Reverend's Reviews: Fall Into New Releases

Summer is over and young people are back to school. A flurry of new GLBT-interest movies on home video this month, though, offers tantalizing viewing options for the fall. First out of the gate on September 1st is Finding Mr. Wright, from Nandar Entertainment. It stars the always amusing Rebekah Kochan (best known for the Eating Out series) as well as one of our favorite out actors, Matthew Montgomery, in a contemporary screwball comedy involving Hollywood politics and gay romance. Montgomery reveals an endearing, previously unseen funny side, and comedian Jason Stuart is thrown in for good measure.

On September 13th, the 2010 festival hit Leading Ladies will make its DVD debut courtesy of Wolfe Video. While it primarily puts a lesbian spin on the 1992 Australian film Strictly Ballroom, the plot also features an overtly gay character played by cute Benji Schwimmer, season 2 winner of TV's So You Think You Can Dance. Schwimmer isn't the only connection between that series and this movie; the show's choreographer, Melanie LaPatin, staged the dances in Leading Ladies and stars as the overbearing mother of two sisters groomed for ballroom competition stardom. When one of her daughters becomes pregnant and the other falls in love with another female dancer, Mom is less than pleased.

Leading Ladies suffers initially from some forced performances and dialogue but both improve as the film moves along. There are some great dance numbers, notably one between Schwimmer and a hunky suitor and another set amongst the aisles of a grocery store, and fine photography by Peter Biagi throughout. The moral of the story -- "Let love lead" -- becomes clear early on and serves as important guidance through the difficult choices the main characters have to make.

A more unusual, less polished but very effective glimpse into love and its challenges is provided by Open. The first American film ever to win the Berlin Film Festival's prestigious "Teddy" Jury Prize, it is set for a September 20th release on DVD and streaming video by Ariztical Entertainment. A striking feature film debut (despite some amateurish performances) by writer-director Jake Yuzna, Open focuses on the travails of two atypical couples. One pair is comprised of hermaphroditic individuals given to frequent cosmetic surgery in their effort to be as similar in appearance as possible. As one observer notes of them, "They truly feel they are one entity, and they want their bodies to reflect that." When one has to travel, an androgynous acquaintance threatens to come between them.

The other couple features a young man who falls in love with a female-to-male transgender person. As they work to define their relationship and sexual interactions, the trans partner's troubled past provides challenges. When the trans character unexpectedly becomes pregnant, a whole new set of questions emerges. Open is a unique and engrossing exploration of the ever-increasing diversity in human relationships.

Finally, IFC Midnight is unveiling the provocative Autoerotic in September via Video on Demand (VOD). While there isn't much GLBT content in this anthology of four stories that expose some of the more secretive aspects of sexuality, the best segment is about a very pregnant married woman who accepts another woman's offer to help her achieve orgasm, something her loving husband hasn't been able to provide in the latter months of her pregnancy. It is simultaneously funny and erotic, mainly because it is told with considerable honesty. Both lesbian and straight women should thoroughly enjoy it.

Reverend's Ratings:
Finding Mr. Wright: B-
Leading Ladies: B
Open: B+
Autoerotic: C+

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reverend's Reviews: Iranian Girls Gone Wild

The Islamic fundamentalist president of Iran, Mahmoud Ahmadinejad, definitely wouldn't approve of the award-winning, pro-LGBT drama Circumstance (opening today in Los Angeles and New York). Maryam Keshavarz's sensual look at two girls from opposite sides of the tracks who fall in love shines a more revealing light than ever before on Iranian culture and politics. Not surprisingly, GLBT people bear the brunt of the current regime's repressive tactics, and can even be put to death.

In Circumstance, Atafeh (Nikohl Boosheri), who comes from a wealthy family, meets lower class, orphaned Shireen (Sarah Kazmy) at an underground dance party in Tehran (the film was shot in Lebanon). Despite the constant threats of surveillance and raids by Iran's Morality Police, the girls and their teen/young adult friends can't resist the time-honored temptations to dance, drink, try drugs and have sex. The biggest surprise to Shireen and Atafeh is their unexpected, mutual attraction to each other.

Naturally, they know to keep their relationship a secret. It becomes more difficult to do so once Atafeh's brother (Reza Sixo Safai) returns home from prison. Having embraced extremist religious and political views while incarcerated, he increasingly forces his conservative expectations on his family and threatens to uncover the forbidden love between Shireen and his sister.

Circumstance has swept the major awards at many of this year's film festivals, including Sundance, New Directors/New Films (a.k.a. Newfest) and Outfest, and Boosheri was honored with Outfest's Best Actress award for her film debut as the conflicted Atafeh. While I didn't find much new in the film's girl-girl romantic dynamics, it's setting and social-political commentary are certainly above the norm. Writer-director Keshavarz, who is Iranian herself, structures and frames her story beautifully, with scenes gradually moving from open and airy settings to tighter, more oppressive settings and camera shots. The performances from the mix of experienced and neophyte actors are uniformly excellent.

In an online chat with critics, Keshavarz related the many risks that she, her cast and crew members took in making the film. "I had serious discussions with the actors that we likely couldn't go back to Iran after making the film," she wrote. "Even shooting in a liberal country, like Lebanon, was still difficult; it is still illegal to be gay there." Keshavarz has been thrilled, however, with the "amazing," positive response Circumstance has received from GLBT audiences in the US as well as from younger Middle Eastern immigrants who have seen it.

While homosexuality remains a criminal offense in many Middle Eastern countries and other parts of the world, there is hope to be found in Circumstance. As history has shown — and can currently be seen in Libya and other former dictatorships — the more repressive/oppressive the environment, the more emboldened the oppressed become. This is true of both political and religious structures. Shireen and Atafeh are our latest cinematic heroines in the GLBT community's growing call for acceptance and justice.

Reverend's Rating: B+

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reverend's Report: D23 2011

Upon my arrival at the Anaheim Convention Center on the first morning of the D23 Expo, I could tell it was going to have a much larger turnout than the first such event in 2009. I ended up having to park on the top floor of the parking structure, and negotiated large crowds of Disney fanatics once inside the center. The second day of the expo sold out the afternoon before, a significant testament to the increased attention being paid to it.

My first stop was the traditional Disney Legends ceremony. A dozen people who have helped build the Disney empire since its founding in 1923 were honored, including five women who have voiced princesses in the more contemporary Disney animated features The Little Mermaid (Jodi Benson), Beauty and the Beast (Paige O'Hara), Aladdin (Lea Salonga, Princess Jasmine's singing voice, and Linda Larkin, Jasmine's speaking voice), Mulan (Salonga again) and The Princess and the Frog (Anika Noni Rose). Host Tom Bergeron, who was nicely casual and provided very funny commentary throughout, noted that Noni Rose is the youngest honoree to be named a Disney Legend.

All five actresses performed to montages of scenes from their respective films, with Benson bringing down the nearly full, 4,000 seat arena both through her audience-participation version of "Part of Your World" and her utterly heartfelt, unapologetic faith sharing. "Praise God from whom all blessings flow," she said upon reaching the podium, quoting a traditional Christian hymn. "This is my ministry," Benson remarked of her continuing voice performance as Ariel in video games, television and the new ride inspired by The Little Mermaid at Disney's California Adventure park.

The ceremony climaxed with the induction of late Muppets creator, Jim Henson. While Henson didn't work for Disney while he was alive, his company was bought by Disney after his death and the Muppets have been a welcome, appropriate addition to the studio's holdings. Henson's children, Lisa and Brian, were on hand and reminisced about their father, moving audience members to both tears and laughter. But it was a masterstroke on the part of the event planners to bring Kermit the Frog and Rowlf the Dog out at the end to sing "The Rainbow Connection." Attendees were utterly mesmerized.

Kermit was on hand again Saturday morning at the Walt Disney Studios' presentation of upcoming movies. The amphibian was joined by Miss Piggy (who arrived in a motorcycle sidecar) as well as actor Jason Segel, their co-star in November's big-screen reunion, The Muppets. New studio head Rich Ross and animation executive John Lasseter were fairly giddy as they hyped next spring's John Carter; next summer's Brave; the direct-to-DVD Planes, an airborne knockoff of Cars; The Odd Life of Timothy Green, which does indeed look odd; and their more recently-acquired Marvel epic, The Avengers.

John Carter in particular, based on Edgar Rice Burroughs' "John Carter of Mars" series, looks really cool. The crowd went predictably wild when cast members from the last came out, including Robert Downey, Jr., Chris Hemsworth, Scarlett Johanssen and Jeremy Renner. Other big stars on hand to plug their respective Disney projects were Billy Crystal (the Monsters, Inc. prequel Monsters University), Willem Dafoe (John Carter), Jennifer Garner (Odd Life...) and Jon Cryer (Planes).

A special showroom exhibit entitled "Carousel of Projects" and a Friday afternoon presentation revealed a plethora of developments regarding Disney theme parks around the world. In the Carousel of Projects, visitors could check out a detailed model of the massive Fantasyland expansion currently underway in the Magic Kingdom park at Walt Disney World in Florida. When completed in the fall of 2012, it will nearly double Fantasyland's current size and will feature a "Seven Dwarfs Mine Train" roller coaster (which looks like a milder, kid-friendly version of Big Thunder Mountain Railroad but with individually swinging cars) as well as an east coast version of The Little Mermaid ride, among other new attractions. I can't wait to visit and check it out once finished.

Details were also shared at the Theme Parks presentation about Disney's new park in Shanghai, China; the company's beautiful new Hawaiian resort, Aulani, which opens next week; the "Cars Land" addition and overall makeover of California Adventure; and magnificent new ships under construction for Disney Cruise Line. A pending expansion of California's Fantasyland was also announced, which will take over the current Carnation Gardens concert area at the end of Disneyland's Main Street USA. The expo also hosted a 45th-anniversary celebration of "It's a Small World" with special souvenirs and a panel of artists, including songwriter Richard Sherman, who helped create the mostly beloved but sometimes hated attraction.

The presentations and pavilions throughout this year's D23 Expo were very satisfying all in all, despite the larger crowds and long lines for everything, including food and restrooms. The only truly disappointing aspect of this year's D23 Expo was the "Treasures of the Walt Disney Archives" exhibition. Most of the noteworthy artifacts featured were repeats from the first expo's display, and the new additions from less well-regarded Disney films such as Hocus Pocus, Father of the Bride and The Rocketeer were decidedly underwhelming. One newly-included treasure well worth checking out was Walt Disney's personal limousine, but it was on display in the main showroom.

It will be interesting to see what Disney does next with the D23 Expo, now that it is well on its way to becoming a Comic Con-esque success. Will they offer it annually? Will it be moved beyond Anaheim as it increasingly outgrows the convention center there? All it will take is a little time... and some continued pixie dust.

Report by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reverend's Reviews: Babs vs. Active Child

In one corner, we have a legendary, Grammy/Oscar/Emmy-winning superstar, Barbra Streisand. Opposite her is young, falsetto-singing upstart Active Child, a.k.a. former choirboy Patrick Grossi. Both are duking it out via new CDs being released today, and darn it if the young upstart doesn't come out on top... artistically speaking.

Don't get me wrong: I've loved Babs ever since her back-to-back triumphs while I was in high school of the movie Yentl and her Broadway Album. Of course, her career began nearly 20 years earlier in New York City, initially as a cabaret sensation and then as the triumphant headliner of Funny Girl, both on stage and screen. Streisand's vocal dynamics, clarity and showmanship have been unmatched. Now, though, she is approaching 70 and — as her new release makes clear — her voice isn't what it used to be.

What Matters Most satisfies Streisand's stated, long-desired effort to record an album of songs exclusively written by her longtime collaborators, Alan and Marilyn Bergman. The Bergmans won Academy Awards for their score of Yentl (with composer Michel Legrand) as well as for the title tune from the Streisand-starring hit, The Way We Were (which they co-wrote with Marvin Hamlisch). What Matters Most opens with Streisand singing another Bergman-penned Oscar winner, "The Windmills of Your Mind." Her diction is as impeccable as ever in this somewhat slowed-down cover, and the orchestrations throughout the new CD are lovely.

Sadly, it begins to become evident on the album's second track, "Something New in My Life," that Streisand should probably stop recording. She's been singing in a lower octave for a while now, which is to be expected as a singer ages and which was put to good use on her last, loungy CD, 2009's Love is the Answer. But here, Streisand's voice sounds harsh whenever she strains to reach a higher note at louder volume. This is confirmed by at least two other songs, "Alone in the World" and "The Same Hello, The Same Goodbye."

Perhaps seeing the writing on the wall, Streisand concludes What Matters Most with the elegiac song of the same name. In it, she sings that "what matters most is that we loved at all." This is presumably directed to the Bergmans but could also serve as a fitting farewell to her longtime fans. While I hate the prospect of never hearing Streisand sing something new after this, a true artist usually recognizes when their best work is behind them but will naturally endure.

As one recording artist enters their twilight, another is emerging. You Are All I See is Active Child's second CD — following last year's Curtis Lane — but the first that I've heard. It represents an amazing amalgamation of Grossi's angelic voice, ethereal music comprised of harp and strings, and 1980's synthesizer-manufactured sound. Active Child can perhaps best be considered the musical offspring of the Thompson Twins and Sarah Brightman, with a little Jimmy Somerville DNA thrown in for good measure.

From the opening title track on You Are All I See, I was hooked. "Playing House," featuring R&B singer How to Dress Well, is a standout, as is "See Thru Eyes." As a matter of fact, every song on Active Child's latest is a winner. Trust me: If you haven't heard of him, check him out. I think you'll be glad you did.

Reverend's Ratings:
What Matters Most: C
You Are All I See: A

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Men on Film: Two Critics, One Day

Reverend's Reviews: One (Not Very Fine) Day:

July 15th is revered in Anglican Church circles as the feast of Saint Swithin (sometimes spelled Swithun), a 9th-century bishop of Winchester known for — in the words of his Wikipedia entry — "posthumous miracle-working." Swithin is referenced several times in the new movie One Day, opening nationwide today. If only the good saint's miracles extended to cinematic adaptations of bestselling novels; One Day could use one.

An uneasy mix of romantic longing and thwarted fairy tale, the plot follows two British friends and occasional lovers over a 20-year period beginning with their initial encounter on July 15, 1988. A middle-class, ambitious wannabe-writer, Emma (played by American actress Anne Hathaway), meets the wealthy, uninhibited Dex (Jim Sturgess of the Beatles-inspired musical Across the Universe) following their college graduation. The film subsequently revisits the pair each July 15th thereafter, and we watch the ebb and flow of their careers and angst-ridden relationship via vignettes accompanied by period-appropriate pop songs.

This "annual checkup" conceit ultimately proves precious and plodding, despite the occasionally clever ways each date is worked into the scene visually. I haven't read the novel by David Nicholls upon which the film is based (Nicholls also wrote the screenplay). A co-worker who has read the book informs me that the years and events aren't presented chronologically/sequentially on the page as they are on screen. I therefore suspect that events in the novel are presented in a more nuanced and layered way than they are in this heavy-handed movie version.

At least viewers are privy to some lovely scenery in Great Britain and France (shot by Benoit Delhomme) while we watch the lead characters struggle, work, love, grieve and skinny dip. By film's end, one of them learns "Whatever happens tomorrow, we've had today" as the result of a tragic twist so heavily foreshadowed in the moments before that it should surprise no one.

The cast can't be faulted for One Day's shortcomings. Hathaway and Sturgess are fine in their roles and have good chemistry. I am already weary, however, of Hathaway playing tortured romantic victims following this and last year's Love & Other Drugs. Here's hoping she gets to bust loose and kick some ass as Catwoman in next summer's The Dark Knight Rises. Patricia Clarkson (Far from Heaven, Easy A) is good as always in her brief turn as Dex's doting, terminally ill mother.

Directed by Lone Scherfig, One Day serves as a disappointing follow-up to her more subtle, Oscar-nominated film of 2009, An Education. It also represents a rare misstep for the usually reliable Focus Features, maker of such gay-interest successes as Brokeback Mountain, Milk and Beginners. Some fellow critics and audience members may find One Day miraculous somehow. By it's final 20 minutes, though, I was praying to Saint Swithin for deliverance.

Reverend's Rating: C-

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

On the other hand...

Reel Thoughts: A Blue Valentine (That People Will Actually Want to Watch):

From Same Time, Next Year to (500) Days of Summer to last year’s brutal Blue Valentine, films that unfold on timelines are fascinating, because you get to see the characters change, sometimes radically, from date to date. One Day is like Same Time, Next Year in that we follow Anne Hathaway and Jim Sturgess on the same date over twenty-three years, starting with a night of passion on the graduation day in 1988 all the way to 2011. At first, the date skipping from year to year seemed too quick and too facile, but as the film progressed, you grow to love Emma and Dex, flaws and all. July 15th, or St. Swithin’s Day as Dex informs Emma after their not-completed tryst, grows dramatically in significance as the pair grow older.

David Nicholls has adapted his best-selling novel masterfully, showing Dex’s rise as a smarmy television host and Emma’s escape from a dead-end restaurant job to become the teacher and then novelist she always wanted to be. Of course, Dex’s superficial fame leads to a drug-addicted, sex-drenched superficial life that is bound to burn out, and it does. Through everything, Emma’s and Dex’s friendship and love survives, and this is what makes One Day so powerful and moving.

Everyone has regrets and wonders how there life might have been different if they had engaged with that one elusive person. Writer Nicholls and Danish director Lone Scherfig (An Education) frankly show the highs and lows that fate gives us, and never stoop to easy laughs or unearned payoffs. Hathaway and Sturgess each give incredibly nuanced performances, aided by the luminous Patricia Clarkson as Dex’s mother and a cast of fine British actors. Emma and Dex’s relationship is presented in a real, mature fashion, full of the fights and reconciliations that every couple faces.

Anyone who has ever experienced the highs of love and the devastating lows of loss will want to experience this One Day. Its hopeful ending will comfort you with the promise that life can rebound, even when you think it cannot. With Sarah’s Key, The Help and now One Day, the best movies of the year are finally arriving.

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.