Great GLBT Cinema

Three things, to me, elevate this movie to five-star excellence. The first is the brilliance and relateability of Lauren Ambrose's exceptional performance. She can project five emotions just through a facial expression. The second, is the simplicity of the story, and its realism. And the third is perhaps more personal; one scene features the Leona Naess song "Comatised" - one of my faves of all time!

Absolutely stunning film, telling the story of Zac and his family of four older brothers, mother and father over 25 years from his birth in 1960. I have so many superlatives for this film I risk spouting hyperbole, but this is truly a terrific piece of work.

Zac, born on Christmas day, grows up in a Catholic family (and his mother is convinced that that his date of birth means he has powers to heal the sick) feeling isolated, an outcast - he feels inexplicably different and longs only to fit in. As a child, Zac seems to be favored by his father but as he enters his teens there's a key shift change in their relationship and things are never the same.

This has to be one of the most successful coming of age films, and more specifically, coming out films I have ever seen. C.R.A.Z.Y. features an exceptional performance from Marc-André Frondin as Zac, who convinces as a 15 year old right up until his mid twenties, inspired direction, with an array of camera and effects techniques that never grow tired and avoid pastiche, a perfect soundtrack (Rolling Stones, David Bowie, Patsy Kline, Pink Floyd) and a resonant, moving story. Gripping from beginning to end credits, the film finishes on a hopeful note that feels genuinely earned. *Love* it.

"Jack, I swear..."

The best film of 2005, and should have won best picture at the 2006 Oscars.

A short story that spans many years is faithfully transported to the screen, ideas and hints expanded to full scenes with the spirit of the source remaining intact.

The synopsis is pretty much common knowledge by now, but the label of "gay cowboy" movie is unhelpful as it will, unfortunately, prevent a larger proportion of an audience in seeing this film. It greatly troubles me to hear of people either boycotting this film outright because of its subject matter, or walking out of screenings, since this is a beautiful, moving and heartfelt movie. At the screening I saw, I'm glad to say the audience all seemed to appreciate the film, and I found it interesting to see that when the lights came on at the end, most of the women were crying and most of the men were sat in silence or deep in thought (or, indeed, crying themselves).

In any case, this a stunning film: the direction, the photography, the music, the writing and of course the acting; at the time of release, the film was graced with career best performances from all five key cast members - Jake Gyllenhaal, Heath Ledger, Michelle Williams, Anne Hathaway, and in a small but key role, Linda Cardellini as the waitress.

Required viewing for everyone who loves film.

An outstanding adaptation of one of my favorite books, graced with three excellent performances (Kidman gives more than just an 'uglified' performance and her accent is spot on), inventive direction and a fantastic musical score.

I know some people don't see what the fuss is about with the film, or find it too cold or calculating, but some of that is to the point, and despite the coincidences (which I didn't find contrived), I thought the film was excellent and its depiction of characters desperate to escape realistic and brilliantly portrayed. I should also add that the film improves with repeated viewings; quick glances, close-ups and silences become suddenly laced in meaning.

I only wish that author Michael Cunningham's "A Home at the end of the World" could have been equally well adapted and directed.

History. It's just one fucking thing after another.

Absolutely loved this film, based on the stage play of the same name (and using the original cast). Really wonderful performances from everyone, even Richard Griffiths whom I normally can't stand.

A testament to the high quality of this film is that I adored it even though the first time I saw it I was on a plane: If there's ever a death for a film to a viewer, it's if it's watched in a cramped environment at 30000 feet with some kid kicking your chair from behind you, and a 70 year old grandmother with apparent ADD continually adjusting the position of her seat in front of you, causing your very hot beverage to spill over your jeans. Twice. (I Kid you not.)

Anywho, back to the film. It's brilliantly written of course (penned by Alan Bennett), unflashily directed and very well performed. A coming of age tale that deals with subjects such as sexuality, education, "belonging", and hell, growing up, in a refreshing and honest way.

I've rarely seen the concept of knowledge for knowledge's sake shown on screen so strongly, and movingly, before. All this, and you get a stunning version of "Bewitched, Bothered & Bewildered" performed by Rufus Wainwright over the end credits.

"The best moments in reading are when you come across something - a thought, a feeling, a way of looking at things - that you'd thought special, particular to you. And here it is, set down by someone else, a person you've never met, maybe even someone long dead. And it's as if a hand has come out, and taken yours."

Excellent, almost life-affirming movie, filled with exceptional performances from a very talented cast. The characters and their relationships with each other are so vivid; at times I was reminded of the work of Michael Cunningham (Flesh & Blood, The Hours), only in Spanish of course. I can't believe it took me so long to getting round to see this, and I'm so glad I did. *****

The sleeper hit of 2005, which I'd been meaning to watch for ages. This is a fantastic film - it's funny, superbly acted (the chemistry between the leads is almost palpable) and has an assured light touch from writer Shane Black, making an impressive directorial debut here. It's even funnier if you love flims, has probably the best use of a narrator device since American Beauty, and frequently confounds expectations and subverts cliche. *****

PERRY: Look up the word "idiot" in the dictionary and you know what you'll find?

HARRY: A picture of me?

PERRY: No, the definition of the word "idiot," which you fucking are.

Very dark and depressing material is sensitevly brought to the screen in this one-of-a-kind, emotionally draining and astonishngly acted drama. I found it hard to watch but at the same time couldn't tear my eyes from the screen; this is one of the best book to screen adaptations I've seen and Joseph Gordon-Levitt and Brady Corbett are amazing in the lead roles. The ending shot is probably my favourite ending in any film I've ever seen.

An extremely well written, directed and acted movie of the kind that only independent cinema could ever offer. This takes the now familiar device of intertwining characters and storylines (a la Go, Heights, Look Both Ways etc.) and breathes new life into it. The film shows a fundamental truth of human nature; that people lie. And not always to be deceptive, but out of habit, or because it's easier, or without realising it. Don Roos, as in his earlier flick The Opposite of Sex, writes vivid, multi-layered and three-dimensional characters, and shifts between them and their different storylines effortlessly.

In addition to the excellent writing and direction, the film is graced with a compeling cast, all of whom deliver fantastic performances. I always enjoy Lisa Kudrow's work outside of Friends, and this is probably her finest film to date. Maggie Gyllenhaal excels with typical flair as a sultry, coniving character that lesser actors would've portrayed as unsympathetic or overly kooky. Instead, Gylenhaal gives a finely nuanced performance, and who would've thought she'd have a great singing voice too? Jesse Bradford is as good here as he was in Heights but plays a very different character, showing he has talent with the right director guiding him. And Steve Coogan especially impresses with an emotionally heavy role, despite a pretty wobbly accent.

If you want to see what a talented writer/director and a great cast can do on a small budget, then look no further.

Could this be *more* perfect? No it could not. I'm watching it for the third time - all six hours of it. Even the friggin opening sequence is faultless [side note, the bit at the end of the titles where the statue moves and the music suddenly goes weird and the darkness creeps in gave me nightmares for at least a week].

Generally, I have a very low tolerance for Michael Douglas, but he was actually very good in this film about a writer struggling to complete his next book, and the pressure from it being as successful as the first. Sounds dull? Well it really isn't - though that's because Douglas is surrounded by brilliant characters played by excellent actors; Robert Downey Jr, Tobey Maguire, Kaite Holmes and Fracnes McDonald. This is one of my very favourite movies.

A young British documentarian, Lindy Heymann, is given the assignment of finding a successful young British subject living in the US and making a career in show-business. She chooses as her subject Christian Taylor, a writer on the HBO series Six Feet Under. Just as she's about to film her final interview with him, she accidentally overhears him get fired by the shows creator, Alan Ball. Christian flees to Las Vegas, and Lindy follows. When she catches up with him, Christian, who does not realise she knows he was fired, claims he is doing research for a new script he is writing - an action thriller set in Vegas.

What follows is a brilliantly clever mockumentary, as Lindy pursues Christian (at first reluctantly) as he tries out for auditions as a dancer, in what he claims is part of his research for his script. The boundaries of truth and fiction blur as Christian soon becomes obsessed with the audition process and his research becomes ever more "method".

This is a very touching film. Christian Taylor (who really was a writer on Six Feet Under - though everything else is fictitious) is a brilliant presence and seems to have a natural talent; I frequently forgot that this was a mockumentary and not a documentary. The film raises questions about deception, ambition, and identity. It's also quietly heartbreaking - a scene where Christian discloses his awful feeling of loneliness, and another where he has an emotional meltdown in a dance class, are powerful, and the film is presented very realistically and without winking to the audience.

A nice surprise to a film I've put off watching for a long time. And I've just read it won Directorial Debut at the British Independent Awards..

"You know, I think I've met your sister, Cinderella."

Five stars? Hell yes. For me, star ratings are kind of dependant on what a film sets out to achieve, so whilst this many not be an all-out masterpiece a la Hitchcock, Polanski, 'insert your favorite auteur here' etc etc., Camp accomplishes exactly what aspires to, delivers in spades, and is in my view very successful indeed.

A mixed group of talented kids go to drama camp for the holidays to act, sing and dance - for some, Camp Ovation is the only place where they feel they fit in - it's a place where they can escape, or follow ambitions, or reset their personalities, and subvert their own and others expectations of them. The characters, chief among them 'plain Jane' Ellen (Joanna Chilcoat), handsome, somewhat confused and attention seeking Vlad (Daniel Letterle), gay outsider Michael (Robin DeJesus) and talented Dee (Sasha Allen), are surprisingly well crafted for a modern 'musical', and the actors who portray them are a talented bunch of people (Robin DeJesus is particularly impressive, and Daniel Letterle gets to show he's more than a pretty face as the movie progresses).

Some may accuse the story of being predictable, but it has conviction and follows through with plot points that in lesser films would be forced to the background or kept as subtext. Director/Writer Todd Graff, drawing on his own experiences at a musical camp, displays a knack for one-liners and adolescent emotions (sexuality is especially well realised), and the musical numbers are very well staged.

Funny, perceptive, emotionally engaging and way better than I had expected it to be. Crank up your volume for the musical numbers.

"I tell you something. They're a bunch of little freaks... and the more normal we try and make them, the more lonely and isolated they're gonna feel."

I bought this blind on VHS a few years ago as a fan of Alicia Witt. This is a superior, superbly acted and interestingly shot teen flick, and kind of works as a companion piece to "Thirteen". Ignore the dodgy DVD cover art and give it a go - most online stores sell it for under 10 bucks so how can you go wrong?

Extremely twisty, well acted and shot movie that takes a similar plot device to "Urban Legend", only uses it to make a gritty drama about a lost love. Dan Futterman (who scripted Capote and had a guest role in Will & Grace) is a revelation.

A cop with a secret. A killer who knows it. The game is on.

A queasy, sick, bordering on exploitative film obviously made on the cheap, Hard benefits from two excellent lead performances, an intriguing and original concept, some stunningly framed sequences and an imaginative story.

Ray, a closeted cop (played with verve by Noel Palomaria), struggles to solve the case of a serial killer who brutally murders male hustlers. With only his detective partner any help, he battles against prejudice and intolerance in his department who dismiss the killings as 'misdemeanour' offences. Matters become more complicated when he begins a dangerous affair with Jack (a hugely charismatic and creepy Malcolm Moorman), who he soon discovers is the man responsible for the murders.

Hard is far more interesting than your average police procedural. A great deal of care seems to have been taken to make the film scientifically and psychologically sound, and the heavy blood effects, semi-explicit sex scenes and sexual dialogue definitely make this stand out. In addition, there's a pretty damn good music score and solid camera work. Worth a look if you can find it.

(Review based on the unrated version of the film that was screened at festivals and which was eventually released as a Special Edition DVD.)

Fascinating biopic of university researcher Arthur Kinsey, who for much of his adult life, documented the sexual histories of men and women. Kinsey's revolutionary research showed that sexual acts such as masturbation and oral sex, as well as homosexuality and bisexuality, previously considered 'perverse' or 'deviant' (or even harmful), were in fact far more common than thought, .

Ahead of his time in a sexually repressed society where the majority considered, or were thought to consider, that only marital sex (primarily for purposes of reproduction) could be considered moral, the film Kinsey shows how his research opened people up to talk about and explore their own sexuality, but also shows a fundamentally flawed (and real) person. Kinsey's initial belief that sexual urges should be explored and should not be connected to feelings of emotional attachment, or love, does not hold up; when he explores a same sex relationship with Clyde (a nicely subtle performance from Peter Sarsgaard) which he then confesses to his wife Clara (Laura Linney), it appears he doesn't understand why it hurts her feelings - it's just sex afterall. Only later, when he overhears Clyde confess to Clara that he is becoming disinterested in the sexual relationship, does it register to Kinsey what his wife had meant, as very briefly, we see that Kinsey is also hurt. It's a telling moment, and very well acted.

Later, the film shows Kinsey's rise and inevitable fall, and though he never fully recovers from the backlash, his ever understanding wife sticks by him - the overriding message seems to be that love is what matters most.

Kinsey is not without its faults - the ageing makeup is unconvincing and it doesn't really feel that 15 years worth of research elapses. The sequence involving superimposed talking heads on a map of the States goes on for too long, and some of the supporting characters don't have enough depth or screen time to care about. But overall, this film, shot in just 37 days, is excellent and sensitively handled.

A surprisingly excellent, and considering the source material is from Bruce LeBruce, unexploitative drama based on semi-autobiographical short stories.

Made on a shoe-string budget (and looking it), there's real talent here both behind and in front of the cameras. Director John Palmer infuses the film with an energy that doesn't let up, with bravaura camera techniques shot on hand-held and a realistic lighting scheme. The story is pretty downbeat and depressing, as expected, but the characters don't wallow in self-pity and through the short running time we get to know them very well. There's little backstory but the characters already feel like they've been on a journey even when they've only just been introduced.

The writing is provocative and the performances from Brendan Fehr, and in particular, Andre Noble (who died shortly after filming was complete from accidental poising) are superb, and there's a fantastic cameo from Sarah Polley.

"...you and I are the same. We're both going to die soon."

In Time to Leave (Le Temps Qui Reste), thirty year-old Romain (Melvil Poupaud), a successful fashion photography, is diagnosed with cancer, and his prognosis is not good. He decides to forego the chemotherapy that would give him a slim chance of prolonged survival, and, unable to tell his boyfriend - who he subsequently breaks up with - or his immediate family, he instead confides only in his grandmother (Jeane Moreau). From there, he tries to find acceptance and meaning in his mortality, and is given an opportunity he never thought he would have after a chance encounter with a waitress.

This is a lyrical, intimate and economical film, without even a hint of artifice in the writing or the performances (Melvil Poupaud is surely an actor to watch). Refreshingly free from sentimentality, with realistic characters - Romain is not exactly a hero and doesn't become one in the course of the film - and a script with few words but which has a lot to say. Writer-director François Ozon filmed Time to Leave in cinemascope, an interesting choice for such a small-scale film, but one that rewards with a staggeringly, beautifully shot denouement. A thoughtful, moving film.

Review soon. I sobbed. Yes I'm a cry-baby and I don't care.

We all get it in the end.

You know, I'd read so many positive things about this film in the press and through recommendations that I had exceptionally high hopes, but even so I didn't think I would fall so head over heels in love with it. The last time a film has left me feeling so simultaneously happy and reflective was after seeing C.R.A.Z.Y. for the first time.

Shortbus is infamous for its explicit, real sex featuring the leading cast in all different forms, partnerships, genders etc. It's also become something of a cliché to read reviews stating how the sex is just a small part of the film when in fact the story goes deeper (no pun intended) than sex itself. But the sex is a necessary part of the film and is a part of the narrative, and in a way quite apart from other 'real' films featuring real sex (9 Songs and twenty-nine palms for instance, both of which feature real sex, completely fail to achieve anything except boredom; they're not even arousing). It helps that the cast all seem to be genuinely 'into' it, and director John Cameron Mitchell gets fantastic, way beyond the call of duty performances from pretty much the entire main cast; they should all be proud of the film they have made and deserve to be cast in more features.

Things I loved about this film include: The way the city of New York is visualized through computer graphics and art design (which includes an almost show-stopping power out moment). The end music number. The music, period. The story of the 'spying' guy. The funny, relatable script. The homes of the characters set design/props are extremely well thought out and fit well into the stories. The heartbreakingly funny moment when a character confesses their real name, and another moment where a character gets a visual of how worthless they feel. The uplifting ending. And everything else.

"...it's a great workout, it feels good, and I love, you know, loving my husband. It's just you know there comes a point sometimes where it just gets really... a lot of pressure, and kind of like, uh, it feels a little bit, ah, kind of like, um, like someone's gonna kill me and I just have to, you know, smile and pretend to enjoy it. Yeah. That way I can survive."

Well, I watched this not knowing anything about it except that Sigourney Weaver and Michelle Williams were in it, which was enough for me to warrant it a place on my rental queue. If I was to compare it to anything else I've seen, I guess Moonlight Mile and The Squid and the Whale spring to mind, but it's definitely an original in its own right.

A slow pace that drip-feeds info that doesn't seem relevant until later is a risky approach, and for the first half-hour I was seriously considering switching it off and doing something else. It wasn't because it was boring, far from it, but I was guessing where things were heading and the quirkiness of it was pissing me off a bit. It's not until the New Year scene that things really begin to kick off, the story begins to take shape and character motivations start to become clear. I can't pretend to be unbiased here - a lot of things that happen are spookily resonant from my own experiences - and the climax of the New Year scene onwards I was gripped until the (slightly uneasy) hopeful ending.

Plainly but effectively shot, there a few loose ends here which seem the result of some deleted scenes that could do with being put back in, Imaginary Heroes is above all excellently acted. We've all seen movies with the cool parent figure dealing with grief by having a crisis and turning to pot, but Sigourney Weaver's performance puts a fresh spin on a potentially clichéd character. Jeff Daniels initially seems like he's going to be a bore but pulls things together, and there's a moment towards the end here where I was sure I knew how the confrontation with Tim (Emile Hirsch) was going to go down and was surprised and moved when the opposite happened. Sadly, Michelle Williams only has a small role but even so makes an impact whenever she's on screen. Biggest surprise of all is Emile Hirsch, who is simply superb here as Tim - I'm beginning to warm to him as an actor after dismissing him as just another pretty boy. Shame on me.

EDIT: After watching The Mudge Boy and noticing some thematic similarities (although the actual tone, setting and style are completely different), I wouldn't be surprised if Emile Hirsch was cast based on his strength in that picture, and he's equally good here.

A film quite unlike anything I've seen before, The Mudge Boy deserves a larger audience then it is ever likely to get, thanks to its peculiar title, cheap, 70s looking cover art and "funded by cable" credentials. But it's a stunning film.

Duncan (Emile Hirsch) is a teenager trying to come to terms with the unexpected death of his mother. An outsider who doesn't have the self-awareness to express himself adequately and without any support in friends or his emotionally unavailable father, Duncan, who helps out on the farm he lives on, cycles the countryside with his favorite chicken and begins to form relationships with some of the people he meets.

Psychologically rich and complex, realistic, beautifully photographed and stunningly performed (Emile Hirsch, Richard Jenkins and Tom Guiry are all superb), The Mudge Boy builds to a devastating conclusion that is truly shocking and difficult to watch; a brilliant depiction of teenage life, sexuality and grief in all its forms.

Nominated for the Grand Jury Prize at Sundance, winner of the Grand Jury Award at L.A. Outfest.

Dean, an attractive, 18-year old man living in working-class Thatcher-era Britain, longs to go to college and 'make something' of himself. Trapped in a household with an abusive step-father and a mother who is either unaware or in denial about the situation, events lead to him becoming looked after by a wealthy art-gallery owner - a Lady Gryffoyn no less - and eventually to him assuming the identity of her 18-year old son, Alexander Gryffoyn. He soon gains entrance to the circles of the privileged and becomes well liked when he moves to Paris, eventually becoming entangled in the attentions of a rich bachelor, David, and Benjamin, an American with secrets of his own.

Comparisons with The Talented Mr. Ripley are inevitable and favorable, although aka is much less of a conventional thriller and there's a greater emphasis on sexuality and much richer insight into the protagonist's motivations and psychology. An acquired taste thanks to an extremely low budget (which translates to a gaudy visual style and home-video quality footage), this nevertheless captures its late 70s setting perfectly and is aided by some fantastic performances. Matthew Leitch, Peter Youngblood Hills and Lindsey Coulson as Dean, Benjamin and Dean's mother respectively all give committed and truthful performances. Elsewhere some of the acting borders on caricature, and the music becomes overly invasive on more than one occasion. The section where a scene is split into three frames is also difficult to follow and is a technique that doesn't work (there's an alternate version of the film available on UK DVD which is apparently shown in this three frame format for the duration and is by all accounts unwatchable).

A complex, almost voyeuristic film, based on a true story, aka is definitely worth a watch.

A fictionalized account of some of Gregg Araki's experiences growing up, and shot on deliberately amateurish-looking camcorder, Totally F***ed Up takes a little bit of getting used to, but is well worth sticking with. Chronicling the lives of a tight-knit group of gay and lesbian teenagers, the film starts with an interview technique that initially makes the bunch of characters seem pretty annoying and unlikable. Soon though, after listening to their naïve but genuine hopes, fears and dreams, you begin to warm to them. Broken into small chapters or segments with some very funny intertitles, the narrative appears at first random and non-linear but there are actually quite a few running threads and story arcs, the main one being the relationship between Andy (previously someone who declares he doesn't believe in love) and Ian.

Dated in terms of fashion, music and teen-speak, but tellingly still relevant in terms of attitude and particularly, the way in which sexuality can ghettoize people, Totally F***ed Up remains a successful (though not always subtle) exploration of what it means to be a gay teenager.

One of the most depressing but gripping 'struggle in the closet' films I have ever seen, with a fantastic, charismatic and emotive performance from anti-hero Alex Dimitriades (who, judging from his IMDB page, needs to get a better agent). It's a niche subject perhaps, which is then squeezed into another minority - a traditional Greek family - but it's expertly written and played and actually has broad appeal. Ari's downward spiral (he starts close to the gutter and disappears into it by the time of the slightly rushed, bleaker than bleak ending) is gripping and entirely believable, the Aussie streets have a grimy/murky, hellish feel and some of the lines cross the boundaries of sexy/disturbing/distressing ("don't spill it"). Kinetic direction and a brilliant (and now nostalgic) soundtrack both ground and enhance a very good film. Pity about the off-putting poster art.

Just fantastic, and I wouldn't change anything; I even like the abrupt ending. Peter Sarsgaard and Patricia Clarkson are magnificent. Review soon.

"I can't open my eyes... What if I open them and you're not there?"

Ghost Voice (or just The Voice to give it the on-screen title) is the fourth in the Ghost School / Whispering Corridors series of thematically similar films, and for me is the best. Showing us events largely from the ghost's point of view, Voice benefits from having a small cast of main characters and a clear, unmuddled storyline - which given the various twists that happen is a really massive achievement. Unlike the other films in the series, there's less concentration here on the pressures of high school and greater emphasis on relationships, memory and guilt. The lesbian subtext from the previous films is also much more prominent, and there's a brilliant underlying truth here about how we never really know people as much as we think. Writer/Director Equan Choe has a clear vision and effectively builds on atmosphere and feeling rather than pandering to cheap shocks or excessive blood-letting (though there are some gruesome parts), and despite the exposition-heavy climax (which by the way, is totally heartbreaking ad doesn't cheapen what has come before), Voice remains a beautiful character-driven film. Props also to the excellent music score and thoughtful, restrained performances from the four lead actresses. This is great stuff.

"All men are created equal. No matter how hard you try, you can never erase those words."

I can't even begin to adequately describe how I feel about this film. Everything about Milk works so beautifully and has been brought to life with the utmost care, in times of writing, direction, performances, editing. This is one of Gus Van Sant's most 'straightforward' films but is no less effective for being simple, fluid, honest. I can't go on without talking about the final act of violence in this film, which shook me to the core. Despite my knowing how this was going to end, my mind and heart were screaming "no" and I was physically shaking. When Penn held his hand out defensively something in me happened that is near impossible for me to articulate. In the end, this in an inspiring, but angry film - a metaphorical call to arms. But where are the Harvey Milks of today? With every step taken forward for gay rights, something seems to continually happen to push back (right now, the "National Organization for Marriage" is spending obscene amounts of money on a campaign of fear). But. I still have hope.

"For those who saw the signs of hatred as our cars drove in tonight, I think that it is a good time for those who voted for the ban on gay marriage to sit and reflect, and anticipate their great shame and the shame in their grandchildren's eyes if they continue that way of support. We've got to have equal rights for everyone." - Sean Penn.

A superb, slightly over complex film about sexuality in various forms, the nature of truth, and the attempts people make, or don't make, to reconcile their own beliefs (moral and religious) in the face of adversity. Ordinary Sinner cleverly plays with viewers expectations, particularly in terms of character development; the various twists succeed thanks to exceptionally good casting in both lead and supporting roles, although the convoluted structure occasionally confuses things. Brendan Hines, Elizabeth Banks and Kris Park are all exceptional as the three friends. Over the course of the film their relationships are tried and tested as it appears events unfold around them - but they are intertwined in them in ways they don't all realize. Especially good is Hines, who gives a deceptively simple performance that makes his emotions easy to read, which in this case is important since things mostly take place from his POV. There's very good support from A Martinez and Jesse Tyler Ferguson (who I recognized from the cancelled sitcom The Class). Ordinary Sinner deserves to reach a larger audience as I'm sure it would resonate with many people (it only makes me more happy that I'm an athiest) - sadly, at time of writing, I'm only one of two people on Flixster who have rated the film, and the first person to write a review.

Review soon.

"Can you get me your supervisor please, or maybe a human being if you've got one back there?"

Well, that was unexpected. Not only is The Trip good, it's damn good. Ok, so it's yet ANOTHER story where AIDS rears its ugly head to claim the life of an undeserving gay guy, but at least the story here is told with a fair amount of conviction and good intentions. Spanning over a decade, The Trip cleverly uses archive footage from newsreels as well as music and fashions of the period. It's not exactly massively ambitious but looks like it was made for a good deal more money than was actually thrown at it, and the two lead performances are winning. Larry Sullivan is all goofy Jake Gyllenhall-esque with the odd temper tantrum, and is a pretty hot mess, despite some awful haircuts. Steve Braun has less range but makes the most of a slightly underwritten role, and has this Brad Pitt/Nick Stahl mix in him that works well. Both actors also age quite convincingly, which is always a hard trick to pull off. Also impressive is the photography - The Trip is beautifully lit. A couple of the scenes drag and are overplayed (one in which Alan's mum and kooky friend come to pay him a visit is especially cringy), but mostly the balance between drama and comedy is successful, and the final minutes are genuinely touching.

Oliver Parker seriously deserves a bucket load of praise for his attempt at invigorating Oscar Wilde's The Picture of Dorian Gray. As much of the subtext becomes text, some ambiguity from the source material is lost, and Dorian as a Casanova-style womaniser is perhaps missing the point a little. But this is a handsome, largely very well acted film (Rachel Hurd-Wood seems a little out of her depth) with some genuinely jolting moments. Ben Barnes acquits himself well in the lead, though is not quite the revelation I was half-expecting, and Colin Firth is more than capable. Ben Chaplin, though, really is wonderful as Basil and his scenes opposite Barnes fizzle with chemistry; it's Hollywood's loss that they failed to take note of his work in the likes of The Truth About Cats & Dogs, The Thin Red Line and even Lost Souls, but at least it means he gets work in films such as this and in the theatre. The visualisation of the portrait itself, heavy as it is on CGI, doesn't quite hit the mark though at times almost nails it, but most other technical aspects are excellent. Dorian Gray mixes quotable, witty lines with drama and horror and is definitely an interesting if not always successful film.

"Shakespeare was queer, too!"

An early episode of Buffy The Vampire Slayer, called "Bewitched, Bothered and Bewildered", had Xander perform a love potion, which backfiring - at first with welcome results - had seemingly the entire female population of Sunnydale suddenly in love with him. Typically for such a strongly written tv series, even this largely "throwaway" episode was wittily written, had some great ideas, and the after effects (especially Xander's relationship with a now betrayed Willow) were not ignored. Were the World Mine takes the central idea of a love potion, here magically found hidden within the text of Shakespeare's comedy A Midsummer Night's Dream, and spins it by having the formula attract people of the same sex. Obviously filmed on a low budget, I can only imagine how fantastic this would have been with just one more rewrite and a few million dollars chucked at it. Nevertheless, this is largely a huge success, is massively enjoyable and plays very well with Shakespeare's words - mixing styles together in clever ways. It works well as a musical - with imaginatively staged and choreographed routines - as a charming romance, as a comedy drama, and as a big two fingers up towards outmoded and outdated homophobic institutions, such as religious organisations and boarding schools (you can send your hate mail to bitemyass@gmail.com). It's also beautifully photographed. Best of all is the above average acting from all involved, which really took my surprise. Tanner Cohen as lead Timothy not only has the angst and hormones down pat, but also has a great singing voice (reminiscent of Jay Brannan). But special mention should go to the three leading women - Wendy Robie as the drama teacher, Judy McLane as Timothy's mother and Zelda Williams as Timothy's best friend, Frankie, who are all excellent. I urge you to watch this with some of your gay fearing friends and make them squirm. Now, where can I get one of them flowers?!