Showing posts with label Movies. Show all posts
Showing posts with label Movies. Show all posts
Saturday, June 26, 2010
Sunday, June 6, 2010
Tuesday, April 27, 2010
Friday, April 16, 2010
Meet the Director of Fraternity Massacre at Hell Island
May 2nd, 2010
3 - 5 p.m.
OutLoud! Books and Gifts
1703 Church Street
Nashville, TN 37203
3 - 5 p.m.
OutLoud! Books and Gifts
1703 Church Street
Nashville, TN 37203
Wednesday, April 14, 2010
FanboyQ DVD Reviews
Here we are again, gentle readers – another edition of FanboyQ’s DVD reviews. This month I’d like to look at a modern classic that definitely needs some revisiting. It’s hard to believe The Talented Mr. Ripley is already more than a decade old. This is a film that despite its continued popularity in book form among gay audiences I feel was never really embraced by the same said viewers. I have heard the argument that Tom Ripley wasn’t really gay, just a sociopath. I’ve heard the argument that this was just another misuse of the homosexual in cinema, a malicious other-worldly entity invading the happiness of normal ‘straight’ people. And believe me; I understand both arguments but counter with this: The Talented Mr. Ripley must be watched with the same queer eye that has turned films like The Wizard of Oz and Calamity Jane into gay classics.
In the series of novels by bisexual author Patricia Highsmith, Tom Ripley is never out and out outed (hee-hee) but the hints are definitely there in all five books and particularly broad. Director and screenwriter Anthony Minghella uses a similar approach in his 1999 masterpiece, but the expansion of the character of Peter Smith-Kingsley – who is quite openly gay though the word is never word is never used) suggests Ripley is absolutely gay, but closeted due to the time period. The differences between novel and film don’t end there. The book version of Ripley is a villain from the beginning, making a living in
Matt Damon’s Tom Ripley is the quintessential queer boy outsider, with some of the same characteristics that make Judy Garland and Joan Crawford so endearing to queer viewers. You can almost feel his need to belong, desperate and clawing. You empathize and excuse his ability to convincingly ‘pass’ amid the other characters – who among us hasn’t butched or femmed themselves up at one time or another – fearful at being discovered as the ‘other’. Even as the movie progresses and Ripley becomes increasingly violent in an effort to keep the lifestyle that his beloved Dickie Greenleaf enjoys, as an audience member you find yourself grasping on to Tom’s humanity. And this is where Anthony Minghella’s brilliance really shines through – he takes you to the edge of your ability to forgive Ripley’s actions, then suddenly presents you with a violently tender moment – rather than be mortified at Tom your heart bleeds for him.
This is also one of the first times American audiences got a good hard look at Jude Law – and apparently they liked what they saw. Law’s Dickie Greenleaf, the charismatic and spoiled deutersgonist, was nominated for Best Supporting Actor at the Oscars that year – although the film was largely ignored by the Academy otherwise. Yet again, Minghella’s expert direction really makes the character shine; at first Dickie is only spoken of, then our first glimpse is a longhsot through binoculars. When the Tom and Dickie finally come together into the same frame, they are both in bathing suits and a very clear picture is formed: Dickie is bronzed and healthily muscled, with a charming and confident smile and golden curls – Tom is pasty and thin (Matt Damon lost 30 pounds for the role) with thick glasses and flat mousy hair – Dickie is lounging comfortably in the radiant Italian sun – Tom is awkwardly hopping across the beach because of the hot sand. Dickie is everything Tom wishes he were. Everything about him is coveted – his money, his looks, and his love. I got the impression from Jude Law’s magnificent performance that Dickie is just as aware as Tom of the chemistry between them, and to his detriment uses that to get what he wants and needs from Ripley, namely that his hedonistic lifestyle is worthy of being desired and that his father is wrong about what he should be doing with his life.
So this movie already has a brilliant director and screenwriter, gorgeous cinematography, two powerhouse lead performances, and a hauntingly beautiful score – what more could you possibly ask for? Well I guess a fantastic supporting cast SHOULD be too much to expect but you’re going to get them anyway. I’m not normally a fan of Gwenyth Paltrow but even SHE is superlative as Dickie’s girlfriend Marge Sherwood. In fact, this is the ONLY performance of hers that I feel is worthy of that shiny gold statue she has.
Add Phillip Seymour Hoffman as the vile Freddie Miles – the only character that can really see through Tom’s facade – and you’re really cooking with gas. And then there’s Cate Blanchett. Like a few others that bear her name, I really can’t think of a moment I haven’t loved the woman. Is there a role out there she can’t do? Unfortunately there really isn’t much to her role here – another character that was expanded for the film version – but with what she has to work with she does wonders. Her characterization of Meredith Logue, another wealthy socialite with something to gain from Dickie, is magnetic and she ultimately becomes essential to the arc of the film, which features a much different ending than the novel.
So whether you’ve never seen the film before or you saw it when it came out it’s another one of those classics I highly recommend to anyone with a love of gay cinema. And as an added bonus in these harsh economic times, its age has made it relatively easy to find and cheap when it’s found. When $29.99 is the standard price tag on most new releases a great flick for under $10 sounds awfully sweet.
Well, that’s it for me this month – be sure to check out FanboyQ’s DVD Reviews again next month – until then you can drop me a line at FanboyQ@gmail.com
Thursday, January 28, 2010
Monday, January 18, 2010
Heavenly Creatures / I Kissed a Girl
OutCentral will be screening Heavenly Creatures Saturday January 23rd at 7:00 p.m. as part of the film series that yours truly is putting on called Queer Colored Glasses. The year long film series is a partnership between OutCentral Cultural Center and the Nashville Film Festival.
Sunday, January 17, 2010
Sunday, October 25, 2009
Queer-Colored Glasses: The Queer Experience Through Cinema
OutCentral Cultural Center and The Nashville Film Festival collaborate to present
Queer Colored Glasses: The Queer Experience Through Cinema
Queer Colored Glasses: The Queer Experience Through Cinema
WHO: OutCentral Cultural Center in collaboration with Nashville Film Festival (NaFF)
WHAT: Queer Colored Glasses: The Queer Experience Through Cinema
WHEN: 4th Saturday of every month at 7:00 PM
WHERE: OutCentral Cultural Center 1709 Church Street (between Revive Café and Vibe. On the same block as OutLoud! and Blue Genes) Nashville, TN 37209
COST: $5 for members $8 for non-members. No one turned away for lack of funds.
CONTACT INFORMATION:
For Queer-Colored Glasses: The Queer Experience through Cinema:
FanboyQ@gmail.com
For OutCentral:
info@outcentral.org
OutCentral Cultural Center is proud to be partnering with The Nashville Film Festival for a twelve month, twelve film series entitled Queer-Colored Glasses: The Queer Experience through Cinema that will focus on filmmakers, actors, writers, stories and plots of particular interest to the “queer” spectator.
From the first flickering images that ever lit up a screen, cinema has been a place where queer voices have called out and demanded to be heard with varying degrees of success. From films made by LGBT filmmakers and performers to the particular phenomenon that gay people often “see” a film differently than their straight counterparts.
“Images of GLBTQ people on the big screen--both positive and negative--have had such a tremendous influence on our lives,” said Jim Hawk, Executive Director of OutCentral Cultural Center.
“Most of us can remember the first time we saw "one of us" on the screen. This series takes an important look at those images and how they effected our lives--and the lives of generations of GLBTQ people.”
Historically, most LGBT filmmakers were forced to work in relative secrecy about who they were, being mostly relegated to avant-garde and independent film circles. Thus, cinema is also the forum for the queer voice of the “other” – stories and characters that – while not necessarily gay – represent the outsider whose story queer audiences identify with.
"I am extremely excited about the partnership between the Nashville Film Festival and OutCentral,” said QCG Artistic Director Joshua Thomas.
“I believe one of the most important tools we in the gay community have for examining our past is in film theory. Gay audiences have historically experienced films differently than the rest of society. In examining the past through this collection of films, we'll have the unique opportunity to watch society's views on homosexuality change throughout the years."
With the enormous cultural and historic differences between films made in the 1930’s and those made in modern times the characteristics that gay culture use to signify homosexuality have also changed dramatically over the years. While present-day films are allowed to be relatively forthright about sexuality in their presentations older films were often forced to only hint at it in varied ways. Thus, many classic Hollywood performances, directors, actors and – in some cases – entire genres must be closely examined in order to hear the queer voice within them.
“NaFF is thrilled to partner with OutCentral to present a unique collection of voices from film history,” said NaFF Artistic Director Brian Owens.
"We believe that film represents a great opportunity for those unheard or seldom heard to present their stories in ways that create dialogue, understanding, and bind us all together as a greater community. We hope people will come and enjoy and talk about these films and what they mean to the GLBT community and community at large.”
Thursday, July 9, 2009
The New Twenty
The New Twenty (2009) Starring Bill Sage, Terry Serpico, Nicole Bilderback, Colin Fickes, Andrew Wei Lin, Ryan Locke, Thomas Sadoski – Directed by Chris Mason Johnson
The New Twenty tells the story of five college friends that are approaching thirty and questioning the bonds they once shared. In a post 9-11 world where ‘text is the new sex, gay is the new straight, and friends are the new family’ Chris Mason Johnson has given us the most dysfunctional ‘family’ ever. There’s Julie (Nicole Bilderback – Buffy the Vampire Slayer, Bring It On, Clueless) an over-achiever, and her aggressive fiancé Andrew (model Ryan Locke from Beyonce’s If I Were a Boy video). Then there’s Julie’s gay brother Tony (Andrew Wei Lin) and his addict roommate Felix (soap star Thomas Sadoski). Tony is dating the HIV+ teacher Robert (Bill Sage – Sex & the City, Mysterious Skin, Boy Wonder). Then there’s woof-y Colin Fickes as Ben Barr, a bearish geeky guy that spends most of the movie trying unsuccessfully to hook up online. Julie is incredibly successful at her job which threatens Andrew. He becomes fixated on his own success and partners with a stereotypical money-grubbing investment banker. He also tries to bring in Tony who refuses after her overhears the banker verbally gay bash him. Tony and Robert are having problems as well – although there’s only one real scene that conveys that – and eventually they break up. All the tension (I know, *what* tension?) builds until the climactic finale at Andrew’s bachelor party. This is a movie that gets everything and nothing right. The performances are top caliber from this ensemble of back-players, but that can’t help a talk-y script that confuses, ignores, and generally falls flat. There’s so much importance plot-wise on the careers of the two leads – and yet you’re never quite sure what *anyone* in the story does for a living. For example, Andrew’s job apparently consisted of yelling obscenities and scarring his staff of two. And there was also some confusion on my part about Felix’s addict status; we see him meet up with some girl and they go back to her apartment. Next we see a baggie with something inside and a glass pipe – I’m thinking pot, right? Also, cue ‘girl-with-a-guitar’ music. But the movie treats it like he’s addicted to heroin. Now, it may have been heroin in the baggie, but there’s really nothing else in the movie that would indicate *what* the guy is addicted to. And the tacked-on fifth wheel Ben is completely pointless and spends the entire movie maybe hating his body, smoking, and being incredibly needy. At the end of the movie I felt like if thirty is the new twenty then I feel sixty. Killer soundtrack though. The New Twenty will be available on DVD on July 21st.
The New Twenty tells the story of five college friends that are approaching thirty and questioning the bonds they once shared. In a post 9-11 world where ‘text is the new sex, gay is the new straight, and friends are the new family’ Chris Mason Johnson has given us the most dysfunctional ‘family’ ever. There’s Julie (Nicole Bilderback – Buffy the Vampire Slayer, Bring It On, Clueless) an over-achiever, and her aggressive fiancé Andrew (model Ryan Locke from Beyonce’s If I Were a Boy video). Then there’s Julie’s gay brother Tony (Andrew Wei Lin) and his addict roommate Felix (soap star Thomas Sadoski). Tony is dating the HIV+ teacher Robert (Bill Sage – Sex & the City, Mysterious Skin, Boy Wonder). Then there’s woof-y Colin Fickes as Ben Barr, a bearish geeky guy that spends most of the movie trying unsuccessfully to hook up online. Julie is incredibly successful at her job which threatens Andrew. He becomes fixated on his own success and partners with a stereotypical money-grubbing investment banker. He also tries to bring in Tony who refuses after her overhears the banker verbally gay bash him. Tony and Robert are having problems as well – although there’s only one real scene that conveys that – and eventually they break up. All the tension (I know, *what* tension?) builds until the climactic finale at Andrew’s bachelor party. This is a movie that gets everything and nothing right. The performances are top caliber from this ensemble of back-players, but that can’t help a talk-y script that confuses, ignores, and generally falls flat. There’s so much importance plot-wise on the careers of the two leads – and yet you’re never quite sure what *anyone* in the story does for a living. For example, Andrew’s job apparently consisted of yelling obscenities and scarring his staff of two. And there was also some confusion on my part about Felix’s addict status; we see him meet up with some girl and they go back to her apartment. Next we see a baggie with something inside and a glass pipe – I’m thinking pot, right? Also, cue ‘girl-with-a-guitar’ music. But the movie treats it like he’s addicted to heroin. Now, it may have been heroin in the baggie, but there’s really nothing else in the movie that would indicate *what* the guy is addicted to. And the tacked-on fifth wheel Ben is completely pointless and spends the entire movie maybe hating his body, smoking, and being incredibly needy. At the end of the movie I felt like if thirty is the new twenty then I feel sixty. Killer soundtrack though. The New Twenty will be available on DVD on July 21st.
Wednesday, July 1, 2009
Were The World Mine (2008)
Were the World Mine (2008) Starring Tanner Cohen, Nathaniel David Becker, Wendy Robie, Judy McLane, Zelda Williams, Jill Larson, Ricky Goldman, Christian Stolte, David Darlow – Directed by Tom Gustafson
If you have ever considered yourself a movie fan in the least, I have something very special to share with you. Actually, this isn’t the first time I’ve mentioned Were the World Mine. But now that it’s finally arrived on DVD, I wanted to take a second opportunity to implore you to see this fantastic film.
I still have trouble believing this is a feature film debut for Tom Gustafson. The film is so pitch perfect you’d believe it was the work of a seasoned Hollywood heavyweight. Were the World Mine is a re-working of Gustafson’s 2003 short film Fairies. Fairies was a major festival success and repeatedly shown on LOGO. It was this success that inspired Gustafson to try it on a larger scale.
Were the World Mine is like you threw High School Musical, Moulin Rouge, Hedwig and the Angry Inch, and William Shakespeare’s Romeo + Juliet into a blender and still managed to achieve something wholly original and emotionally moving. While there’s nothing particularly ‘new’ about Were the World Mine (the story is a few hundred years old) it still feels fresh and groundbreaking, perhaps in its’ ability to finally combine all the queer elements of the films that preceded it then distilling it into a simple-fairy tale-esque story. In its simplicity it will become this generation’s Beautiful Thing.
In terms of plot think High School Musical Does A Midsummer Night’s Dream. Timothy (Tanner Cohen) is begrudgingly but openly gay at an all-boys school in typical small town America. He doesn’t hide who he is but he doesn’t exactly flaunt it either. Nevertheless he still gets teased by his schoolmates. And his mother (Judy McLane) is trying to be accepting but obviously still doesn’t understand. He feels completely alone except for his two best friends from a neighboring school – guitar-toting Frankie (Zelda Williams) and athletic Max (Ricky Goldman). Timothy spends most of his afternoons with Frankie and Max but most of his school hours daydreaming about the jock rugby team player Jonathan (Nathaniel David Becker) – but Timothy’s got plenty of material. Jonathan pats his butt during basketball practice, compliments his singing in a particularly dreamy/flirty scene, and always rises to his defense when the other rugby players start their bullying. So he’s completely annoyed when his kooky drama teacher interrupts his Jonathan-drooling-a-thon one day to insist he try out for the school’s upcoming musical version of Shakespeare’s A Midsummer Night’s Dream.
Timothy gets cast as Puck, and while memorizing his lines he stumbles upon the recipe for the pansy’s love potion. For the non-Shakespearean among you – in A Midsummer Night’s Dream the impish fairy Puck creates havoc when he sprays a love potion via a pansy into several sleeping eyes one night that causes the sleeper to fall madly in love with the first person he or she sees upon opening his or her eyes. Timothy is skeptical at first, but looses all doubts when he accidentally sprays Max. The next day at school he’s ready when drama practice starts – determined once and for all to get the guy of his dreams. To his delight it works, but his moment is cut short by more homophobic taunting from the rugby team members in the cast. In a moment of anger he sprays his two worst antagonists – who start totally making out! Now anyone who tries to stand in his way will finally see what life is like in his shoes. Soon half the town has had a sudden change in orientation and gay marriages have been legalized! But soon we realize that what was at first laugh-inducing has become heart-breaking. Problems arise – as they will when love is involved.
The cast is fantastic. Relative newcomers Tanner Cohen and Nathaniel David Becker are not only heavenly on the eyes (and I do mean heavenly) but they can both act and sing. Tanner is one half of an emotronic pop (a sub-genre I had never heard of) band called The Guts. He also appeared in The Life Before Her Eyes and “As the World Turns”. As for Becker, you might remember him from a Virgin Mobile commercial (I didn’t). The most recognizable cast members are in the ranks. Wendy Robie might look more familiar to audiences with an eye-patch but her role as the as the ethereal drama teacher is the complete opposite of Nadine from ‘Twin Peaks”. She’s captivating and enchanting – so, completely believable as a captivating and enchanting drama teacher. Another television personality on-hand is Jill Larson, who has played Opal Cortlandt on “All My Children” for the past 18 years. And Zelda Williams may not be a name you know offhand but you probably know her dad, Robin.
The DVD officially hit store shelves June 9th, so if you haven’t been lucky enough to see it at a festival or you have and you have to own a copy be sure to keep your eyes peeled.
If you have ever considered yourself a movie fan in the least, I have something very special to share with you. Actually, this isn’t the first time I’ve mentioned Were the World Mine. But now that it’s finally arrived on DVD, I wanted to take a second opportunity to implore you to see this fantastic film.
I still have trouble believing this is a feature film debut for Tom Gustafson. The film is so pitch perfect you’d believe it was the work of a seasoned Hollywood heavyweight. Were the World Mine is a re-working of Gustafson’s 2003 short film Fairies. Fairies was a major festival success and repeatedly shown on LOGO. It was this success that inspired Gustafson to try it on a larger scale.
Were the World Mine is like you threw High School Musical, Moulin Rouge, Hedwig and the Angry Inch, and William Shakespeare’s Romeo + Juliet into a blender and still managed to achieve something wholly original and emotionally moving. While there’s nothing particularly ‘new’ about Were the World Mine (the story is a few hundred years old) it still feels fresh and groundbreaking, perhaps in its’ ability to finally combine all the queer elements of the films that preceded it then distilling it into a simple-fairy tale-esque story. In its simplicity it will become this generation’s Beautiful Thing.
In terms of plot think High School Musical Does A Midsummer Night’s Dream. Timothy (Tanner Cohen) is begrudgingly but openly gay at an all-boys school in typical small town America. He doesn’t hide who he is but he doesn’t exactly flaunt it either. Nevertheless he still gets teased by his schoolmates. And his mother (Judy McLane) is trying to be accepting but obviously still doesn’t understand. He feels completely alone except for his two best friends from a neighboring school – guitar-toting Frankie (Zelda Williams) and athletic Max (Ricky Goldman). Timothy spends most of his afternoons with Frankie and Max but most of his school hours daydreaming about the jock rugby team player Jonathan (Nathaniel David Becker) – but Timothy’s got plenty of material. Jonathan pats his butt during basketball practice, compliments his singing in a particularly dreamy/flirty scene, and always rises to his defense when the other rugby players start their bullying. So he’s completely annoyed when his kooky drama teacher interrupts his Jonathan-drooling-a-thon one day to insist he try out for the school’s upcoming musical version of Shakespeare’s A Midsummer Night’s Dream.
Timothy gets cast as Puck, and while memorizing his lines he stumbles upon the recipe for the pansy’s love potion. For the non-Shakespearean among you – in A Midsummer Night’s Dream the impish fairy Puck creates havoc when he sprays a love potion via a pansy into several sleeping eyes one night that causes the sleeper to fall madly in love with the first person he or she sees upon opening his or her eyes. Timothy is skeptical at first, but looses all doubts when he accidentally sprays Max. The next day at school he’s ready when drama practice starts – determined once and for all to get the guy of his dreams. To his delight it works, but his moment is cut short by more homophobic taunting from the rugby team members in the cast. In a moment of anger he sprays his two worst antagonists – who start totally making out! Now anyone who tries to stand in his way will finally see what life is like in his shoes. Soon half the town has had a sudden change in orientation and gay marriages have been legalized! But soon we realize that what was at first laugh-inducing has become heart-breaking. Problems arise – as they will when love is involved.
The cast is fantastic. Relative newcomers Tanner Cohen and Nathaniel David Becker are not only heavenly on the eyes (and I do mean heavenly) but they can both act and sing. Tanner is one half of an emotronic pop (a sub-genre I had never heard of) band called The Guts. He also appeared in The Life Before Her Eyes and “As the World Turns”. As for Becker, you might remember him from a Virgin Mobile commercial (I didn’t). The most recognizable cast members are in the ranks. Wendy Robie might look more familiar to audiences with an eye-patch but her role as the as the ethereal drama teacher is the complete opposite of Nadine from ‘Twin Peaks”. She’s captivating and enchanting – so, completely believable as a captivating and enchanting drama teacher. Another television personality on-hand is Jill Larson, who has played Opal Cortlandt on “All My Children” for the past 18 years. And Zelda Williams may not be a name you know offhand but you probably know her dad, Robin.
The DVD officially hit store shelves June 9th, so if you haven’t been lucky enough to see it at a festival or you have and you have to own a copy be sure to keep your eyes peeled.
Sunday, March 29, 2009
Siren in the Dark (2009)
Starring Orion Cross, James Townsend, David Beutler, Todd Tetreault, Rick Bolander, Madelyn Starr, Ashley Steel, Donner Tran, Riley Sheridan, Kyle Lankins, Sarah Christine Pletcher, A.J. Domianus – Directed by Laura Reilly and Steven Vasquez
Occasionally a movie comes along that completely blows me away and reminds me to never judge a book by its cover. That happened to me twice this week, and this is one of those movies. Don’t get me wrong, this movie is definitely a diamond in the rough….really rough. The cast at best is amateurish, the editor seems to be smoking crack on several occasions, and there are plot holes so big you could drive a hummer limo through them. But take a moment to look beyond these flaws and what you are left with is a fascinating and complex story that has more unexpected twists than the court documents from David and Liza’s divorce papers. I’ve been trying all week to explain to my friends why this movie is so good and the best I’ve come up with is imagine David Lynch and Christopher Nolan decided to make a big gay murder mystery. A troubled cop gets a late call that may shed some light on a recent missing person case he’s been working on. But when the young man and woman start to talk, their story may be more than the cop can handle. Orion Cross plays the mysterious Joshua and it’s almost difficult to see his devilish turn because of his overwhelming good looks. Todd Tetreault, who plays Officer Cameron Ibanez, looks like a mix of Brad Pitt and Guy Pearce and has one of the most beautiful asses I have ever seen. And his big naked moment is tame compared to the mountains of flesh on display; cut, uncut, bears, boobs – there’s truly something for everyone. And the sex scenes are so realistic it would make Queer as Folk fans blush. If you like light erotic drama, you’ll definitely get a kick out of A Siren in the Dark.
Occasionally a movie comes along that completely blows me away and reminds me to never judge a book by its cover. That happened to me twice this week, and this is one of those movies. Don’t get me wrong, this movie is definitely a diamond in the rough….really rough. The cast at best is amateurish, the editor seems to be smoking crack on several occasions, and there are plot holes so big you could drive a hummer limo through them. But take a moment to look beyond these flaws and what you are left with is a fascinating and complex story that has more unexpected twists than the court documents from David and Liza’s divorce papers. I’ve been trying all week to explain to my friends why this movie is so good and the best I’ve come up with is imagine David Lynch and Christopher Nolan decided to make a big gay murder mystery. A troubled cop gets a late call that may shed some light on a recent missing person case he’s been working on. But when the young man and woman start to talk, their story may be more than the cop can handle. Orion Cross plays the mysterious Joshua and it’s almost difficult to see his devilish turn because of his overwhelming good looks. Todd Tetreault, who plays Officer Cameron Ibanez, looks like a mix of Brad Pitt and Guy Pearce and has one of the most beautiful asses I have ever seen. And his big naked moment is tame compared to the mountains of flesh on display; cut, uncut, bears, boobs – there’s truly something for everyone. And the sex scenes are so realistic it would make Queer as Folk fans blush. If you like light erotic drama, you’ll definitely get a kick out of A Siren in the Dark.
Wednesday, January 7, 2009
Surge of Power (2004)
Starring Vincent J. Roth, John Venturini, Joey Bourgeois, Robert Hurt, Nichelle Nichols, Noel Niell, Bobby Trendy, Marv Wolfman, Lou Ferrigno, Hagen O’Brien – Directed by Mike Donahue
Theaters have been jam-packed lately with lines to see the latestsuperhero movie, but a-dork-able corporate attorney and comic fan Gavin Lucas lives in the fictional Big City, where not only are there comic superheroes, but real caped crusaders as well. So can I just tell you how much I loved this movie? Every line of the script, every costume, every single moment of the film is such an obvious labor of love that its sincerity is both recognizable and entertaining. Vincent J. Roth serves as executive producer, writer and star in a fantastic family-friendly spoof/homage to superhero TV and films. The best part? It’s a gay-positive movie you could watch with your kids or a fun movie night selection to enjoy with friends. It’s a classic superhero origins story: Gavin is caught in a laboratory explosion caused by the diabolical Hector Harris and gains superpowers that allow him focus and blast energy fields. His friend and colleague Ronald Richards (Reed Richards?) helps Gavin when he decides to use his new found powers to become the superhero he’s always wanted to be – Surge! But what superhero would be complete without his Lois Lane? His Mary Jane Watson? His Jimmy Olsen? Well have no fear – cutie Joey Bourgeois is on-hand to be in the wrong place at the wrong time. Roth, director/producer Mike Donahue and producer Tom Tangen throw every cliché in the comic book at you, and I loved every minute of it!
Sunday, September 7, 2008
Anita Page (1910 - 2008)
LOS ANGELES (AP) — Anita Page, an MGM actress who appeared in films with Lon Chaney, Joan Crawford and Buster Keaton during the transition from silent movies to talkies, has died. She was 98.
Page died in her sleep early Saturday morning at her home in Los Angeles, said actor Randal Malone, her longtime friend and companion.
Page's career, which spanned 84 years, began in 1924 when she started as an extra.
Her big break came in 1928 when she won a major role — as the doomed bad girl — in "Our Dancing Daughters," a film that featured a wild Charleston by Crawford and propelled them both to stardom. It spawned two sequels, "Our Modern Maidens" and "Our Blushing Brides." Page and Crawford were in all three films.
Read more here.
Sunday, August 31, 2008
Saturday, August 30, 2008
Friday, August 29, 2008
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