Please Baby Please

love it this kind cuff movie

This was a middling play full of warmed over monologues and mugging that someone decided counts as a film if you simply film it. There was nothing cinematic about this, the neon lighting looked atrocious, and every attempt at a joke fell flat. The musical numbers are deeply unmemorable and, for all the themes and talk about queerness, this is far less queer than the Michael Ian Black subplot of Wet Hot American Summer. It desperately wants to be compared to a John Waters movie but there isn't a single character with dimension in this movie.

oh baby my baby i love u baby

I think director Amanda Kramer is one to watch but I don't think this will be her best film. She can't get great marks for the acting. I can also see how stylistically, this was a bit of a flop. But as concerns the scriptwriting and depiction of the complex topic of sexuality, and female submissiveness especially, Kramer shot the ball out of the park. This film struck me as wonderfully exploring new ground. For the first part especially, the disorienting camp of the gang's and Andrea Riseborough's acting is unsettling to the point of being distasteful. In particular, the way Riseborough's stylist did her up was very unflattering, and I say this as a feminist who really enjoys depictions of women onscreen. While she was perfect in the (slightly too self-indulgent and long) dancing sequences, she hammed it up too much, particularly in the parts where her character is supposed to be struggling with some kind of internal dilemma which should make her a little more withdrawn. Relative to Riseborough, the male gay sequences with Teddy and Arthur are subtle, bold and compelling. Arthur is a perfect analogue for today's younger generations, struggling with sexual expression and gender representation. On the whole, I would say that while it carried way more substance and ingenuity, with well-timed cultural significance, than Pulp Fiction, but the replication of Pulp Fiction-style dance sequences and Lynchian costumes, was too derivative and overdone.

I absolutely adore this movie. It is so thoroughly, delightfully queer in every sense of the word. It so perfectly blends the cinematic influences it's drawing from (obviously Anger and Fassbinder, but also cult camp classics like "Absolutely Beginners" and "Crimes of Passion") while also being utterly singular. It's "not for everyone," but what percentage of cinema really is "for" anyone?

What a total bore. It certainly lacked of originality, depth, substance, drive and not to mention humor. The entire plot was only focused on the pretty imagery and not the bulk of it, with the characters being quite too unpleasant and self-deprecative to please the audience. Please take notes from Bros, a hugely successful LGBTQ+ film with all of its positive accolades and ratings.

It's wonderful going to the movies and having the opportunity to be pleasantly surprised by a film