it’s just so fun and so well-executed. Starring Dylan O’Brien of Teen Wolf fame as the lovestruck artist Joel unfortunately stuck in the apocalypse, Love and Monsters is a family-friendly adventure comedy that delights at every turn. Brilliant creature design, interesting and original lore, well-crafted characters, an intelligent dog and a modern, self-deprecating humour: what’s not to like? Everything about it is a complete joy.

  • Hillbilly Elegy

The true story of a hillbilly who grafted enough in school to have a chance at going to Yale, but who might have to miss his shot at the interview in order to help his drug-addicted mother through her latest relapse. The movie jumps back and forth between the past and present as we explore the relationship that the son has with his mother, sister, grandmother, his town and the hillbilly culture itself, as he both cherishes and resents it. Amy Adams is phenomenal as always, and Glenn Close is somehow even better.

  • The Mitchells vs. The Machines

The most impressive thing about this movie is the visual style which borrows from countless online memes and repositories such as YouTube, Tumblr and DeviantArt. Although sometimes visually exhausting and demanding repeat viewings to capture all the details, this is undoubtedly slick animation made by artists for artists to enjoy. Part family drama and part sci-fi adventure, this film manages to do what few critiquing technologies are able to: acknowledge that technology is wonderful, and the real problem isn’t the tech but the people willing to abuse it for profit.  

  • The Life Ahead

An Italian remake of an Italian movie from the seventies, The Life Ahead stars the legendary Sophia Loren as a Holocaust survivor who now runs a pseudo-foster-home for wayward children. Enter a young boy who has been recruited into dealing drugs for local criminals, who strikes up an unlikely bond with his new matriarch. It’s a beautiful and delicate film with a great score, and for those looking for it, there is some absolutely faultless transwoman representation here too.

  • Penguin Bloom

Based on the true story of Sam Bloom, an Australian surfer who suffered a devastating fall that left her paralysed from the waist down, Penguin Bloom offers some stunning cinematography of the Australian landscape. The script itself has its flaws, but what is written is capably acted by Naomi Watts (Mulholland Drive) and Andrew Lincoln (The Walking Dead). A charming story of a family which takes in an injured magpie that teaches them all how to transition into the next phase of their lives, I would recommend to anyone who feels like they’ve been knocked down lately.

  • Moxie

Moxie is the chick-flick that I wish I’d had growing up. Based on a novel by Jennifer Mathieu and directed by the ever-lovable Amy Poehler (Parks and Recreation), this is the story of a sixteen-year-old girl who, inspired by her mother and a new friend, notices institutional sexism at her school and begins anonymously publishing zines to rally feminist solidarity. Tackling some surprisingly difficult subjects from transphobia to intersectional racism to sexual assault, Moxie is fraught with care and wit that balances its comedy and drama. If you have teenagers, they should all see Moxie.

  • Lost Girls

The true story of a difficult and often unlikable mother who is distraught to learn that her daughter’s murder is not being taken seriously by the police because her daughter was a sex worker, and so she sets about trying to solve the mystery herself, uncovering that there is a serial killer afoot. It’s very much a slow burn that focuses on the victims and their families rather than the gruesome details of the cases, which is refreshing.

AND NOW…

Here are some other picks that you might enjoy for an evening but aren’t necessarily a ‘must watch’ ranked from best to worst with just a sentence review for each:

  • Mank

Amanda Seyfried is the best thing in it and it’s well-made; I don’t know how Gary Oldman was Oscar nominated for this.

  • Da 5 Bloods

There’s a lot that’s laudable here, I just didn’t especially like it.

  • EuroVision Song Contest: The Story of Fire Saga

So much fun, quintessential Will Ferrell and a love letter to both Eurovision and Iceland.

  • I Care A Lot

Poses a lot of interesting questions and powerhouse female characters, but the plot itself is a little wonky in places.

  • Vampires vs. the Bronx

This concept is hysterical enough to make this watchable: vampires as an allegory for gentrification of minority ethnic neighbourhoods.

  • Coven of Sisters

A Spanish historical horror drama about witch trials that’s beautifully shot and well-acted by its young cast.

  • Spiral: From the Book of Saw

Better than Saw IV, Saw V, Saw VII and Saw VIII (Jigsaw); this is a soft reboot that says ACAB starring Chris Rock and Samuel L Jackson.

  • Crazy About Her

A Spanish rom-com about a man who checks himself into a mental health institution in order to spend more time with the woman he’s become infatuated with… surprisingly well-done despite initial trepidation.

  • Horse Girl

One of the weirdest movies I’ve ever seen, and I was kind of on board with it.

  • She Dies Tomorrow

Arthouse script with arthouse direction: it’s pretentious but strangely moving.

  • Things Heard & Seen

I bet the book is better, but I actually quite liked this feminist take where the ghosts aren’t all malignant but feed off the goodness or evil of the house’s hosts.

  • All My Friends Are Dead

Okay, I would usually say to avoid this, but only because this movie is objectively not that good. It is also, however, incredibly entertaining, utterly ridiculous and honestly one of the wildest things I have ever seen. It’s Polish and it’s about a party where everyone dies. So, make of that what you will.

And that’s a wrap! Let me know what you thought of these movies and if you have a recommendation for me to watch and review, please do shoot it over. Please support film and the art of filmmaking by watching movies legally. Until next time, Cheerio!

Movies of 2020: Hot or Not

So, 2020 is over and I think everyone is keen to look onwards to 2021 and leave the year behind us. However, if you’ll indulge me, I have a quick year in review of twenty-one flicks released in 2020 that I watched, from the scalding hot to the freezing cold. I mean, it wasn’t all bad… right?

SCALDING HOT

Babyteeth

Suggested for: independent film lovers.

This Australian flick has a distinct arthouse style, employing a show-don’t-tell approach to the narrative as we are dropped into the lives of seriously ill Milla, her dysfunctional family and her new drug-dealing, drug-stealing love interest, Moses. It’s wonderful to watch a film that feels so original, with such well-captured and realised characters and one of the best soundtracks of 2020. Director Shannon Murphy and writer Rita Kalnejais are ones to watch, and Little Women’s Eliza Scanlen busts her acting chops as Milla.

If Anything Happens I Love You

Suggested for: when you can’t find enough hours in the day for a full movie.

This is only a short film with a tiny 12 minute runtime, but it’s just beautiful. An animation which runs without dialogue, scored by Lindsay Marcus and created by Aaron Sorkin, If Anything Happens I Love You is the emotionally poignant snapshot of two parents struggling to overcome their grief for the loss of their child due to a tragic event. I won’t spoil the ending, but the message of the movie is stark and harrowing, while still being told in a hopeful and delicate manner.

The Trial of the Chicago 7

Suggested for: people who like history and politics.  

Boasting stars like Eddie Redmayne, Sacha Baron Cohen, Joseph Gordon-Levitt and Michael Keaton, The Trial of the Chicago 7 tells the story of seven people on trial following the 1968 Chicago riots. Politically, the movie still feels relevant while staying reasonably faithful to the source materials. While Sacha Baron Cohen feels too old to be portraying a 26 year old, that’s pretty much my only complaint with the movie. It’s fast-paced, capably directed and entertaining from start to finish.

The Boys in the Band

Suggested for: when you feel like you can handle something a little emotionally traumatic.

Based on a play of the same name, The Boys in the Band has a simple premise: it’s the late 1960s and a group of homosexual friends are hosting a birthday party where they are relieved that they can be themselves, until one of their college roommates shows up. The movie is intense, raw and powerful, and lingered with me long after viewing. The movie also stars openly queer men in all the queer roles, such as               Jim Parsons, Zachary Quinto, Andrew Rannells and Matt Bomer.

STILL WARM…

Tenet

Suggested for: people who like wibbly-wobbly timey-wimey stuff.

The latest feature from one of my favourite directors, Christopher Nolan, Tenet is visually arresting and staggeringly ambitious. Blackkklansman’s John David Washington soars in the lead role, supported by a brilliant turn from Twilight’s Robert Pattinson. I was one of the movie-goers who had issues with the sound-mixing which obscured some of the dialogue, so I’m hoping this can be rectified. It’s not as well thought out as Inception or Interstellar, but I have to give it props for style.

Emma

Suggested for: a lazy Sunday afternoon with a pot of tea.

Period drama Emma was released early in 2020 where I had the pleasure of seeing it in cinemas, and I’m so glad I did because the movie is such a visual treat, bursting with colour and fabulous costuming. It is hysterical from start to finish, capturing the humour of Jane Austen’s writing and translating it for a modern audience. Anya Taylor-Joy is wonderful as the lead character, but Miranda Hart and Bill Nighy take the cake with their expert comedic timing.

Onward

Suggested for: family film night with the kids.

Somehow through lockdown I found myself with a Disney+ subscription, so I decided to give the latest Pixar movie a whirl. Onward stars Chris Pratt and Tom Holland as elves who live in a society with centaurs and cyclops that have forgotten how to study and use magic after the introduction of technology. I wasn’t expecting much, but Pixar rarely misses the mark for children’s movies and this was no exception. It’s funny, charming and satisfying; great to enjoy with the family.

Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn

Suggested for: girls’ night in.

The DCEU has struggled year on year, especially with disasters like Batman v Superman: Dawn of Justice and Suicide Squad, but it seems to do a little better when it puts women in the driving seat, such as with this film and Wonder Woman. Birds of Prey is no cinematic masterpiece, but I don’t need that from a superhero flick. It’s fun, it’s campy, it looks great, the soundtrack slaps, and to be honest, it was refreshing to have an antiheroine like Harley to root for in a movie that wasn’t taking itself too seriously. It’s by women and it feels like it’s for women, and that’s no bad thing.

IN TEPID WATERS NOW…

The Old Guard

Suggested for: people who are bored of Marvel and DC but still like supernatural action heroes.

I’m not always the biggest fan of dramatic action movies, but the concept of The Old Guard intrigued me enough to give it a go. Based on a graphic novel of the same name, the movie follows a group of near-immortal vigilantes spearheaded by Charlize Theron as they induct their newest member Kiki Layne and try to prevent their identities from being exposed all while they complete missions for the world’s safety. The characters hold enough interest to stop the film from feeling done before even as it hits some familiar beats with so-so dialogue.

The Prom

Suggested for: when you want brightly coloured, cheesy fun.

This movie got a lot of schtick for the performance of James Corden. Personally, I think the film didn’t benefit from having any of its big-name stars, besides Andrew Rannells. That being said, The Prom is fun. It’s not an award-winner or even a nominee like it’s stage counterpart; it’s very cheesy and I wish some of the numbers had been put to screen slightly differently. However, the songs are catchy, it made me cry on multiple occasions, and the costumes are beautiful. As with most musicals, I expect that this is better onstage, but in a world where this is the closest I can get, I’ll take it.

His House

Suggested for: when you want to step entirely out of your cultural experience.

His House is surprisingly ambitious considering that on the surface appears to be a bog-standard haunted house movie. This movie deals with complex social, political and cultural issues through visceral metaphor and stunning visual interludes as a refugee husband and wife try to adjust to a new life in England after escaping war-torn South Sudan. The overt scares are quickly substituted for more subtle dread and psychological horror which better suit the film’s tone. The film can occasionally be a little clumsy and confusing, but overall, it is effective.

I’m Thinking of Ending Things

Suggested for: when you want to scratch your head over symbolism.

I’ve already written a full review of this movie on my blog if you want to check it out. Charlie Kaufman’s latest venture into the surreal is not as successful as I’d hoped it would be. It gets points for how intentional everything feels, meaning that it would be a joy for film students to dissect, but it’s just not particularly entertaining despite everything being so weird. I found the overwrought and recycled dialogue particularly pretentious and jarring, but I did like Toni Colette and David Thewlis’ time-warped sequence in the house.

Enola Holmes

Suggested for: when you want to see Millie Bobby Brown shine outside of Stranger Things.

It’s okay. I liked seeing Henry Cavill in that suit, even if on the whole, the costumes weren’t all that historically accurate. While there are some crafty one-liners here and the film does meander its way to a conclusion, it’s not particularly satisfying. It makes the mistake of having its central mystery not be the main plot or ‘case’ of the movie, meaning that it’s left to be resolved in an anticlimactic and frankly, dull manner that isn’t well explained. Millie Bobby Brown assures that she can hold her own, but she can’t quite save this film completely.

GETTING COLDER…

Rebecca

Suggested for: people who enjoy stories about powerful women.

This movie would probably be lost without the performance of Kristen Scott-Thomas, but she is so enigmatic that she makes this just about worth watching. I’m still not convinced that Armie Hammer can act (sorry, Armie), but I didn’t hate Lily James in this quite as much as I usually do. I love the story of Rebecca – I haven’t seen the original Hitchcock movie and nor can I find it anywhere to buy or rent so I can’t make comparisons to that – but I thought that the story was told and it looked good doing it.  

The Half Of It

Suggested for: people who like to support filmmakers of colour.

I really wanted to love this movie. A story about a queer woman of colour both directed and written by a queer woman of colour who before has given us Saving Face? Sign me up. Unfortunately, The Half of It was a bit of a mess. While Ellie was a decent lead character for us, her relationship with Aster was barely explored until quite late into the movie, so we never really get a sense of the turmoil as Ellie helps her (dim-witted and grating) male friend attempt to win her. It has some great moments, but a series of nice moments strung together doesn’t make a movie.

Nobody Sleeps in the Woods Tonight

Suggested for: paying homage to your favourite horrors and laughing while doing it.

This movie was so odd that I still don’t know whether it was taking itself seriously or not. If it wasn’t taking itself seriously, if it was going for trope subversion and comedy, then it might be deemed a fun underground slice of the horror genre. If it was taking itself seriously, then this is a colossal failure. Regardless of interpretation, it gets some points for picking out aspects of the Polish political landscape which need remedying, but these monstrous villains are some of the worst and most laughable in horror history.

Cadaver

Suggested for: people who like to guess the twist and brag about it.

This had a brilliant concept, a brilliant setup, a brilliant setting, all in my new favourite language (Norwegian), and then it executed it so badly that I just wanted to set about making my own remake and do it right, because this story just deserved better. The best word to describe this is frustrating. I remember pausing the film about thirty minutes in and predicting the ‘big twist’ and really hoping that I was in for an even bigger and better one, but I wasn’t. It goes exactly where you expect and then tries to cheat itself out of some of its darker insinuations. Gutting.

GETTING REALLY COLD NOW…

The Babysitter: Killer Queen

Suggested for: when the gang says they want to watch a horror movie but nobody’s going to really watch it.

I loved the first The Babysitter movie. I thought it was so entertaining, so funny, so ludicrous and played with so many great horror and sci-fi tropes of the eighties with such love and joy. This movie, for some inexplicable reason, wanted to be The Terminator 2 instead of The Babysitter 2 and it suffered for it. Characters from the first movie switch sides with zero logic behind them besides wanting an opening twist and cheap gag, and new characters mostly flop. And I was so excited to see Jenna Ortega in something else after she was so great in season 2 of You. Just stick to the first one and pretend this didn’t happen.  

Don’t Listen

Suggested for: people who like gut-punch twists and don’t care how bad the rest of the movie was.

Spanish horrors usually don’t disappoint, but this one just fell to pieces. It started out promising, and there were some great twists early on that had me gasping and excited for what was to come. However, after these early surprises, the rest of the movie was pretty beat-by-beat haunted house, and especially when the truths were revealed and the final ‘big bad’ was to be confronted, I was severely let down. The gimmicky special effects made me feel like I was playing a video game rather than sitting through a movie. Another case of a horror movie where the real terror was in not showing the monster, and as soon as the light was shone down, all that hard-earned fear vanished.

The Binding

Suggested for: people who like Italian scenery and stories they’ve seen a thousand times before.

This Italian horror movie just never quite makes the best of what it has on offer. It toys with so many ideas that are more interesting than what is ultimately put forwards. I thought this movie was playing with who was trustworthy and who was not and was then going to later flip the switch on us, but no, the bad guy is someone else entirely, an evil spirit no less, that everyone was just trying to protect our lead and her daughter from by… not telling them vital information through most of the movie? It always goes the same way. Someone dies. There’s an exorcism. Boo. Boring. Next.

The Willoughbys

Suggested for: parents who want to put something on for the kids that they can fall asleep to.

Honestly, I’m struggling to pinpoint just why this was so terrible, but I found it damn near unwatchable. I kept pausing it and going off to do something else and it might have even taken me more than a whole day to finish it. Nothing here worked for me. Not Ricky Gervais’s dry and sarcastic cat narrator, not Maya Rudolph’s bumbling nanny, not Terry Crews’ unsociable candy manufacturer or even Jane Krakowski and Martin Short’s neglectful Mother and Father. It feels like this should have been simple to execute, but I hated it from start to finish.

FREEZING COLD

And that’s my list! As always, I’d love to hear your thoughts. What did you think of these films? If you enjoyed this piece, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch with Humanity’ for access and updates on all my content. Cheerio

The Twelve Films of Christmas

It’s Christmastime!

Pretty much everything this year has been somewhere on the scale between horrifying (donate here for: coronavirus, Australia fires, George Floyd), shocking (remember: Harry and Meghan leave the royal family, impeachment of President Cheeto, death of Chadwick Boseman) and downright surreal (see: water on the moon, Destiel goes canon in Spanish, the US and Israel announce the existence of a galactic federation).

As such, I haven’t really felt as much in the Christmas spirit as I usually do, and I think it’s time to remedy that somewhat. We could all use a bit of normal, a bit of light-hearted and a bit of good, so here are my picks for the top twelve best Christmas movies of all time, with a few honourable mentions for good measure, and I guarantee something for everyone.

The one thing I’ll say right off the bat is having spoken to Other People™, The Muppet Christmas Carol (1992) is an inordinately popular choice for favourite Christmas movies of all time. It does not appear on my list; the Muppets scare me and I refuse to recommend that anyone sit through such horror, but if it makes you happy, then you do you.

I also have an honourable mention for The Snowman (1982), not included because it’s a short at only 26 minutes but definitely worth watching, Planes, Trains and Automobiles (1987), not included because technically it’s a Thanksgiving movie and not a Christmas film even though it’s absolutely brilliant, and The Night Before (2015), which was a surprise delight of a farcical R-rated comedy movie – it is not for everyone (and definitely not one for the kids!) but I found it hysterical.

So, let’s get on with the list! These are in ascending order from least favourite to most favourite.

On the twelfth day of Christmas my true love gave to me…

12 Grinches Stealing!

How the Grinch Stole Christmas (2000)

This is the live-action incarnation of the classic Dr Seuss tale. I am fond of the animated flick as well, but this iteration tops it for me due to the ridiculous and somehow brilliant performance of Jim Carrey as the titular character. Tiny Taylor Momsen pre-Gossip Girl days also stars as little Cindy Lou-Who with her bizarre up-do singing Faith Hill’s Where Are You Christmas. Fun, family friendly and just the right amount of psychotically weird.

Fun Fact: Jim Carrey improvised the line: ‘6.30: Dinner with me. I can’t cancel that again.’

11 Santa Clauses!

The Santa Clause (1994)

While the sequels declined in quality rapidly, the original Santa Clause movie is pretty fun. Yes, it’s cheesy and the special effects have aged it badly, but I still laud this movie for portraying a divorced parent household where the parents don’t get back together at the end of the movie. It’s a family dynamic that many kids can relate to but is so rarely put to film, especially not in a Christmas movie. Plus, the idea of your dad accidentally killing Santa Claus is so darkly funny that it never gets old.

Fun Fact: Santa’s gadget elf is named Quintin, an homage to Q in the Bond franchise.

10 Gremlins Spawning!

Gremlins (1984)

Comedy horror is one of my absolute favourite genres of film, and Gremlins might be one of the most iconic staples. This is the a-pet-is-for-life-not-just-for-Christmas trope taken to a fantasy extreme, and it is both hysterically funny and occasionally haunting. For fans of The Mandalorian, Gizmo from Gremlins is the original Baby Yoda, okay? There is so much in here that is quotable too: I yell ‘Bright Light! Bright Light!’ when my partner opens the blinds in the mornings all year round.

Fun Fact: The set for this movie is the same as the one used for Back to the Future (1985).

9 Postmen Delivering!

Klaus (2019)

The latest entry on the list, I watched Academy Award nominee Klaus in 2019 and thought it was satisfying and clever, but I much preferred it on a second viewing this year. Considering it’s an animated movie, the steady pace, intelligent script and brooding atmosphere do make the film feel much more like it has been created to entertain adults than children. It’s a gorgeously drawn, beautifully scored and emotionally poignant take on the origins of Christmas traditions.

Fun Fact: This is the first animated movie from Netflix to be nominated for an Academy Award.

8 Foiled Burglars!

Home Alone (1990)

The first of the Home Alone franchise is by far and away the best, but I do enjoy Home Alone 2: Lost in New York, if not only to see Tim Curry as the inept hotel manager. I’d grant that most kids and adult alike have seen the antics of Macauley Culkin in arguably his most famous role as the mischievous Kevin McAllister accidentally left to defend his home over the holidays from the Wet Bandits. A real crowd-pleaser that the whole family can enjoy.

Fun Fact: This movie was once in the Guinness World Book of Records for Highest Box Office Gross for a comedy movie.

7 Legal Miracles!

 Miracle on 34th Street (1994)

I haven’t watched the original black-and-white movie, but while I was growing up the remake of Miracle on 34th Street was always one of my favourites, starring Mara Wilson, a little younger than when she played Matilda, and David Attenborough’s equally lovable brother Richard, who you may remember from Jurassic Park. It’s a beautiful story about faith and belief, as Kriss Kringle tries to convince a six-year-old girl, her mother and the city of New York that he’s the real deal.

Fun Fact: The movie received a one-hundred percent test screening score, so its team tripled the marketing budget and opted for a wider release, but the strategy backfired as it was outperformed at the box office by The Santa Clause (1994).

6 Elves A-Belching!

Elf (2003)

I actually went to the cinema to see Elf when I was seven years old, and I remember that visit so clearly, not least because of how much my mum stifled her giggles through the belching scene. Elf is quintessential Will Ferrell: brightly coloured, endlessly quotable and fabulously stupid. The story of the human raised by elves and sent to meet his real father (who is on the naughty list) is wholesome, packed with nonstop gags, and Zooey Deschanel’s lovely rendition of Baby, It’s Cold Outside.  

Fun Fact: Will Ferrell actually ate most of the sugary foods he eats on camera, most notably the spaghetti with pop tarts and maple syrup. This scene was filmed twice, since he vomited the first time.

5 Christmas Songs!

White Christmas (1954)

This movie is probably the one that fewer people these days have seen, since it’s a fifties musical, but it’s honestly one of the most charming and beautiful Christmas movies. Exquisite singing, including Bing Crosby himself singing White Christmas; stellar dancing, particularly from Danny Kaye and Vera Ellen; and a good measure of holiday romance and post-wartime cheer. There are good laughs all the way through and the ending always makes me tear up.

Fun Fact: Vera Ellen doesn’t do her own singing. They duplicate the voice of her onscreen sister instead. She was such a phenomenal dancer that they cast her anyway.

4 Hostages…?!

Die Hard (1988)

Honestly, don’t fight me on this. Die Hard is not only a Christmas movie, but it’s up there with the best. John McClane is easily one of the most badass movie heroes of all time, while still being flawed, complex and easy to root for. Not to mention Alan Rickman’s first big movie role as villain Hans Gruber, where he is effortlessly terrifying and sadistic. Show me a power move more intense than when a body is sent down in the elevator dressed as Santa Claus declaring ‘Ho ho ho, now I have a machine gun’? Faultless, and oh, so Christmassy.

Fun Fact: The scene where McClane jumps and misses the vent in the elevator shaft, grabbing the next one, was actually a mistake by the stuntman that ultimately felt even better and was left in the movie.

3 Home Swaps!

The Holiday (2006)

This is one of those movies that gets better year on year as you grow to love these characters more and more. It’s such a simple premise: kitschy, kind English journalist Kate Winslet and feisty, wealthy American advert-coordinator Cameron Diaz swap houses for the holiday period. But it just works. The dynamics between the characters work so well, Jude Law and Jack Black are both impossible not to fall in love with, and the aesthetics of costume and set design are on point to boot.

Fun fact: Many people take Kate Winslet’s character to be significantly less wealthy than Cameron Diaz, owning a cottage as opposed to a mansion. Yet, due to the size and location of the cottage, and English house prices, it would probably sell for over a million pounds.

2 Love Stories!

Love Actually (2003)

One of the most ambitious romantic comedies, with so many conflicting and parallel storylines, Love Actually’s first draw is its unbelievably star-studded ensemble cast, from Hugh Grant to Emma Thompson, Colin Firth to Martin Freeman, Alan Rickman to Keira Knightley and of course, Rowan Atkinson. Wonderfully British, stacked with just the right number of heartbreaks, unlikely connections and grand romantic gestures, Love Actually is extraordinarily difficult not to enjoy.

Fun Fact: Thomas Brodie-Sangster (who plays Liam Neeson’s drummer stepson) and Keira Knightley (who marries in the movie’s opening scene), are only five years apart in age.

And 1 Pair of Angel Wings!

It’s a Wonderful Life (1946)

This is the oldest movie on my list, the only one in black-and-white, and in my opinion, it is yet to be surpassed as the number one Christmas movie of all time. Despite flopping in theatres on its initial release, the film quickly became a Christmas staple, and for good reasons. James Stewart and Donna Reed’s impeccable performances, the well-crafted and lovable characters in the town of Bedford Falls, and the heartfelt and genuine message of taking joy in life and the people who love us all come together to form one near-perfect film. I’ve had the joy the past couple of years of watching it on the big screen at the Hyde Park Picture House, and here’s hoping in 2021 that I can see it there again!

Fun fact: the policeman and cabbie are named Bert and Ernie, and the Muppets were named after them. (There you go, your Christmas Muppets. That’s as good as I can do.)

And that’s my list!

As always, let me know what you think in the comments and let me know if you have other Christmas favourites that I didn’t include. Please support film and the art of filmmaking by watching films legally.

I wish you all a very happy holiday and until next time, cheerio!

I’m Thinking of Ending Things (2020)

A Spoiler-Free Review

Directed By: Charlie Kaufman

Genre: Horror, Thriller, Drama

I’m Thinking of Ending Things is the latest venture of Charlie Kaufman, the writer behind Eternal Sunshine of the Spotless Mind and Being John Malkovich and writer-director of Anomalisa and Synecdoche, New York. A surrealist drama, the movie is expertly made and crafted, but unfortunately never quite arrests the mind or soul.

Kaufman is no stranger to exploring the surreal, and this movie is no different. However, unlike some of his other works, I’m Thinking of Ending Things is not a fantastical journey through an otherwise easily understood plot. This movie is drenched in metaphor and refuses to explain itself explicitly, much more reminiscent of the works of Darren Aronofsky (Black Swan, Mother!) or even David Lynch (Mulholland Drive, Twin Peaks).

Based on a book of the same name by Iain Reid, I’m Thinking of Ending Things is a labyrinth of a movie, seeming to jump through different points of time and different realities for its central couple (Chernobyl’s Jessie Buckley and The Irishman’s Jesse Plemons) as they journey to and from dinner at Jake’s parents’ (Hereditary’s Toni Colette and The Boy in the Striped Pyjamas’ David Thewlis) farmhouse.

The acting is exceptional throughout, but even this is at times overshadowed by the expert cinematography, which generates a deeply claustrophobic and unsettled atmosphere which never lets up during its, possibly overlong, 134 minute runtime. Considering Kaufman rarely takes the directing helm for the work he writes, his skill behind the camera is especially laudable here.

That being said, the movie is not perfect, and I think it’s overshooting to herald it as a masterpiece, which others have claimed. I have not read the source material; others who have say that the movie omitted some scenes from the book which would have set a subjective reality to the events depicted. Personally, I am happy to sit after a movie and try to decipher its meaning but it can be quite disappointing to then discover that there is a ‘right answer’ that simply wasn’t made clear. You shouldn’t have to read the source to comprehend an interpretation.

The script’s themes of identity are brought to the surface by utilising a good deal of words directly lifted from other writers, which gets tiresome after a few instances. Identity is a fascinating theme for film, but the works of Christopher Nolan are a far better dissection. Its themes of loneliness and connection, the overriding theme of Kaufman’s work, are highlighted here once more with greater success, but what is actually depicted occasionally feels like surrealism for the sake of surrealism rather than surrealism in the best interest of serving the narrative.

The biggest issue I had with the film was simply that it didn’t move me. For a movie with so many wonderful actors, unnerving score and heavy themes (really trying not to spoil anything!), I really feel like I ought to have felt something greater or more profound than just unease. Surrealist movies can hit in a way that is ineffable and quite beautiful; I remember weeping through the Silencio sequence in David Lynch’s Mulholland Drive even though I had no idea what was going on. I’m Thinking of Ending Things just wasn’t quite able to tap into that innate appreciation for great art.

My Rating: I give I’m Thinking of Ending Things 3/5 stars, placing in my Watch When category.

Watch When… you’ve read the book, by the sounds of it! One thing to this film’s credit is that it has played on my mind since watching, and I suppose that says something in its favour. If you have friends who like to dissect movies with you, then give this a go, but it’s not one I’ll be rushing to recommend to anyone. It would be a great subject for a film essay, in that everything here feels very intentional, but that is perhaps to its detriment as a piece of entertainment.

Public Opinion: I’m Thinking of Ending Things averages 78/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: A great deal of the dialogue is cobbled together from other sources, including poetry by Rouen and the movie A Beautiful Mind.

I’m Thinking of Ending Things is currently showing on Netflix. Please support film and the art of filmmaking by watching this movie legally.

As always, I’d love to hear your thoughts. What did you think of this film? If you enjoyed this piece, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch with Humanity’ for access and updates on all my content. Cheerio!

Quick Reviews: 10 Recent Watches

I’m back!

Sometimes you don’t want to read a full review and just want to know if a movie is any good. So here are 10 movies I’ve watched recently, some general information alongside my opinions, a rating for each one compared to the public and critic view and a fun fact for good measure. For more information on how I rank and score movies please refer to my first Quick Reviews, but for those who don’t care, these are listed from best to worst.

These recent watches include some old classics, some Oscar nominees, new releases and some that might be on your Netflix watch-list, so hopefully there’s something in here for everyone. Without further ado, let’s get cracking.

Don’t Miss…

  • 1917 (2019)

Director: Sam Mendes (Skyfall)

Starring: Dean-Charles Chapman (Game of Thrones), George MacKay (Captain Fantastic), Andrew Scott (Sherlock), Colin Firth (The King’s Speech)

Genre: Action, Drama, War

Okay, so this is the movie that everyone has been talking about and, in my opinion, it absolutely lives up to the hype. The longshot effect made me feel like I was playing a first-person shooter videogame and I was on the edge of my seat throughout. The two leads are compelling actors, the plot simple but tense and expertly well-paced, and this is truly phenomenal work in terms of score and soundscape. Deeply intense, and if you can catch this in the IMAX before it leaves theatres, then I absolutely recommend shelling out the extra pennies.

My Rating: Five stars, firmly placed in my Don’t Miss category.

Reception: This movie averages 85/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: The team lost a day of filming because one of the cigarette lighter of an extra didn’t work and it rendered the entire day’s longshot worthless.

Don’t Miss…

  • Little Women (2019)

Director: Greta Gerwig (Lady Bird)

Starring: Saoirse Ronan (Lady Bird), Emma Watson (Harry Potter), Meryl Streep (The Devil Wears Prada), Laura Dern (Marriage Story), Florence Pugh (Midsommar), Timothee Chalamet (Lady Bird)

Genre: Drama

As someone who’s seen a number of Little Women adaptations, including the 1994 film starring Winona Ryder and Christian Bale, I think Gerwig’s version is definitive. Well-cast and gorgeous from beginning to end, with the performances from Saoirse Ronan and Florence Pugh particularly shining here. There are some refreshing changes to the material, such as a non-linear timeline and a deeper exploration of the character of Amy who is not nearly as unlikeable as she has been in previous iterations, and some alterations to better reflect the true history of the novel’s author Louisa May Alcott. I cried four times.

My Rating: Five stars, firmly placed in my Don’t Miss category.

Reception: This movie averages 90/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: Though the book and film are American, none of the four March sisters are played by American actresses. Emma Watson and Florence Pugh are English, Saoirse Ronan is Irish and Eliza Scanlen is Australian.

It’s Worth Watching…

  • Jaws (1975)

Director: Steven Spielberg (Catch Me If You Can)

Starring: Roy Scheider (The French Connection), Robert Shaw (The Sting), Richard Dreyfuss (Close Encounters of the Third Kind), Lorraine Gary (Jaws 2)

Genre: Action, Horror, Thriller

I’m always apprehensive of watching something as iconic as Jaws, because I’m afraid that some action, horror and thriller movies don’t always date elegantly. Jaws holds up. While it may astonish people who saw its original release to know that the movie has been re-rated as a 12A, the movie is still tense, bloody and shocking. Even with the incredible John Williams score to the famously improvised ‘You’re gonna need a bigger boat’, there are still plenty of surprises here for a first-time viewer, and a lot to respect. That being said, I won’t have any trouble swimming next time I visit the beach!

My Rating: Four and a half stars, at the high end of my Watch Because category.

Reception: This movie averages 89/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: This movie is widely regarded to be the first ever ‘summer blockbuster’.

It’s Worth Watching…

  • The Usual Suspects (1995)

Director: Bryan Singer (X-Men)

Starring: Kevin Spacey (American Beauty), Gabriel Byrne (Stigmata), Benicio del Toro (Sicario), Stephen Baldwin (The Flintstones)

Genre: Drama, Mystery, Thriller

This is a film I’ve been waiting to watch for a long time, and I finally managed to snag a copy of it from a charity shop. There is a lot to like about The Usual Suspects, and I see why it’s included in lists alongside other great thriller movies such as Fight Club and Lock, Stock and Two Smoking Barrels. The dialogue is crisp and snappy, the characters engaging and memorable, and the story convoluted and dramatic enough to feast the eyes. I don’t think it’s a perfect film, and I don’t think it’s quite worth all the clamorous heralding it’s received over the years, but it’s a story that keeps you guessing until the end, and that’s all you really want from a good mystery.

My Rating: Four and a half stars, at the high end of my Watch Because category.

Reception: This movie averages 87/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Production on this movie was shut down for two days following the now-infamous behaviour of Kevin Spacey.

It’s Worth Watching…

  • Birds of Prey (2020)

Director: Cathy Yan (Dead Pigs)

Starring: Margot Robbie (The Wolf of Wall Street), Ewan MacGregor (Trainspotting), Rosie Perez (The Road to El Dorado), Mary Elizabeth Winstead (Scott Pilgrim vs. the World)

Genre: Action, Adventure, Fantasy

After the disappointment of Suicide Squad, I was apprehensive going in to see this film, because I really wanted it to be good. It is. Margot Robbie’s Harley Quinn is a wacky and charismatic antihero, the supporting characters are fleshed out and diverse, the villain suitably abhorrent and the violence is gratuitous in an enjoyably Deadpool or Kick-Ass kind of way. The costumes are fantastic, the soundtrack slaps and the self-referential humour lands time and time again. It’s a fabulously fun romp and is bloody and adult without ever feeling all too dark and macabre – just like a good comic book!

My Rating: Four stars, square in my Watch Because category.

Reception: This movie averages 71/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: The director, producer and writer are all women, the core cast are all women and the soundtrack includes only female artists.

If You Like Character Drama Then Try…

  • Marriage Story (2019)

Director: Noah Baumbach (The Squid and the Whale)

Starring: Adam Driver (Star Wars VII-IX), Scarlett Johannson (The Avengers), Laura Dern (Little Women), Julie Hagerty (Airplane!)

Genre: Drama

I’ll admit, I watched this because it received so many Oscar nominations, and I can see why it did, because there’s not all that much that’s wrong with it. The cinematography is adept and calculated, Driver and Johannson both put in admirable performances, even though they are outshone by a stellar turn from Laura Dern, and the script is tight and well-written with some truly excellent monologues. It does feel like a play put to screen, and personally I don’t think it much benefited from the score by Randy Newman which I found jarringly twee, and I didn’t think the musical interludes were necessary. I was expecting it to devastate, which it doesn’t, but it is a satisfying film.

My Rating: Three and a half stars, at the high end of my Watch When category.

Reception: This movie averages 88/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: Both of the songs sung by Adam Driver and Scarlett Johannson are from the Sondheim musical Company.

If You Like Sci-Fi Action Then Try…

  • Minority Report (2002)

Director: Steven Spielberg (AI)

Starring: Tom Cruise (Mission Impossible), Colin Farrell (In Bruges), Samantha Morton (The Messenger), Max von Sydow (Flash Gordon)

Genre: Science Fiction, Action, Thriller

It’s dated, yes, and in places it is ludicrous, but if you’re willing to suspend some disbelief, there’s an interesting thesis on the nature of free will and what it is that makes us human via the curious premise of predicting crimes before they occur. Scarily, a large portion of the technological science fiction has been invented and implemented post the movie’s release, which is terrifying in a way that the moviemakers could not have known! It’s a philosophical film wrapped in a gauze of stereotypically impossible Tom Cruise early-noughties action. Personally, I would have preferred it to lean a little further into the philosophy, but a fun ride.

My Rating: Three stars, square in my Watch When category.

Reception: This movie averages 82/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: The second in Steven Spielberg’s Running Man Trilogy, alongside the movies A.I. and Catch Me If You Can.

I Can’t Recommend…

  • Velvet Buzzsaw (2019)

Director: Dan Gilroy (Nightcrawler)

Starring: Jake Gyllenhaal (Donnie Darko), Zawe Ashton (Fresh Meat), Rene Russo (Nightcrawler), Natalia Dyer (Stranger Things), John Malkovich (Bird Box), Tom Sturridge (The Boat that Rocked)

Genre: Horror, Mystery

Considering the cast which this Netflix horror accrued, I was expecting a little more from the delivery. It started well, but around halfway through the movie, it fell to pieces and lost the essence of its message. While I wouldn’t usually ask for a horror movie to be too intellectual, that seems to be the purpose of this film’s existence, as it never leans far enough into its scares or its comedy either, which leaves it feeling a little hollow and muddled. It’s a shame, because there was a lot of promise here and plenty of talent and good ideas that feel a little squandered or poorly executed. I did enjoy the performance of Toni Colette, but then I enjoy her in just about everything.

My Rating: Two and a half stars, at the low end of my Watch When category.

Reception: This movie averages 54/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: Despite the movie taking place in the year 2019, Jake Gyllenhaal’s character still uses a flip phone.

I Can’t Recommend…

  • The Hustle (2019)

Director: Chris Addison (Mock the Week)

Starring: Rebel Wilson (Pitch Perfect), Anne Hathaway (The Princess Diaries), Alex Sharp (To the Bone), Ingrid Oliver (Doctor Who)

Genre: Comedy, Romance

It feels a little harsh to slate a trashy comedy, because I know that it’s not trying to be anything more than it is, which is a trashy comedy. It’s just trying to give you a cheap laugh and you don’t have to think. While I laughed a little and did make it to the end, I think the movie fails in a few accounts, even by trashy comedy standards. It relies on the slapstick, clichéd fat and bodily malfunction jokes that we’ve seen a thousand times before. Considering it’s a movie about hustling people, few of the hustles would get past anyone with an average IQ. The relationship between the two leads never feels fleshed out and Anne Hathaway’s character in particular feels too shallow. A fail for me.

My Rating: Two stars, square in my Only Watch If category.

Reception: This movie averages 37/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: Anne Hathaway speaks in a gaudily over-pronounced false English accent for most of the film as she thought that audiences would scoff if she attempted a more realistic one.

I Can’t Recommend…

  • Alex Strangelove (2018)

Director: Craig Johnson (The Skeleton Twins)

Starring: Daniel Doheny (The Package), Madeline Weinstein (Beach Rats), Antonio Marziale (Altered Carbon), Daniel Zolghadri (Eighth Grade)

Genre: Comedy, Romance

I wanted to like this so much and I think that’s probably why I have to place it so low, because this movie got pretty favourable reviews and I vehemently disagree. This is a Netflix queer love story that some compared to the box-office success that was Love, Simon. It is nowhere near as successful or endearing as Love, Simon. The comedy repeatedly falls flat, the awkwardness never feels wholly intentional and a large portion of the often-unlikeable characters serve no function narratively. It’s a clunky mess which struggles to follow its own through-lines cohesively, leaving us with a movie that feels rushed and harsh. Watch Love, Simon instead.

My Rating: One and a half star, at the low end of my Only Watch If category.

Reception: This movie averages 69/100 across IMDb, Metacritic and Rotten Tomatoes

Fun Fact: Panic! at the Disco’s Brendon Urie is honoured to be remembered in the movie’s best line: ‘Do you listen to Panic at the Disco while j***ing off to pictures of vampires? No? Then you’re not bisexual.’

And that’s my list! Let me know what you thought of these movies and give me a like if you want to see more lists like this. Please support film and the art of filmmaking by watching these movies legally. Until next time, cheerio!

Once Upon A Time In Hollywood (2019) Movie Review

A Spoiler-Free Review

Directed By: Quentin Tarantino

Genre: Action, Comedy, Drama

Once Upon a Time in Hollywood is the ninth (tenth if you count the Kill Bill volumes separately) feature film production from Quentin Tarantino, arguably one of the most famous and idolised contemporary directors. Six of his movies are in the IMDb Top 250, and two of the others which didn’t make the cut still won Academy Awards. Therefore, when he releases a new movie, Tarantino is always being compared to great competition: his previous work.

Like Inglourious Basterds, Tarantino’s latest venture inserts our fictional antiheroes Rick Dalton, a westerns actor played by Leonardo DiCaprio, and Cliff Booth, a stuntman played by Brad Pitt, into a very real history: the end of the Hollywood Golden Era in 1969. Several historical figures make appearances, notably Margot Robbie as Sharon Tate, Rafal Zawierucha as Roman Polanksi, Damian Lewis as Steve McQueen, Damon Herriman as Charles Manson and Mike Moh in the film’s most controversial portrayal as Bruce Lee (there is no shortage of articles on this if you would like to read more). The acting is excellent from start to finish, I particularly enjoyed Margaret Qualley as Pussycat and Julia Butters as Trudi.

A few of the other reviews which I have seen of this film have criticised it for one reason or another, citing Tarantino’s nostalgia for the late 1960s as regressive and misplaced, and his manipulation of historical accuracies as damaging. But for me, the real question is always: is it a good film? Is it well-made, well-acted, well-written and entertaining? Yes, yes, yes and yes. I interpret Tarantino’s nostalgia for the sixties purely in the context of Hollywood film and not the wider attitudes of society. LA is brought to life in vivid colour, replete with memorabilia, reference and brands which were staples of the time. Manipulation of historical fact has been done countless times to suit a narrative, and in this case, I feel it is especially fitting; the title starts Once Upon A Time – we know that this isn’t real, that this is a fairy-tale and while it may bear similarities to the real world, it is an illusion presented to perhaps teach us something, give us someone to root for and, hopefully, comfort us.

Though not as instantly iconic or crowd-pleasing as Pulp Fiction or Reservoir Dogs, I like this movie for a lot of reasons. As it is based in a reality similar to our own, and in typical Tarantino fashion, this is a character-driven drama peppered with irony and dark humour, long camera shots and a worthy score. Though it is two hours and forty minutes long, I was fully engaged from start to finish and did not once check the time. It presents us with complex, flawed and believable male and female characters in a fantastically realised setting, to retell a story which haunts Hollywood’s history. I’m glad it’s been told this way.

My Rating: I give Once Upon a Time in Hollywood 5/5 stars, placing it in my Don’t Miss category.

Don’t Miss…the first time that iconic stars Leonardo DiCaprio and Brad Pitt pair up on-screen. They have great on-screen chemistry and balance each other brilliantly. Don’t Miss the opportunity to read up on some of the interesting and terrifying history of the events surrounding 1969 Hollywood before or after you watch the movie. Don’t Miss the references and tie-ins to other movies in Tarantino’s library; I spotted Jackie Brown, Death Proof, Inglourious Basterds and the Hateful Eight to name a few. There are also hundreds of cameos from Tarantino regulars such as Kurt Russell, Zoe Bell and Michael Madsen, and their children, such as Bruce Willis’ daughter Rumer Willis and Uma Thurman’s daughter Maya Hawke.

Public Opinion: Once Upon a Time in Hollywood averages 80/100 across IMDb and Rotten Tomatoes.

Fun Fact: The Party scene at the Playboy mansion is filmed on location, despite the death of Hugh Hefner.

Once Upon a Time in Hollywood is currently showing in cinemas. Please support film and the art of filmmaking by watching this movie legally.

As always, I’d love to hear your thoughts. What did you think of this film? If you enjoyed this piece, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch with Humanity’ for access and updates on all my content. Cheerio!

Quick Reviews: 11 Recent Watches

I got some great positive feedback after my last ‘Quick Reviews’ post, so here we go again. Sometimes, you don’t have time to read a full review and you just want to know if it’s any good. So here are 11 movies I’ve watched recently (which weren’t released this year), some general information alongside my opinions, a rating for each one compared to the public view, and a fun fact for good measure. For more information on how I rank and score movies please refer to my first ‘Quick Reviews’ post from May. Without further ado, here’s the list!

DON’T MISS

BLACKKKLANSMAN (2018)

Directed By: Spike Lee (Malcolm X)

Starring: John David Washington (The Book of Eli), Adam Driver (Star Wars Episode VII: The Force Awakens), Laura Harrier (Spider-Man: Homecoming) and Topher Grace (Spider-Man 3)

This was my top movie for 2018. It’s aesthetically rich, the score is sensational, the dialogue is fast-paced and often extremely funny. The acting is great all-round, particularly from John David Washington who is amazingly believable and likeable. Also, I was glad to see Adam Driver perform so well in a role outside of the Star Wars universe (where I was unimpressed with his acting). It has a little bit of everything and still hits home its strong political message. An absolute winner.

My Rating: I give this movie 93/100 with a score of 27/30 in Writing, 19/20 in Acting, 24/25 in Filmmaking and 23/25 in Entertainment.

Public View: This movies averages 84/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: The real head of the KKK, David Duke, is not a fan of the movie, but strangely he did not object to the source material novel from Ron Stallworth.

WATCH BECAUSE

THE IRON GIANT (1999)

Directed By: Brad Bird (The Incredibles)

Starring: Vin Diesel (Fast & Furious), Jennifer Aniston (Friends), Eli Marienthal (American Pie) and Harry Connick Jr (Independence Day).

I never saw this movie as a child, but I knew that it was supposed to be one of the most emotional animated movies of all time, so when I found it at a charity shop I decided to give it a go. Even now, I seriously enjoyed this movie and it tugged at my heartstrings. I do love a bit of science fiction which this definitely sates; it’s consistently amusing and it’s nice to watch a traditionally animated hand-drawn cartoon. Great characters, great script, great animation. Can’t fault it for a kids’ movie!

My Rating: I give this movie 89/100 with a score of 26/30 in Writing, 17/20 in Acting, 22/25 in Filmmaking and 24/25 in Entertainment.

Public View: This movie averages 88/100 across IMDb, Metacritic and Rotten Tomatoes.

(Not So) Fun Fact: The book was written by Ted Hughes for his children after their mother, Sylvia Plath’s, death.

SOME LIKE IT HOT (1959)

Directed By: Billy Wilder (Sunset Boulevard)

Starring: Marilyn Monroe (Gentlemen Prefer Blondes), Tony Curtis (Spartacus), Jack Lemmon (The Apartment) and George Raft (They Drive By Night).

This movie was revolutionary for its time, the main premise being that Tony Curtis and Jack Lemmon’s characters dress in drag and participate in an all-female band in order to evade capture by gangsters. The comedy holds up surprisingly well, the costumes and general aesthetic are fun, the music brings a showmanship and levity which is very entertaining. There was some controversy surrounding Marilyn Monroe’s performance as she was suffering deeply with her addictions and afflictions at the time which made acting difficult for her, but she is still enigmatic and captivating. It’s one of the classics and worth watching.

My Rating: I give this movie 85/100 with a score of 23/30 in Writing, 16/20 in Acting, 22/25 in Filmmaking and 24/25 in Entertainment.

Public View: This movie averages 92/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This movie was banned in Kansas for being ‘too disturbing’ due to the cross-dressing.

GET OUT (2017)

Directed By: Jordan Peele (Us)

Starring: Daniel Kaluuya (Black Mirror), Allison Williams (A Series of Unfortunate Events), Bradley Whitford (The Cabin in the Woods) and Catherine Keener (Capote).

As a long-time horror fan, I was so pleased to see that Jordan Peele clearly has such reverence for the genre. Every scene, every detail has been chosen meticulously, and regardless of what you think of horror, it is hard to deny that this is excellent filmmaking. The script is tight in terms of plot, theme and character, it is well-acted and visually impressive. While not ‘scary’ in terms of levels of gory violence or shock-value, the concept is deeply disturbing, the atmosphere remains mysterious and eerie throughout, and the climactic scenes should twist the stomach.

My Rating: I give this movie 82/100 with a score of 25/30 in Writing, 18/20 in Acting, 19/25 in Filmmaking and 20/25 in Entertainment.

Public View: This movie averages 86/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This was Jordan Peele’s directorial debut.

I, TONYA (2017)

Directed By: Craig Gillespie (The Finest Hours)

Starring: Margot Robbie (Suicide Squad), Sebastian Stan (Captain America), Alison Janney (The Help) and Julianne Nicholson (Black Mass).

A non-traditional take on the biopic, filmed in a documentary-style where character’s testimonies often directly contradict the action which unfolds on the screen. It is interesting to watch a movie which follows an anti-hero of popular culture, someone people hate to love and love to hate in equal measure. The violence in the movie is unnerving and, in my opinion, totally necessary and not exploitative (which has been a criticism). Special credit to the casting, costume and makeup department who have done an excellent job recreating these characters as the world remembers them.

My Rating: I give this movie 78/100 with a score of 24/30 in Writing, 19/20 in Acting, 19/25 in Filmmaking and 16/25 in Entertainment.

Public View: This movie averages 82/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Margot Robbie does a lot of her own skating, but she does not perform the triple axel. This is fair, seeing as there are no professional skaters who can currently perform it.

WATCH WHEN

SCHOOL OF ROCK (2003)

Directed By: Richard Linklater (Waking Life)

Starring: Jack Black (Kung Fu Panda), Joan Cusack (Toy Story 2), Miranda Cosgrove (Despicable Me) and Sarah Silverman (A Million Ways to Die in the West).

I can’t believe I had to wait until I was 23 to see this movie, and I really wish I’d seen it as a kid. It’s not going to win any Oscars, but it’s light-hearted, family-friendly entertainment with a kick-ass soundtrack. Jack Black stars as the character he’s played in every single one of his movies ever (except maybe Kung-Fu Panda), but there’s a reason he plays this role over and over: he’s good at it. He’s more than capable of carrying this lead role, well-supported by Joan Cusack to balance his chaotic energy. The acting from the children does vary, but there are some wholesome characters and they are clearly talented musicians.

My Rating: I give this movie 75/100 with a score of 19/30 in Writing, 15/20 in Acting, 20/25 in Filmmaking and 21/25 in Entertainment.

Public View: This movie averages 77/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: All the kids really play their instruments.

BIRD BOX (2018)

Directed By: Susanne Bier (After the Wedding)

Starring: Sandra Bullock (Miss Congeniality), Trevante Rhodes (Moonlight), John Malkovich (Dangerous Liaisons) and Sarah Paulson (American Horror Story).

This movie is not what I expected it to be. It’s a moody, slow-build drama with horror elements, and it’s a mystery from start to finish. It does require some patience, focused attention and most crucially, the willingness to continue thinking after the movie has ended. Personally, I enjoyed it, and I really like sitting down after a movie and wondering and discussing what it all means. You have to be in the right mood to watch this, and even then, just because something warrants discussion doesn’t mean you’ll like it! More one for a film discussion group or the avid psychological horror fan, perhaps.

My Rating: I give this movie 73/100 with a score of 21/30 in Writing, 17/20 in Acting, 20/25 in Filmmaking and 15/25 in Entertainment.

Public View: This movie averages 61/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This movie sparked the Internet phenomenon ‘The Bird Box Challenge’.

BEAUTY AND THE BEAST (2017)

Directed By: Bill Condon (Dreamgirls)

Starring: Emma Watson (Harry Potter), Dan Stevens (Downton Abbey), Luke Evans (High-Rise) and Josh Gad (Frozen).

If you’ve seen the original Beauty and the Beast, then you’ve pretty much seen this. There are some minor additions regarding the Enchantress and slight changes to the order of events and characters, but it’s very similar. That’s not necessarily a bad thing: why mess with a brilliant and iconic story? But likewise, why not just stick to the cartoon? Well, I will say that the live-action version is beautiful, particularly as I saw it on the big screen, and there is that obvious nostalgia. The Big Gay Moment™ was extremely disappointing, so it’s not worth watching for that! It’s simple really: if you like Disney live-action remakes, then you’ll like this. If you don’t, you won’t. Personally, I don’t regret seeing it, but I probably won’t watch it again.

My Rating: I give this movie 69/100 with a score of 21/30 in Writing, 11/20 in Acting, 22/25 in Filmmaking and 15/25 in Entertainment.

Public View: This movie averages 72/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Luke Evans wore fake teeth during filming, as his natural canines are so long that he looked too much like a vampire.

ONLY WATCH IF

GLASS (2019)

Directed By: M. Night Shyamalan (The Sixth Sense)

Starring: Bruce Willis (Die Hard), Samuel L. Jackson (Pulp Fiction), James McAvoy (Atonement) and Sarah Paulson (American Horror Story).

Oh, this was so annoying! It’s not that it’s a downright bad movie, it just doesn’t live up to the quality of its two predecessors: Unbreakable (2000) and Split (2016). Having watched the trailer, I was extremely excited by the concept and the coming together of these characters I know and love. However, the movie felt rushed, unnecessarily cruel and hollow. I love Sarah Paulson, but this is not a great performance from her. The direction is odd, the script is weak and the concepts which were most intriguing were barely explored. The ultimate fault for me was that the key characters are kept in isolation for the majority of the movie, when the reason this movie even exists is because we want to see them interact in this world! Don’t watch it before you’ve seen the first (excellent) two movies, watch it to finish the trilogy, but expect to be a little frustrated with this conclusion. Gutted.

My Rating: I give this movie 65/100 with a score of 14/30 in Writing, 16/20 in Acting, 19/25 in Filmmaking and 16/25 in Entertainment.

Public View: This movie averages 58/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This movie was a surprise finale to a trilogy spanning almost 20 years.

A MILLION WAYS TO DIE IN THE WEST (2014)

Directed By: Seth MacFarlane (Family Guy)

Starring: Seth MacFarlane (Family Guy), Charlize Theron (Snow White and the Huntsman), Amanda Seyfried (Mean Girls) and Neil Patrick Harris (How I Met Your Mother).

Seth MacFarlane’s writing is crude, offensive and hit-and-miss, but there are just so many jokes per scene that it’s hard not to find at least one to laugh at. The movie does not take itself seriously at any turn, has an all-star comedian cast and is rich in cameos, and the characters are able to carry the predictable plot arc. If you don’t enjoy offensive comedy, don’t like Seth MacFarlane’s other work or don’t like his acting, then you probably won’t enjoy this film. However, if you don’t mind these things, and you’re happy to sit down and watch a movie which will offer nothing more than trying to make you laugh, then you’ll have a good time. And I laughed. Hard.

My Rating: I give this movie 60/100 with a score of 16/30 in Writing, 11/20 in Acting, 13/25 in Filmmaking and 20/25 in Entertainment.

Public View: This movie averages 45/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Liam Neeson agreed to do this movie if he got to use his Irish accent.

DON’T BOTHER

TO ALL THE BOYS I’VE LOVED BEFORE (2018)

Directed By: Susan Johnson (Carrie Pilby)

Starring: Lana Condor (X-Men: Apocalypse), Noah Centineo (The Perfect Date), Janel Parrish (Pretty Little Liars) and Anna Cathcart (Spring Breakers).

I appreciate that this movie fought so hard to be made. It is important to have solid representation in the media for every minority group, and this movie has a lot of great representation. And, it was directed by and written by women, which I wholly support. However, I didn’t like it. I think maybe I’m too old for tween romantic comedy dramas, but this plot felt contrived and cliched, the acting was patchy, the aesthetic cloyingly bright and cheesy, the drama felt forced and the jokes didn’t land. It got great reviews from the public and the critics, but so much didn’t work for me here that I can’t recommend it.

My Rating: I give this movie 38/100 with a score of 9/30 in Writing, 9/20 in Acting, 12/25 in Filmmaking and 8/25 in Entertainment.

Public View: This movie averages 80/100 across IMDb, Metacritic and Rotten Tomatoes.

(Not So) Fun Fact: This movie struggled to get funding due to the fact it had an Asian female character in the lead role.

And that’s my list! Let me know what you thought of these films in the comments. If you enjoyed this piece, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch With Humanity’ for access and updates on all my content. Cheerio!

LGBTQ+ Movies: An Introduction

Last weekend, I had the pleasure of attending my very first Pride parade in Leeds. Earlier this summer, I visited Stonewall and the New York Public Library’s Love and Resistance exhibition in honour of Pride month and the 50th anniversary of the Stonewall Riots. I’ve taken a photo of myself underneath the iconic Gay Street sign, seen the stand-up shows of iconic drag queens Katya, Trixie and Sasha Velour, and celebrated a personal ten-year anniversary of accepting my own sexual orientation.

Feeling proud and inspired, I’ve decided to run a series of quick reviews of movies which contain LGBTQ+ content, from biopics to dramas to romantic comedies and beyond, all alongside my usual reviews. Before we get into those, however, I thought it would be interesting to discuss some of the history of LGBTQ+ film and why the demand for more inclusive and varied representation for LGBTQ+ characters and storylines is so vital for us to meet.

For a long time, there was a dearth in the number of movies which contained any explicit LGBTQ+ content. This has its roots in many places. Homosexuality was illegal in the United Kingdom until 1967, and Illinois became the first state of America to decriminalise homosexuality in 1962. Empires such as Nazi Germany, the Soviet Union and the People’s Republic of China destroyed countless records which appeared to represent or celebrate queerness. The AIDS crisis in the 1980s made acknowledging queerness seem ‘dangerous’, to the extent that EastEnders suffered public outcry after a man kissed another man on the forehead in a 1987 episode. Another, perhaps less well-known, factor was a document known as the Hays Code. This ‘Magna Carta of official decency’ enforced censorship on American cinema from the early thirties until its dissolution in 1965, however its effects have worn on well into the present day.

The Hays Code had a number of rules. The clergy could not be mocked, resulting in the change of Mr Collins in Pride and Prejudice to a librarian. Love scenes were not allowed unless the woman had one foot on the floor, resulting in the ‘foot-popping’ trope when kissing or embracing. Critically, ‘sexual perversion’ could not be explicitly depicted in cinema, the definition of which included same-sex attracted or gender non-conforming characters. This was the nail-in-the-coffin for explicitly queer characters for thirty years.

Filmmakers who wished to defy the code in small, quiet ways, would utilise subtext and stereotype for viewers to infer queerness. We came to experience masculine and emasculating ‘cross-dressing’ women, or flamboyant, stereotypically effeminate men. However, in the few instances where a character was implied to be LGBTQ+, the character would often be written as morally bankrupt, to show that this ‘sexual perversion’ was associated with villainy, violence and depravity. The code also spawned the infamous ‘bury your gays’ trope, as it was also a loophole for filmmakers to allude to homosexuality or transgenderism by killing off these characters.

How many villains carry the stereotypical characteristics associated with queerness? Look at Joel Cairo from The Maltese Falcon (1941), who was explicitly gay in the source material, Prince John in The Adventures of Robin Hood (1938), Addison de Witt from All About Eve (1950) or even Norman Bates in Psycho (1960). You can look no further than Disney villains to realise how this trope has continued since the end of the Hays Code, such as Hades in Hercules who is quite literally ‘flaming’, Ursula in The Little Mermaid whose look was based on infamous drag queen Divine, or the effeminate Scar from The Lion King. Outside of cartoon, this trait is evidenced in such characters as gender non-conforming bisexual serial killer Buffalo Bill in The Silence of the Lambs, or the quartet of man-killing bisexual and lesbian women in Basic Instinct. The list goes on and on. This is not to say that these are not great movies and should not be enjoyed: they absolutely should. It’s just not a coincidence that the borders of queerness and villainy blur.

Before the Hays Code, it was the 1920s. While the world was by no means liberal at the time, not least with a surge of white nationalism and new immigration laws in America (oh, how history repeats itself), it was a defining era for women. They had abandoned gowns in favour of flapper dresses and cut their hair short. Prohibition gave rise to the speakeasy, where women were welcomed. Jazz music, the Charleston dance and promiscuity became commonplace for women to openly enjoy, and women’s suffrage was gaining traction, especially after women won the right to vote in the United Kingdom in 1918.

These newfound freedoms were seen by conservative groups at the time as being indicative of a moralistic downturn in society which they viewed as being reflected in film. In 1922, Manslaughter became the first movie to depict an erotic same-sex kiss. Marlene Dietrich and Greta Garbo both kissed other women on-screen, to mixed reviews. In 1927, the movie Wings featured the first male-on-male kiss on-screen. Conservative, primarily religious, groups began boycotting such films and it was in discussions that Hollywood have an independent, legally bound censoring board to ameliorate these traditionalist concerns. The Hays Code was Hollywood’s response: a document which was not legally binding, but offered a series of ‘suggestions’ which, if were not adhered to, resulted in public backlash, reduced movie funding or otherwise destroyed the careers of filmmakers and actors alike. So, Hollywood relented, allowing their LGBTQ+ characters to appear only when shrouded in subtext, immorality and tragedy.

While I strangely appreciate that filmmakers found loopholes in the Hays Code rather than omitting representation altogether while constricted, damage has still been done. LGBTQ+ characters are repeatedly relegated to comic relief roles, they are among the first to die in horror movies (alongside people of colour), and they are often still stereotyped as the binary opposite of their assigned sex. Women-loving-women (or WLW) are often overtly over-sexualised, whereas men-loving-men (MLM) rarely are given tender love-scenes. Gender non-conforming or transgender characters are few and far between, as are intersectional characters, such as queer people of colour, queer people with disabilities, or queer people of different nationalities, religions and cultures outside of the white American Christian. Crucially, whilst it is important to have narratives in which sexual orientation or gender identity is a major character arc or plot point, it would be great to start having characters who are explicitly LGBTQ+ but where this is not an obstacle which must be hurdled: they just are who they are.

Luckily, the world is changing. This year has already seen some great leaps for the LGBTQ+ community: Botswana decriminalised homosexuality, Taiwan became the first Asian country to legalise same-sex marriage and San Marino banned discrimination based on sexual orientation. These issues are obviously more important in the fight for equal rights than media representation, but in a westernised world where we claim to no longer be homophobic, Hollywood has been finally been able to start changing too.

The resurgence of television via streaming services such as Netflix and Amazon Prime plays a huge role in this shift in attitude, since TV was never restricted by the Hays Code in the same way that film was. Though there are now more nuanced issues for LGBTQ+ representation such as queerbaiting, the Russo Test and the ‘plot twist’ trope, in both television and film, we are being gifted more and more stories which explore LGBTQ+ plotlines and characters. Slowly, we are moving further away from the stereotypes and are finally starting to share the stories of notable LGBTQ+ people from history, explore issues with care and vulnerability, and most importantly, give the LGBTQ+ community the heroes and the happy endings we deserve.

What did you think of this article? Let me know in the comments! Please like and share on social media, and find me @emmalhooker or via my page In Touch With Humanity. Until next time, cheerio!

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