Tag: gay

THE INSPECTION – Review

(l-r) Jeremy Pope and Raul Castillo in THE INSPECTION. Photo credit: Patti Perret/A24 Films. Courtesy of A24 Films.

A homeless young Black man, rejected by his mother and with few options, decides to join the Marines, but the catch is the young man is gay and an earlier time when gays were banned from serving in the military, the era of “don’t ask, don’t tell.” Gabrielle Union plays the mother of this young man, whom she kicked out ten years earlier, in this moving drama inspired by writer/director Elegance Bratton’s own experiences. The drama has garnered strong praise for its powerful drama, in an impressive directorial debut for writer/director Elegance Bratton.

Ellis French (Jeremy Pope) has been living on the streets since his mother kicked him out at the age of 15. Now 25, he sees little ahead for him and decides to do something desperate, specifically entering the military. Not just the military but the Marines, rather than a less-tough branch like the army or navy. However, before he can be inducted, Ellis must get his birth certificate from his mother, who does not want any contact with him. Showing up at her door, his mother (Gabriel Union), a ramrod-straight, strict corrections officer, is both shocked and cold towards him, treating her son as if he is a threat to her safety and barring the door to him. She responds to his decision to join the Marines with a mix of skepticism and mild amusement. Eventually, reluctantly, she warily lets him in.

Her behavior raises questions in our minds about their past history but the film offers little on that past. Her apartment is filled with objects that tell us she is deeply religious, so we guess that her religious feelings are at least part of why she rejected her gay son, but her reaction is so extreme, we wonder if there is something more.

Joining the Marines hardly seems like the best idea for a gay Black man in this more homophobic era, so his estranged mother’s skepticism about that decision might be something we share as well. Yet Ellis is making a very deliberate choice in picking the Marines. He is offering himself up to be remade, with a hope for a rebirth into a different life. That mix of desperation and determination drives him but it seems a long reach.

Marine boot camp is tough for any recruit but more so for someone concealing a secret like Ellis French. Induction calls for recruit French to declare he is not a communist or planning to overthrow the government, along with a litany of other things, including being homosexual. He does that without blinking. Once at boot camp, French finds himself among mostly white recruits, who already think of themselves as Marines. Yet he finds he is not the only one facing special challenges, including a Muslim recruit named Ismail (Eman Esfandi).

The drill instructors are led by tough Sergeant Laws (Bokeem Woodbine), a Black sergeant who, unlike the rest of the instructors, has actual combat experience. It is something he wears like a medal on his chest, something which both he and the other instructors clearly feel sets him on a different plane, but it also has a toxic effect. “I hate recruits,” Laws says early on, “But I love Marines.” Since both Laws and recruit Ellis French are Black, one expects a connection between them, but it is a Hispanic drill instructor, Rosales (Raul Castillo), who quietly offers some encouragement and something more, albeit more in private.

Jeremy Pope gives a moving performance as Ellis French, who reveals a level of commitment to his goal and courage in the face of the abuse he receives once they figure out he is gay, as you know they will. In an unusual role for her, Gabriel Union gives us a harsh, rigid and religious woman as Ellis’ mother, although we catch glimpses of a motherly impulse to hope for success for her son, even as she keeps him at arm’s length.

Other outstanding performances sharpen the raw emotion of this powerful drama, notably Raul Castillo as the more kind drill instructor. Bokeem Woodbine is alternately terrifying and riveting Laws, the hardened lead drill instructor.

It is a grueling experience, as one expects, but THE INSPECTION is unblinking and unrestrained in its depiction of the boot camp’s bullying, abuse and hardship. That brutal honesty goes a ways to elevating this film above the usual boot camp tale, but the film is also a salute to what the Marines gave Bratton, a personal rebirth on several levels. We have to assume French’s unseen ten years spent on the streets have given him an inner strength and resourcefulness we don’t expect at first. Along with the bullying and violence, we also see moments of friendship, humor, and even tenderness. It is not just a sense of camaraderie that grows between the recruits but a pride in accomplishment, and a deeper kind of personal transformation for the lead character.

The camera often focuses closely on faces, and a surprising number of scenes are shot in dim light or half lit, giving the film a far different tone than most boot camp dramas, one that is more contemplative. The pace is contemplative too, at least early on, requiring us to let things develop. We are given little about Ellis’ previous life, or details of what happen between him and his mother, leaving the audience wondering about what has to have been pivotal years. Instead, the focus is firmly on the boot camp experience, and its powerful ending, which eschews pat conclusions.

It is not a perfect film but this semi-autobiographical drama is surprising, effective and deeply, movingly human, and an impressive debut for writer/director Elegance Bratton, full of promise.

THE INSPECTION opens Friday, Dec. 2, in theaters.

RATING: 3.5 out of 4 stars

JOE BELL- Review

This time of year is often thought of as a perfect time for strengthening family bonds. And now this new Summer flick explores this, an “inspired by true events” tale of a father and son, who seem to have little in common aside from DNA. So, are they trying connect via a sport like baseball, or perhaps working on a house or on restoring an old car? No, they’re taking a trip across the USA…the long way…on foot. Of course, there’s more to this journey than leisurely taking in the site from ground level. No, it’s more of a mission to stand up to the forces of ignorance and intolerance, That’s the plan of this story’s weary patriarch, a simple small-town fella’ named JOE BELL.

As this story begins, we’re right alongside Joe (Mark Wahlberg) as he’s pulling a cart that holds his tent, water, and supplies, trudging down a winding road as cars and trucks whiz past. Luckily his eldest son Jadin (Reid Miller) is always “nearby”. The two joke and tease as Joe makes it to a nearby town and addresses another gathered group about the terrors of bullying. The walks and “the talks” are all in support of Jadin. As they hunker down for the night, Joe checks in with his wife Lola (Connie Britton) back in their small Oregon town. We then flashback to earlier in 2013, before the trek, when Jadin came out to Joe, Though he was a bit befuddled, Joe didn’t reject his gay son, reaffirming his love and support. Unfortunately, Jadin felt none of that at his high school, aside from his cheerleading sisters (he’s the only male). When the jeers and harassment escalate, Joe insists that Jadin fight back, but the odds are too great. He can’t “duke it out” with almost everybody. The school administration offers no help and even suggests that he transfer to another district. Then social media trolls attack, as do the “locker room’ thugs. Joe and Connie are there for him, but can’t protect him. Eventually, Joe decides to spread the word, so he enlists sponsors to fund his walking cross-country trek. But can one man stop, or even lessen, the hate?

In the title role, Wahlberg tones down his macho heroic persona to become a believable working-class “everyman”, one whose virtue and sincerity reflect his quieter “heroic’ attributes. Through his voice inflection and awkward stares, we see Joe’s inner conflict as he pushes down the small-town small-mindedness he absorbed growing up in order to try and nurture his son. He can’t quite understand him, or his needs, but truly wants to be a “solid rock’ for Jadin. As that offspring, Miller projects his own strength and vulnerability, never becoming a “symbolic martyr”. He refuses to “blend in” while knowing that his own sense of style etches a glowing target on him. Miller makes us feel his despair as Jadin is pulled under as friends and family flail about and fumble with that needed lifeline. As the family matriarch, Britton as Lola acts as the uniting glue for father and son. She’s more on Jadin’s “wavelength’ and works to expand Joe’s sensibilities and empathy. But Britton shows us her struggles as Joe’s journey leaves her at home to lull herself to sleep with wine and cigarettes. But there’s still another youngster at home to raise. Maxwell Jenkins plays Jadin’s kid brother Joseph, who must deal with the family forces beyond his young mind. It’s a subtle sensitive performance, as “little Joe” must assume a more active role in keeping the Bells unified. Oh, and there’s a lovely “late in the story” supporting work by Gary Sinise as an unlikely kindred soul Joe encounters on that long road.

Director Reinaldo Marcus Green keeps the story moving at a brisk pace for most of its sparse 90 minutes, guiding his entire cast to good effect, and makes effective use of the varied landscapes and atmosphere, giving us a taste of all the seasons. The screenplay from Diana Ossana and Larry McMurty never hammers at the heartstrings, though the film almost sinks into melodramatic misery. With that modest runtime, a few more minutes could have been added to give us more insight. Just how does Joe convince his home area to fund his mission (though kudos for showing the ugly side of villages too often “sugar-coated” in the media, from Bedford Falls to Mayberry)? We get bits of Joe’s clunky speeches, but when he nearly gives up, we don’t get much of a listen to Joe’s “second wind” as he must face a packed school gym. Plus a silly mid-film “twist” borrowed from thrillers feels a bit tacky. The film overflows with good intentions but often comes off as a slightly grittier basic cable movie, though strengthened with Wahlberg’s star charisma (usually he saves his more serious work for the Fall). And it doesn’t help that another big “franchise” star is “dressing down” more successfully in an upcoming flick as a “working stiff” (and what does Joe do for a living). Still, the film’s message is delivered with heart and “shoe leather” by the quiet gentleman named JOE BELL.

2.5 Out of 5

JOE BELL opens in select theatres on Friday, July 23, 2021

ROCKETMAN (2019) – Review

Hey hard-rockin’ film fans, better hope the sound system at your local multiplex goes well past eleven because it’s musical biography time once more. Sure popular musicians have been recreated on screen through the years, Surprisingly the lives of Al Jolson and Fanny Brice inspired two hit films and a couple of sequels (THE JOLSON STORY begat JOLSON SINGS AGAIN while the great Streisand starred in FUNNY GIRL then FUNNY LADY). Ah, but late 2018, a little over six months ago rock and roll ruled the box office (and garnered 4 Oscars) with the story of Queen in BOHEMIAN RHAPSODY. And a fictional music flick, the fourth iteration of A STAR IS BORN, inspired by real performers and showcasing the acting debut of a current music superstar, grabbed a gold statue and lots of filmgoers. Plus earlier this year Netflix got into the act with a “biopic” of those heavy metal hellions, Motley Crue, called THE DIRT. Now comes another “early Oscar contender” based on the life of a true rock and roll icon. But unlike Freddie Mercury (the main focus of BH), this is a still “ongoing” life. And he’s a producer of this work. Ladies and gentlemen, let’s make some noise (wait, this is a movie theatre, not an arena or stadium, so silence, please) for Sir Elton John, the ROCKETMAN.

As we first meet EJ (Taron Egerton), he’s in a full flamboyant Elton-style outfit (perhaps designed by Bob Mackie), but in a somber, unlikely setting. This is where he begins to tell his story, starting with the early fifties childhood of middle-class lad Reginald Dwight in Pinner, Middlesex. He’s raised mainly by his free-spirited mum Sheila (Bryce Dallas Howard) and his nurturing maternal ‘grandmum’ Ivy (Gemma Jones). Reg yearns for the attention of his long-absent military man dad Stanley (Steven Mackintosh), who is just as absent when he finally returns home, acting cold and aloof around his boy. Luckily Reg can concentrate on his love of music becoming a piano prodigy. And with the help of his ‘two mums’, he gets a scholarship at the prestigious Royal Academy of Music. In his teen years, Regs plays jazz and bebop down at the neighborhood pub. But he’s got bigger dreams, spurred by that new sensation Elvis, and answers a classified ad which leads him to Dick James Music. There a young ambitious assistant named Ray (Charlie Rowe) books him as a back-up keyboard for some touring US music groups. Later, in a bit of kismet, Ray gives Elton (much flashier than the name Reg) a batch of song lyrics by Bernie Taupin (Jamie Bell). The two click immediately, but just professionally. Around this time Elton realizes that he’s gay, but tries to stay in the closet. Despite the grousing of Mr. James (Stephan Graham), the duo cut an album which begins to climb the record charts. The now supportive James books Elton and his band a gig…in America at LA’s Troubadour. It’s a sensation, to say the least. That night, at a wild 1970-style afterparty. Elton meets the enigmatic and handsome music producer John Reid (Richard Madden). Eventually they become business and romantic partners, with Reid running everything (even trying to arrange a “girlfriend/beard” for Elton). But with the pressure of stardom come the excesses of booze and drugs. As tensions mount between Elton and Reid, even alienating Taupin, will this new pop sensation survive his success, or will he be yet another victim of fast fame?

Though he’s known for his lead role in the KINGSMEN action franchise, this is the star-making dramatic role of a lifetime for the talented Egerton. He brings an exuberant infectious energy to the big musical numbers, whether it’s a flashy epic concert. a big set piece with gyrating extras, or an intimate duet. And yes, he does his own singing (sorry Rami), very well, even clearing up some of the often garbled lyrics (so the beloved TV star of “Taxi’ and “Who’s the Boss” is not name-checked in a pop ballad). Plus Egerton can more than handle the emotional demands, showing us a performer that’s pure confidence on stage who nearly breaks under the weight of a dark childhood and a toxic relationship. Elton lashes at in anger (especially at Taupin) ), but his real fury is directed inward as he gulps cases of booze and pills to deaden the pain. Speaking of Taupin, Bell brings a quiet dignity to the role of the “word-man”, often the voice of reason for Elton, sharing great mutual respect for the talents of each man. As for the other man in Elton’s life, Madden brings a silky sense of menace to the role of the lover we think our hero deserves, but who shows his true colors when given the “keys to the kingdom”. Dallas seems to be having some wicked fun as Elton’s “hot to trot” (in the words of Eric Idle, “Say no more, say no more”) outgoing mum, but she too possesses a casual cruelty toward the son whose talent provides her with everything (even a private island, since she’s embarrassed by him). Plus some great comic relief is provided by Graham as the coarse, vulgar James who has no taste for Elton and Bernie’s work, nearly withholding it from the public that will fill his pockets (shades of Mike Myers in BH). In one terrific scene, Elton begins playing soon-to-be hit singles from his new albums, but after a few notes, James cuts them short with insults (“That’s s#*t!! Next!!”). Plus American actor Tate Donovan scores some big laughs as the oh so mellow owner of the Troubador, being the right blend of hippy surfer dude and cut-throat capitalist (“Four shows! Four!”).

Actor turned director Dexter Fletcher, who worked with Egerton on the crowd-pleasing sports underdog bio EDDIE THE EAGLE, gets to step out of the shadows (he finished up the troubled BH last year…without credit) and delivers a bubbly nostalgic romp, at least in the film’s first two acts. He expertly establishes the decades, finding the right tone for the 50s through the early 80s. Fans of the rock and roll flicks mentioned earlier may be startled to discover that this is not merely a string of concert songs, but a true “old school” MGM-style musical with characters bursting into John/Taupin standards (hence the marketing phrase “musical fantasy”). These sequences almost feel lifted straight from recent hits like LA LA LAND and THE GREATEST SHOWMAN, though the choreography is often too “busy” with frenetic dancers doing intricate hand gestures and steps that distract rather than enhance the tunes. This made me wonder, several times, whether this was originally intended as a flashy Broadway extravaganza ala “The Jersey Boys” or “Beautiful: The Carol King Musical” (I imagined a truck just for Elton’s wardrobe for the touring company). One creative number just showcases Egerton as some neat CGI effects have him changing those incredible costumes as the camera spins around the piano (the lid takes up the screen, then…more crazy specs). But, much as with BH and ASIB, the fun screeches to halt as the substance abuse and hard-partying takes root, as Lee Hall’s screenplay covers some awfully familiar territory. Still, kudos to the filmmakers from not shying away from the main character’s struggles with his sexuality (no CRUISING-style montage, like BH). Plus his second marriage (to a woman) is covered (and dealt with dramatically). Unfortunately, BH takes the prize for the final act with the AIDS reveal and the triumph at Live Aid, since John’s tale finishes up with a shot-for-shot recreation of a 1983 MTV video (yes, it keys into his rehab, but just seems listless). This doesn’t take away from the stunning performances from the cast headed by Egerton, the sly bits of humor (Elton is needled about his receding hairline by his mum), and the amazing art direction and sets. And all in support of those timeless tunes. Those splendid songs are what make ROCKETMAN truly take flight.

4 out of 5

BOY ERASED – Review

As the Thanksgiving holiday approaches, families across the country will be getting together for that big meal and generally re-connecting. But what about those families that have split, those who are torn apart virtually at the seams? Many will be facing that reality over the next week, perhaps into the following holiday. At the heart of many of these rifts are religious beliefs about sexual orientation. But most faiths put family first? That’s the conundrum addressed in this new film about a young man who feels as though his parents are pushing him away and aside, making him a BOY ERASED. Surprisingly it’s based on a true story.

We first meet eighteen-year-old Jared Eamons (Lucas Hedges) as he’s attending church services on a warm Texas evening. Next to him is his adoring mother Nancy (Nicole Kidman), and at the pulpit, preaching to the congregation is his father Marshall (Russell Crowe). Cut to the Eamons family home as Jared and Nancy load up the Towncar and drive into the night. What caused this late night trek? We flashback to the previous months, as Jared pulls away from his school sweetheart Chloe, and retreats into his thoughts. At a local college, he strikes up a friendship with another track enthusiast named Henry (Joe Alwyn). But things are more serious for Jared as he realizes he’s attracted to the older student. Before he can profess his feelings, Henry sexually assaults him during a sleepover. Emotionally shattered and confused, Jared comes out to his parents who are devastated. Marshall calls over some of the church elders to the home, and after much praying asks Jared if he will attend a camp that will “cure” him of his leanings. He agrees and its decided that Nancy will accompany him to this “day camp” several miles away. She’ll stay at a hotel, drop Jared off at the camp early in the morning, then pick him up for dinner and back to the hotel. Arriving at the camp, Jared’s cell phone and other personal items are locked away. He meets the camp director, Victor Sykes (Joel Edgerton) who convinces him that his “therapy” methods will turn him away from the sin of homosexuality. Sykes is adamant that Jared does not discuss any of the camp activities with family or friends. He’s trained by counselors on how to stand, walk, and throw a ball in a masculine “straight” way. More importantly, Sykes wants Jared to trace his family tree to find the “weakness” that sent him on his path. Jared is soon horrified by the brutal treatment of some of his fellow “campers” and rebels against Sykes. But will his mother and father get him out of the conversation center, and eventually accept him as he is?

The story is firmly anchored by the compelling performance by Hedges in the title role. With a most impressive resume (including this past month’s MID90S and the upcoming BEN IS BACK), this young talent is on his way to being a leading star for the next wave of actors to watch. Through his brooding eyes, he conveys Jared’s inner conflict and turmoil, torn between his family and faith and his true nature. With his body language, we see Jared embracing his manhood, as he stands up to the destructive forces at the camp. Fortunately, Jared has the full unconditional love of his mother Nancy, as Hedges has a real chemistry with Kidman, whose character may be the film’s joyous beating heart. At first, Nancy is there just to make peace in the household, making sure that she doesn’t “make waves”. Though Jared tries to push her aside, Nancy is able to pick up on his mood. It’s then that Kidman shows us the formidable, fierce “mama Grizzly” that will protect her child at any cost. Crowe is her stubborn “papa bear”, though not nearly as intuitive as his missus. His Marshall is deeply committed to his faith, which blinds him to understanding his son’s struggles while convinced that the camp will work. The later scenes in which the patriarch slowly opens up his heart are quite moving. The real unmovable heart may belong to the camp’s chief played by Edgerton as an unyielding tyrant, unwavering in his devotion to his “tough love” tactic and therapy. Edgerton shows us his indifference as Sykes refuses to acknowledge anyone else’s opinions or thoughts. Red Hot Chilli Peppers frontman Flea is truly effective as the most intimidating of the camp instructors (basically an enforcer for Sykes). And there are effective supporting performances by fellow camp kids Troye Sivan (who gives Jared the mantra “fake it till you make it”), Xavier Dolan, and Britton Sear, heartbreaking as the abused, doomed Cameron.

Cast member Edgerton expertly wears several hats on the film as director, producer, and screenwriter adapting Garrad Conley’s memoir. Aside from getting wonderfully subtle work from his fellow actors, he maintains a mood of warm hazy melancholy echoing the quiet sadness in Jared. Edgerton knows just when to cut away for a flashback, doling out the information slowly. It’s a soft slow build-up to the story’s centerpiece, a therapy utilizing brutal violence, which adds to the horror of the sequence. And unlike another conversion camp film from last Summer, THE MISEDUCATION OF CAMERON POST, the focus is on both the subject and his parents, rather than just the other campers (who get plenty of time here). And the film ends on a note of hope while also being a rallying cry to action, telling us that far too many of these centers are still in operation, and filled with children barely in their teens. BOY ERASED is a compelling drama that will hopefully spur many family conversations.

4 Out of 5

BOY ERASED plays everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

BOHEMIAN RHAPSODY – Review

If the multiplex is a rockin’, then DO come a knockin…at the ticket counter and go grab a seat. Just a few weeks ago movie audiences tapped their feet to the big concert sequences in the new version of A STAR IS BORN. And continue to flock to the flick, keeping it at the top of the box office and music charts, downloading and buying CDs (some folks still do) of the movie soundtrack. Yes, Cooper and Gaga are electric as singer/songwriters who fill concert venues (she’s had lots of real-life experience). But what’s out there for film fans still in a musical mood? How about a nostalgic look back at the story of a rock act that sold out stadiums? Not a documentary, like this past Summer’s WHITNEY, but a musical biography. Now, this has usually been a staple of TV, with recent “biopics” of Ms. Huston, her hubby Bobby, and his old group New Edition. This has been going on for decades (you could maybe fill a cable or streaming channel with the just the flicks concerning Elvis). For feature films, rock and roll has been a backdrop for satires and parodies, from THIS IS SPINAL TAP to POPSTAR: NEVER STOP NEVER STOPPING. Well, now Fox has stepped up with the story of the “real deal”, true “rock and roll” glamor gods of the 70’s and 80’s, Queen. Of course, their name in the title may make some filmgoers think that Helen Mirren stars, so to bypass any confusion the film’s title is taken from one of their most popular and enduring melodies, BOHEMIAN RHAPSODY.

Indeed, the story begins with a very packed arena, as the quartet make their way to the stage. Ah, not so fast, we’re quickly “flashed back” fifteen years to something of an “origin” story (rock stars are kinda’ real-life super-heroes). In 1970, twenty-something Farrokh “Freddie” Bulsara (Rami Malek) slaves his days away as a baggage handler at London’s Heathrow Airport. Once he punches his time clock he rushes back to his conservative Parsi family (Mum, Dad, and sis) home, jots down some song lyric ideas, and heads out to a bar where one of his favorite local bands, Smile (could the name have been inspired by the fact that one of the members studied dentistry), is performing. While waiting in the line outside, Freddie shyly flirts with a gorgeous young woman named Mary Austin (Lucy Boyton). She admires his fashion sense and suggests that he visit her at the clothing store where she works as a sales clerk. After the concert, two of the members of Smile, Brian May (Gwilym Lee) and Roger Taylor (Ben Hardy), are stunned when their lead singer tells them that he’s out (“no future in it”). As he exits, Freddie enters, complimenting them, then belting out some songs, ending in perfect harmony with the duo. After a shaky start (darn mike stand), they become a hit on the pub circuit, while Freddie really “hits it off” with the lovely Mary. After leaving the luggage job, Freddie becomes a real creative force in the band, changing his name to Freddie Mercury, and eventually changing the band’s name to the more “out there”, subversive “Queen”. Soon they attract the attention of EMI record exec John Reid (Aidan Gillen) who signs them up for the label and sends them on a worldwide tour, coordinated by Reid’s aide, Paul Prenter (Allen Leech). In the next few years, Queen becomes an international sensation. But Freddie wants to take creative chances, telling EMI head Ray Foster (Mike Myers) that their next album, appropriately titled “A Night at the Opera”, will mix rock and classical music. Foster balks at the end result (“no radio station’s gonna’ play a six-minute single!”). As Queen changes labels, Freddie’s engagement to Mary becomes strained as he struggles with his sexuality. Through squabbles, band changes including the addition of bassist John Deacon (Joeseph Mazzello), and the lure of fame, fortune, and staggering amounts of booze and drugs, Queen continues into the 1980’s. But will Freddie jump ship to another label in pursuit of a solo career? And what about that nagging cough?

This may be the story of the band Queen, but its lead singer is the film’s true focus. That “frontman” who’s really front and center is brought to enigmatic life by the phenomenal Malek in a real “movie-star-making” performance (he’s conquered TV as the star of “Mr. Robot”). Though the dental prosthetics are a slight distraction in the early sequences, Malek captures every conflicting facet of Freddie. Prior to auditioning, he’s shy and awkward, barely connecting emotionally with anyone save for Mary. Oh, but when he takes the stage, Malek projects that flamboyant charisma, shutting down all the hateful heckles and taunts with his talents. Away from the studios and arenas, Malek gives Freddie a haunted, child-like quality, a lonely lad hoping to fill the quiet with parties and indulgences. His kindred spirit seems to be Mary, the one who truly understands him. The beautiful Boyton (so great in an underrated pop music flick, SING STREET) as Ms. Austin adores this quirky, crazy-gifted guy, but knows that she cannot truly be united with him. Boyton shows us Mary’s bravery as she sets him free, but remains as his emotional “rock”. As for the rest of the band, Lee makes May an easy-going peacemaker, trying to keep things running smoothly. We also see his unbridled joy of performing, using his considerable guitar virtuosity in service of Freddie’s vision. Hardy as Taylor is more of a “grumbler” with less patience for Mr. M’s eccentricities. Yet somehow, this hard-rocker can delight in the group’s “off the wall” career directions (as long as he can afford a great car). Mazzello as the more recent member shows us Deacon’s delight to be considered a peer, while barely containing his glee that his audience-including suggestions are used. Leech as Paul is almost the “villain'” of the tale, a two-faced “gatekeeper’ keeping any other influences away from Freddie while supplying him with fresh flesh and pharmaceuticals. And there’s great comic relief from Meyers as the studio “suit” that just doesn’t “get it” along with Tom Hollander as Jim “Miami” Beach, a company “bean counter” freed from his shackles by these rock and roll rescuers.

Director Brian Singer (reportedly assisted by Dexter Fletcher) expertly captures those years of excess and kitchy camp. For a montage of highlights from the worldwide tour, he has the city names in streaming graphics styled after the opening titles of 1978’s SUPERMAN. As many rock and roll historians have said, the script by Anthony McCarten and Peter Morgan plays fast and loose with the timeline, injecting songs out of chronological order and adding time to the band’s “estrangement”. Plus it does fall often into biopic cliches where success no bringing happiness, but addiction. As another artist said “Mo money, more problems”. But even with those faults, the film is an exhilerating, often moving entertainment “machine”. First and foremost is the music, the incredible Queen catalog. Those who mostly associate them with the title tune (guilty) will be stunned at their many familiar hits (wow, they did that one and that one, too). One thing the film conveys more than most music (really any of the arts) bios is the effort and dizzying joy of creation. The whole “let’s try it, what the Hell” spirit of collaboration, particularly when the fellows put together “BH” in the farm/studio. The sequence’s “topper” is another terrific montage of mediocre to negative reviews of that iconic song from music critics of the era. But the emotional heart of the story, nearly blotting out seedy scenes that might have been outtakes from CRUISING, is the phenominal recreation of the 1985 Live Aid “medley”. Just as fate has dealt them a fatal “hand”, the band rallys together to spit in the eye of the Grim Reaper. The camera whips about the stadium, then cuts to several TV viewers of the compelling performance. We see that Freddie has grabbed the heart of, not only the thousands at Wembley, but millions across the globe. He’s almost declaring that, though his body may fail him, his talent is immortal. In those final minutes, we see how the power of music can bring much-needed comfort to countless souls. With Malek in command, audiences will be happily “banging their heads” once more in time to BOHEMIAN RHAPSODY.

4 Out of 5

THE HAPPY PRINCE – Review

Rupert Everett as Oscar Wilde. Photo by Wilhelm Moser, Courtesy of Sony Pictures Classics ©

THE HAPPY PRINCE is not a happy story, neither the children’s tale by Oscar Wilde nor this biopic about Oscar Wilde. Oscar Wilde was one of the world’s literary greats, the author of “The Importance of Being Ernest” and “The Picture of Dorian Gray” among others, and also a figure famous for his flamboyant clothing, his sharp wit and sparkling conversation, which made him a favorite of London society in the late 19th century Wilde was a figure who had a glorious rise to fame and fortune followed by one of the most tragic ends. However, THE HAPPY PRINCE gives us only the tragic end, presenting Wilde’s glory days in a few too-short flashbacks.

What led to Oscar Wilde’s downfall was being gay, which was illegal in England at the time. After years of delighting audiences with his witty plays and being the toast of London society, Wilde foolishly became involved in a court case with the Marquess of Queensberry (the one who wrote the rules of boxing). The Marquess’ son, Alfred “Bosie” Douglas, who was Wilde’s lover, had encouraged Wilde to bring the court case against his father but it disastrously backfired, and ended up with Wilde himself being put on trial for being homosexual. Wilde was convicted and sent to prison for two years, after which he fled to France with plans to re-start his career.

Wilde was never able to recover from the blow, an especially tragic fate for an author whose work had made so many laugh. Wilde’s rise and fall life seems perfect material for a great film but THE HAPPY PRINCE only gives us the fall, the time after the trial when Wilde tried and failed to re-start his life and career in France. The film picks up Wilde’s story after he is already in exile in France but jumps around in time as we witness his sad decline.

Rupert Everett both directs and stars as Oscar Wilde in exile, in this lush, literate, admiring period drama. Everett does not particularly look like Wilde but he delivers a moving performance, particularly in scenes where he speaks passages from the author’s works. In exile, Wilde still has supporters, notably his loyal friends Reggie Turner (Colin Firth) and Robbie Ross (Edwin Thomas). Colin Morgan plays the handsome and spoiled Bosie, who despite the opposition of his friends joins the forgiving Wilde in exile, where he causes more trouble and heart-ache. Emily Watson plays Wilde’s wife Constance, of whom the author is still fond despite his attraction to men. This sterling cast is also joined be a few other notable British actors in small roles, particularly Tom Wilkinson.

THE HAPPY PRINCE begins Oscar Wilde’s story with the author in Paris some years after his release from prison, when the nearly penniless Wilde is drowning his sorrows in absinthe. From that point, the drama jumps back and forth in time, illustrating both hope and despair in the author’s post-trial exile. There are moments of defiance and flashes of wit and artistic flare, although the overall trajectory is downward.

Before things get underway, the film opens with a prelude of Wilde reciting his children’s story “The Happy Prince” to his own two young sons> the story is a magical but sad fairy tale, in which a sparrow left behind by his flock meets the statue of a now-dead prince who had never known sadness in life. The sparrow shows the prince the suffering of the poor, and the jeweled and gold-clad statue is so touched, he begins to give pieces of himself to the poor with the help of the sparrow. The film uses the telling of Wilde’s children’s story as a running theme, returning to it periodically, with Wilde recounting the tale either to his sons before his conviction or two French orphans he befriends in his exile in France.

The film is clearly a labor of love for all involved, and there are very talented people involved. The subject is admirable, and the production itself is lavish, the locations breathtaking, and the acting nicely done. Besides the excepts from the children’s story told throughout, there are other snippets of Oscar Wilde, which are the most magical moments in film.

The film has its glowing moments for the true fan. THE HAPPY PRINCE is a visually gorgeous film, filled with period locations and costumes in beautifully photographed shots composed with painterly loveliness. Even shots of poor streets of Paris in snow have a quiet beauty. Besides the children’s story, the film has other snippets of Wilde’s works, which provide some of its best moments. From time to time, the drama seems to pause and linger in a golden moment, generally as Everett is reciting some of Wilde’s works against a breath-taking romantic or scenic backdrop. The visual bounty in gorgeous sets, costumes and locations, along with fine acting and loving period detail, are major assets in the film.

Still, the film can be heavy going for any but the most ardent Wilde devotees, making one wish for a little absinthe oneself to make it through all the author’s heartbreaking decline. The drama focuses on only the saddest parts of Wilde’s life, which makes it feel unbalanced, and the film is also a bit unfocused and rambling at times. We get too little of the wit and humor for which Wilde was famous, although the film does have moments of magical delight.

THE HAPPY PRINCE only covers the fall portion of Wilde’s rise-and-fall story, making it a rather heavy, sad film albeit a well-acted and beautifully photographed one. The drama is more suited to serious Oscar Wilde devotees who know his story well, than a less knowledgeable general audience, where a bit more of Wilde’s wit could have brought into sharper focus how great the loss of this literary figure was for the world.

THE HAPPY PRINCE opens Friday, October 19, at Plaza Frontenac Cinema.

RATING: 3 out of 5 stars

SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD – Review

As the Summer cinema season gives way to the Fall, yet another compelling feature documentary joins a most impressive 2018 roster. And as with several earlier releases, it is part of the show biz sub-genre of docs. It’s main focus (and marketing draw) is an insider look into the “golden age” of studio movies, though close to its waning days after the end of WWII and into the mid-fifties, when television began to chip away at their luster. But this is no flowery puff profile waxing nostalgic about those glory days of iconic “larger than life” movie stars. That’s because many of them had to “act” all the time, in and out of the sound stages, carefully evading any hint of scandal. We saw a bit of this is the fictionalized story of a studio “fixer” a couple years ago in the Coen Brothers’ HAIL CAESAR. This is the unvarnished “real deal” from, not a fixer, but an “arranger”, a man, now in his 90’s, who’s “spilling the beans” and naming names. Be prepared, all you TCM (Turner Classic Movies) fans, brace yourself, here comes SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD.

The title name is the affectionate moniker of Scott Bowers, a spry, beloved senior citizen still working as a private party bartender in the Los Angeles area. But mixologist was not always his main profession. As the film begins, he’s promoting the paperback release of his scandalous “tell all” memoir “Full Service”. And what is he telling? After serving as a Marine in World War II, Scott decided that he would not return to his hometown of Ottawa, Illinois. Instead he went from combat in the Pacific to a job on the Pacific Coast, specifically working as a “grease monkey” at a Richfield Oil gas station in a prime location on Hollywood Boulevard right across from the entrance gate to a big movie studio. The handsome young vet soon caught the eye of a closeted screen actor, who invited him to “cool off” at his private swimming pool. It wasn’t long before pumping gas became Scotty’s “cover job”. He was the paid paramour of stars of both genders. The station itself was a meeting place for the “discreet elite”, with its restrooms an “action hot spot”. And when Scotty became too “busy” he recruited several of his old service pals who he sent out on “jobs” (of course Scotty got a “taste”). And somehow he avoided scandal, though Confidential magazine did allude to perhaps his most astounding escapade (Ava and Lana, together). As the film studio system faded in the early sixties, still rugged Scotty became a property manager for a lover who later willed his houses to him. The film makers follow Scotty on his daily routines to these houses, along with side trips to visit with former members of his stable. And as he remembers those wild times, we learn how Scotty has somewhat settled down, enjoying a decades long marriage to cabaret singer Lois, who doesn’t really care about her hubby’s notorious past (“What Scotty did before I met him doesn’t matter”). As yet another birthday nears, Scotty must come to terms with his mortality while riding high on a new wave of fame and controversy.

In addition to being part of the “Show biz” feature documentary sub-genre, SCOTTY is part of another select group: the doc that starts its focus on one thing or direction, then changes course during the filming (often due to outside influences). For example, THE QUEEN OF VERSAILLES started as a loose kitchy comic look at the tacky plans of a too wealthy family then turned into a dark tale of greed and a family straining under a financial crisis. WEINER was to be an “underdog” political comeback tale of triumph, until the title subject’s moral weaknesses led to disaster. In this film’s bouncy first half hour or so, director Matt Tyrnauer presents us with a charming hustler who’s not slowing down when others are shuffling to the rockin’ chair. He delights in lifting the veil on the rose-colored views of the past, while Tranauer punches up these tales with fast-cutting photo and film montages. As we see those golden icons flash past we gasp, “Her? Him? I never thought! He was really..?” as Scotty goes against the grain of his “greatest generation” by denouncing old taboos and scandals. It’s fun to revisit his partners in play, who seem to grow more youthful with each spicy anecdote. Then comes the dark detour. As Tyrnauer tags along with Scotty on his daily rounds it becomes obvious that this free spirit is now a prisoner of a common compulsion: hoarding. Scotty slows as he sees a toliet near an alley trash pick-up (“The wife would throw a fit, but…it’s in pretty good shape”). Then at the garages, we see his boxes and tubs nearly collapse upon him as he opens the door making the old radio shows gags about Fibber McGee’s overstuffed closet lose their levity. This spills into his home , leaving the couple only two or three places to sit while exterior repairs are ignored. We’re then treated to the parts of Scotty’s mind that aren’t so bubbly and joyous. He’s still haunted by the losses of his first wife and his big brother. In this time of “MeToo” and clergy abuse headlines, Scotty’s belief that his coupling with several priests was not a bad thing (“I knew what I was doin’. I was in control.”) will make your head spin. In the last scenes we see that Scotty is fighting his own mortality, thinking that the years won’t slow him down. In one of the cinema year’s most nail-biting sequences (equaling any Tom Cruise stunt in the newest MISSION: IMPOSSIBLE), the ninety-something subject climbs a rickety ladder to walk about a roof (two or three stories up) and inspect the shingles (I imagine audiences muttering “Get off there” in hushed tones). Yes, the breezy “tinsel-town” tales of SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD are fun, but it’s the story of how one man comes to terms with his last days that will resonate much longer.

4 Out of 5

SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

FAR FROM THE TREE – Review

As the Summer movie season winds down, one type of film not usually known for hitting theatres this time of year seems to be finding an appreciative and big audience. Of course the major box office news has been dominated by action films, particularly the superhero flicks from AVENGERS: INFINITY WAR to INCREDIBLES 2. That’s really no big shock. But another surprise story of these warm months is the respectable (for these low budgets) grosses of several documentary feature films. Sure some of the bigger hits focus on entertainment figures like Fred Rogers and Whitney Huston, but a few have caused a stir over their compelling family stories, like the heart-wrenching THREE IDENTICAL STRANGERS. Now comes another feature doc about family, no make that families. That’s because it’s part of a sub-genre of documentaries that are also anthologies. Multi-story movies have been a staple for many years, especially in the horror genres with such diverse offerings as DEAD OF KNIGHT to the more recent VHS flicks. The last anthology doc that made a splash might have been FREAKANOMICS, based on the book in 2010. It just so happens that this new entry is also based on an acclaimed book. It profiles families in which the offspring differed greatly from their parents. Or as they saying goes, they “sprang” FAR FROM THE TREE.

Said book is the work of Andrew Solomon who serves as the “host’ or narrator that ties all these stories together (much like the “Crypt Keeper” in the original TALES FROM THE CRYPT horror anthology). Solomon tells of growing up as an “odd duck” in an upper class East Coast family in the late sixties. When he realized he was gay, he “came out” to his parents, who rejected him (their hostility is shocking). Solomon channeled his heartache into scholarly research into other families in which the children were quite different from their folks. We then meet four such families. First is the story of Jason, who gained some fame in the mid seventies when his parents rejected the “experts’ and set out to teach their Down Syndrome child. At that time (just a touch over 40 years ago) the medical community believed such children couldn’t fit into to society and told mothers to give them up. But Jason and his Mom and Dad proved them wrong. We see news footage from that period with Jason even appearing on TV’s “Sesame Street”. Now at age 41, he works in an office delivering mail and lives in a supervised house with two other mentally challenged men. But Mom is concerned that Jason is drifting quickly into a fantasy world (after the death of his adored papa). The next subject is Jack, a young autistic man. In interviews, his parents talk of how the bright happy infant slowly vanished. They vent their frustrations and despair, but they never give up hope. That faith pays off when jack is finally matched with an unorthodox therapist who breaks through to him. The film shifts to shy Loini, a teenage girl dealing with dwarfism. Her encouraging mother takes her to the St. Louis meeting of The Little People of America, where she breaks out of her shell as she meets people “like her”. One of them is the slightly older, more vocal Leah who is trying to start a family with her husband, another “little person” who uses a motorized chair, Joe. But the last profile may be the most compelling. In Texas we meet a middle aged husband and wife as they root through the contents of a storage closet. After a few moments, the wife asks about the location of their eldest son’s school sports team photos. The husband replies in a low soft tone, “The cops took it”. We then learn that their high school-age son Trevor is serving life in prison without parole for the brutal senseless murder of an eight year-old boy. The film makers follow them and their other son and daughter has they try to carry on even as they respond to the occasional collect call from prison. Intercut with the progress of Solomon’s life, the film makers revisit the families, as they deal with their triumphs and challenges.

Director Rachel Dretzin deftly tells these family tales with an unobtrusive hand, letting the principals relate their history without jarring, flashy camera or optical techniques and an off camera narrator to prod their responses. There’s no re-enactments, no title cards (other than first names) or animation, just interviews and candid footage (new and home videos), aside from the occasional archival TV news footage (in the stories of Jason and Trevor). Solomon’s story pops in and out, between segments, and often, sometimes bridging the other tales, but usually compelling on its own, as with the sleazy 42nd Street “doctors’ who could “cure” men of sexual shyness via “assistants’ when the Big Apple developed some mold in the 70’s. Speaking of that decade, Jason’s story becomes an examination of what happens when fame fades. He was a media darling then, but now there’s little “unique” in his challenges. This may be a big reason for his belief that his mythic idol actually exists on the other side of the globe (Norway). After the moving film from 2016, LIFE, ANIMATED, Jack and his parents crisis is a bit familiar, but the raw emotions when his mother vents her frustration is heartbreaking. As with Jason, Loini’s tale of breaking away really shifts gears, smoothly leading into the love story of Leah and Joe. They’re man and wife as true partners, a united, supportive team in their quest to expand their family (aided considerably by Joe’s snarky sense of humor). But this team has a great team behind them as we meet their kind, incredibly nurturing parents, whose joy provides some epic tear-jerking scenes. They’re all upbeat, life-affirming stories about “can do” families. Then there’s the family of Trevor, perhaps the most compelling of the quartet of profiles. There are no upbeat scene beats. The tragedy will never end (much as with the family of the child who Trevor dispatched). At least Trevor still exists, a “living ghost’ in a limbo of collect phone conversations (which sound much like a faraway college student’s weekly “check in”). The only triumph is the continuation of the family (such a horrific incident will split most marriages). Mom and Dad forge on, mainly for their remaining children, as they confess that they’ll never have kids for fear that murderous gene could be passed on. Trevor’s parents  have even erased him. When meeting new people, they only mention the two children. If the truth is found out, questions are raised that can’t be answered (“How did your parenting skills create a killer?”, “What did you do?”). It’s engrossing, powerful film making, worthy of its own solo feature. But it’s just one component that makes FAR FROM THE TREE another of the year’s best feature documentaries.

4 out of 5

FAR FROM THE TREE opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

 

LOVE, SIMON – Review

 

Time to plunge into a movie genre that strikes fear in many a film goer (or it does so with me, I’ll admit). No, it’s not a horror, monster, or thriller flick, nor from the sub-genres like “torture porn” or the played out “found video footage”. Nope, this is an adaptation, or to be precise it’s based on a “young adult” novel, but (here’s the good news) it’s not from a series like “The Maze Runner” or “Divergent”. Whew, thank heaven for small favors. This one’s a coming of age story set in the lead character’s last months of high school, full of dreams and romantic entanglements. Hmmm, sounds a whole lot like last year’s critical darling, and Oscar shut-out (awww) LADY BIRD. Well, that’s where the similarities end. LB was set around 16 years ago, and it was a low-budget, non-studio independent flick (with Greta Gerwig writing and directing it practically screamed, “Indie!!”). The new movie is set in the here and now and is from a major studio, Fox (not Fox Searchlight, either). But the biggest difference in this week “newbie” is that it’s not just a “coming of age” tale, it’s also a “coming out” story.  Yes, it’s the first big studio gay teen romance, the affectionately tiled LOVE, SIMON.

 

The title refers to high school senior Simon Spier (Nick Robinson), a high school senior whose upper middle class family adores him. There’s his adorable kid sister, cooking whiz Nora (Talitha Eliana Bateman), doting psychologist mom Emily (Jennifer Garner) and goofy, loving but clueless pop Jack (Josh Duhamel). And he’s got a close circle of friends that adore him also. His school carpool consists of long time (maybe kindergarten) pal Leah (Katherine Langford), soccer-obsessed pal Nick (Jorge Lendeborg Jr.), and new transfer, the bubbly Abby (Alexandra Shipp). who’s the “apple’ of Nick’s eye. But Simon’s hiding a secret from all of them. He realized three or four years ago, that he’s gay. He’s decided to keep it under wraps and cruise through his senior year without a lot of drama. Speaking of drama, aside from attending Nick’s soccer games, he and Abby are in the big school musical of “Cabaret”, where they try to avoid the obnoxious Martin (Logan Miller), who has a big crush on Abby. All’s going smoothly until Leah, his constant texting pal, alerts him to a new post in the school’s social media blog site, “Creeksecrets”. An anonymous male student posted his gay confession. Simon’s intrigued and sends a response to the poster with the handle “Blue” under the name “Jacques”. Their online conversations become an obsession for Simon, so much that Principal Worth (Tony Hale) catches him texting in the school hallway and confiscates his phone. But Simon can’t wait to retrieve it at the end of the day, so he logs on to one of the library’s computers. Unfortunately, he forgets to log off, and the next user can access his very private emails with the “Blue”. And, wouldn’t you know, the next user is Martin, who takes screen shots of the messages. He strikes a deal with Simon: unless he helps with his pursuit of Abby, Martin will put those shots online. Talk about “a rock and a hard place”! Can Simon stave off Martin’s threats by playing cupid. More importantly can he continue with “Blue” and convince him to reveal his identity? Simon doesn’t want to hurt his family and friends while going after his big chance at romance.

 

 

The film rests on Robinson’s young but experienced (quite a feature resume) shoulders. He carries the weight with confidence (no wonder he’s the only face on most of the promotional art) giving us a hero we’re rooting for right from the start. He balances Simon’s sweet nature with just the right amount of snark, and, oddly, is a superb “straight man” for many of the more outlandish characters. Most importantly, he conveys that sense of longing, of hoping that the future will be brighter and better. Langford, as oldest pal Leah, has much of the same soulful longing in her gaze. Her desire is clearer to all but her heart’s target. The spark in their “click” is the energetic Shipp (Storm in the last X-Men movie), whose outgoing personality masks a difficult home life. Then there’s the more fervent of her two suitors, Martin played with total lack of inhibition by Logan Miller in a performance full of foolish bravado. Martin is truly “fingernails on a chalkboard”, maybe the most obnoxious villain (yes, despite some last scene remorse) in any recent teen comedy/drama. Perhaps it’s a testament to Logan’s skills that we yearn for his comeuppance. As for Simon’s folks, Garner is much the same sweet, nurturing matriarch we’ve seen in most of her recent run of films (I hope she cuts loose as a femme fatale soon). Now the really pleasant surprise is the warm, compassionate turn by action flick staple Duhamel as confused papa Jack. His realization that he may have unintentionally added to his son’s turmoil via his silly jokes may cause the most jaded film goer to tear up. Happily the school’s faculty includes two truly gifted comic talents. Hale is joyfully awkward as the school’s enforcer that tries too hard to keep up with the kid’s “lingo” while fighting a losing battle against tech (“life is happening beyond that tiny screen, yo!”). There’s that same exuberance in Natasha Rothwell as the bombastic drama coach Ms. Albright, the most frustrated arts advisor since Mel Blanc played Jack Benny’s apoplectic violin teacher (now there’s some ancient history). Her take down of two bullys in the cafeteria is a big highlight.

 

In his first feature film directing in eight years (hey, the guy’s been building the terrific DC superhero shows for the CW TV network, shows far more entertaining than most of the dismal DC movies) Greg Berlanti directs with a light touch, keeping the pace swift, while knowing when to slow down to give the drama the right impact. Sure the suburban backdrop is a little too pristine and antiseptic (no hint of drugs or violence here), seeming as though the Spier household may be right around the corner from most TV sitcom households with the most diverse high school body this side of SPIDER-MAN: HOMECOMING. But it’s forgiven, since the story is, at its core, a modern fairy tale, a good-natured fable that mashes-up CYRANO, EMMA, and bits of countless “rom-com” staples. And despite the marketing, the film never gets two cloying or precious, despite a couple of fantasy sequences (“what if straight kids had to come out to their folks” and Simon’s dream of rainbow-colored college life) that never overstay their “welcome”. And it’s refreshing to see kids and parents more tolerant and enlightened (perhaps truly “woke”), along with faculty that intervenes quickly (unlike last year’s similar MOONLIGHT). LOVE SIMON is an engaging antidote to these toxic times. If only all the young adult novel-based films could be as entertaining and kind.

 

4 Out of 5

 

PRIDE (2014) – The Review

pride

Here’s a flick that builds on the old saying that politics makes strange bedfellows. Toss in harassment and hardship and those bedfellows can get even stranger. Or more unlikely. This being the Fall, we’re back in the more serious “inspired by a true story” film territory. But this true tale is a bit lighter, much like other British non-fiction fables like THE FULL MONTY and CALENDAR GIRLS. There’s gentle humor, but also drama and more than a touch of heartache. Many of the laughs emerge from culture clashes, with each of the two main groups alternating as “fish out of water”. And although they may have different definitions of the word, the two are brought together over common feelings of PRIDE.

It’s 1984 in London as activist Mark Ashton (Ben Schnetzer) gets ready to join the annual Gay Pride Parade. He’s suddenly transfixed by the news footage of the police clashing with striking miners (this in response to pit closures by PM Thatcher). Grabbing up a couple of small plastic buckets, he decides to collect money for the strikers while marching. Also watching the news footage, in his parents’ home, is shy college student Joe (George MacKay) who scoops up his camera and heads to the parade (but just to click a few pics, he tells himself). Downtown, Joe joins the parade, befriends unlucky-in-love Lesbian Steph (Faye Marsay), and accompanies her to an impromptu meeting called by Mark at the gay bookstore run by the quiet Gethin (Andrew Scott). Mark proposes they form the group Gays and Lesbians Support the Miners (GLSM) since they’re enduring the abuse from the ‘bobbbies’ generally reserved for Mark and his chums. Once the money is collected the GLSM find it almost impossible to donate the funds (the official unions will not return calls or they just hang up). It’s then decided to give the money directly to an affected town picked randomly from a map, the Welsh village of Onllwyn. And their calls go through! Soon the town’s soft-spoken mayor Dai (Paddy Consdidine) pays them a visit to thanks them, encourages the group, and invites them to the village. When the GLSM takes a road trip to Onllwyn, the townsfolk are stunned by their appearance. Some locals warmly embrace them like housewife/volunteer worker Sian (Jessica Gunning), supporter matriarch Helfina (Imelda Staunton), and town historian/poet Cliff (Bill Nighy), while others shun charity from the group. But Mark and the group are undeterred, and over the next few months a surprising friendship slowly blossoms.

This film is almost a “who’s who” of the some of the best character actors working in Europe. Schnetzer projects charisma and confidence as the outspoken Mark. On the other end is MacKay as the timid Joe who fears the scorn of his parents while yearning to spread his wings. We’re rooting for him to find his voice and stand tall. Marsay covers Steph with a tough outer shell of snark, but we see her change as she slowly opens up to young Joe and the villagers. I only knew Scott as the insidious criminal mastermind ‘Jim’ Moriarty in the BBC “Sherlock” series, so I was taken aback by his sad-eyed Gethin who seems almost numb from his past tragedies. Slowly he embraces his Welsh roots again while summoning the courage to re-connect with the mother who would not accept him. Gethin’s life partner proves that opposites do attract. Dominic West as the out and very loud Jonathan is the film’s vibrant life force especially as he throws himself on the dance floor, without any inhibitions, to bond with the townsfolk at their community auditorium. This helps inspire Gunning’s Sian who shows a giddy exhilaration over breaking away from the household and asserting her own views. Considine gives the Mayor a Jimmy Stewart-like humble tone as a small town man who has an open heart for all. Staunton is the nurturing Earth mother who delights in taking the city folk, especially Gethin, under her warm wings while Nighy scores big laughs while spewing endless town trivia as he too is touched by the outsiders.

Director Matthew Warchus gives the film a leisurely, nearly lyrical pace as he shows the seasons changing along with attitudes on both sides. Stephen Beresford’s script doesn’t “candy coat” the 1980’s time period. All the ignorance and fear (mostly due to that deadly new disease) are shown in all their ugliness. The cinematography by Tat Radcliffe gives us the gritty London streets, often lit by pulsating neon, along with the lush rolling hills of the Welsh countryside. This is an illuminating and hope-filled true tale that shows us that people can get past their differences and work together to change society. The cast and crew have made a film for which they can all share a deep sense of PRIDE.

4 Out of 5

PRIDE opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

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