Within the past week, two former gay students of mine texted to relate their agony at not having boyfriends and the inability to see any in their futures. All the potential Romeos they meet are just interested in one-night stands or are on the down-low. No love on balconies.
If you still have an affinity for books, there can be few more choice summer reads than Edmund White's 2005 autobiography, My Lives. Divided into nonlinear sections devoted to his relationships with his parents, his hustlers, and his female entanglements, there's also a chapter entitled "My Europe." Herein White notes how while in the Paris of the 1980s, he became aware that petite green beans are tastier than their larger cousins. He also recounts how the social theorist Michel Foucault, a pal of his, noted that while "'gay philosophy' and 'gay paintings' were meaningless notions...writing gay fiction was legitimate since it enabled us to imagine how gay men should live together."
Jake Kasdan is to directing comedy what Friedrich Nietzsche is to baking apple strudel. Not much.
As with his Bad Teacher (2011), which also stars Cameron Diaz and Jason Segal, Kasdan takes a promising concept and lays waste to it. The highly workable concept is a simple one: a sexually active couple, Jay (Segal) and Annie (Diaz), copulate like bunnies on ecstasy until they wed. Two precocious children later, the O in orgasms has moved on to the O on Cheerios boxes. He now is a music producer, I believe, and she blogs a column entitled "Who’s Yo Mommy?" Yes, copulation is no longer a spontaneous act for this duo. Instead, it has to be planned for ahead of time.
With the advent of this year’s LatinBeat (July 11-20), The Film Society of Lincoln continues on its quest to unearth the best and most challenging of Latin American cinema, including the product of Brazil, Costa Rica, Panama, Columbia, and Ecuador.
Metropolis (entire movie, above), the 1927 silent film directed by Fritz Lang, is regarded as one of the most important and influential films of all time. The world’s first epic science fiction movie, it continues to serve as inspiration for countless films, and forced humanity to look critically at it’s increasingly complex relationship to industrial and technological growth. In cinematic terms, evidence of its influence can be seen everywhere from
Every woman I know who is even slightly skinny-disabled adores Melissa McCarthy, and why not? She comes off as warm, joyful, and totally comfortable with her poundage in all of her print and TV interviews. Off-screen she’s a role model and an inspiration. And on-screen, she has perfect comic timing, a puppy dog’s smile that emerges now and then from her gruffest characters, plus a huge dose of self-respect. Hollywood probably hasn’t had a box office star like her since Marie Dressler in the Thirties, one who has so upended what a star should be. McCarthy might just be the anti-Julia Roberts.
Virtuoso devisers of works of science fiction envision a reality that is both fantastical and palpable. They mold metaphoric manifestations of the coming times that are inevitable considering the current carryings-on of their fellow man.
Very few of Andy Warhol's anointed "superstars" managed a long shelf-life. They simply were too wild, too beautiful, and too damned. There were the poor little rich girl Edie Sedgwick, the transgender icon Candy Darling, and the husky, glacial, heroin-swamped charm of Nico. All gone, along with a cavalcade of others; too soon and in the 20th century. Ultra Violet survived into this one, and originally arrived as a somebody already in the anybody everybody world of The Factory.
In August of 2006, seven friends, New Jersey Afro-American lesbians all, decided to check out the West Village in Manhattan to escape the engrained homophobia of Newark. "That night we didn't have a destination. We came to the Village to have fun. Look at the girls. Be gay," one noted.
Few are the low budget sci-fi films that inspire deep thinking, but writer/director James Ward Byrkit's metaphysical psychological sci-fi thriller Coherence is one of the exceptions. Certainly this reviewer was reminded of The Twilight Zones' ability to introduce a simple concept that would extrapolate when the human element was left to ponder and react to a dilemma. There are clever explanations, like Siberia's Tunguska Event of 1908, to try explain the reality of the situation, but, like life, there is always more than meets the eye.