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glennh69
Reviews
Latter Days (2003)
Great Potential . . . .Substandard Execution
As subject matter for a film, the confluence of religion and homosexuality is thought-provoking. Just as evolution served as the divisive "third rail" of American theology in the 20th century, the "science vs scripture" angst surrounding human sexual orientation is once again challenging and fracturing religious institutions.
C Jay Cox attempts to build a romance within the context of this conflict in his semi-autobiographical "Latter Days". The result is mixed, falling more so on the liabilities side of the ledger. The premise is noble and intriguing. The execution? not so much.
Perhaps it was Cox's financial success with the major studio hit "Sweet Home Alabama" that compromised his efforts to deliver a convention-breaking indie film. Instead, many derivative elements are incorporated in an obvious bid to create a "crossover" hit. Concurrently, the sexually graphic scenes ultimately sabotage any effort to capture that same mainstream (read straight) audience.
In the same way that reading requires active thought--and TV passive--commercial films marketed to mass audiences tend to possess a heavy-handed instructional quality in which the viewer is largely "guided" by the film maker as to how they should view--and react to---the material presented. The supposition is that the audience is not astute enough to grasp subtlety and ambiguity.
Cox unnecessarily falls into this snare with "Latter Days". We are fed every imaginable plot device to illustrate how immersed in the clichéd "gay urban culture" co-protagonist Christian is (the outlandish outfits, the gym as religion, parade of anonymous sex partners, AIDS charity) and how diabolical the Mormon church is (the inquisitorial panel, reparative therapy, homophobic missionaries). The series of "interconnected" kismet coincidences, while a thoughtful theme of the film, are overplayed to the point that the viewer is eventually required to completely abandon reality.
The tired depiction of Los Angeles as a vast, soulless weigh station where miserable pretty people are forced to demean themselves for a chance at success is once again marched out. This is the self-indulgent, narcissistic perception of LA created by--and for--folks involved in the ego-driven entertainment industry. The reality is the vast majority of the city is comprised of millions of everyday people working everyday jobs who have little or no connection to show biz. Consequently, this group of friends appears conspicuously disconnected from the working class, predominantly Latino neighborhood of Echo Park in which the story is set.
The musical scenes and backdrops feature songs performed by Rebekah Jordan (who portrays Julie, Christian's "fruit fly" roommate) and tunes penned by Cox. The sheer volume of insufferably bad music so overwhelms the story, it threatens to reduce the film to a vanity project designed to promote their respective recording careers. The one appropriate and emotion-tinged exception is the inclusion of the hymn "Abide with Me", which doesn't involve contributions from either party.
Lost amongst the affectations and musical claptrap is character development. We are provided glimpses into the chemistry between compassionate, naïve, cerebral, and impossibly handsome Aaron (Sandvoss) and demonstrative, randy Christian (Ramsey). The interaction in the laundry room, Christian's initial offensive attempt at seduction, and their first kiss provide some insight into the unrealized potential of a "Romeo & Julian" story in which two young men from opposite worlds are inexorably attracted to each other. These scenes are all too brief and the romance is never fully explored. When the relationship instantly morphs from "it was just a kiss" (Christian's words) into ethereal love within one scene, the viewer is left with a sense of longing as to how and why they arrived there.
Sandvoss and Ramsey turn in uneven performances. Apologists could reason this is the result of weak dialogue and poor direction, rather than lack of talent. Sandvoss is a natural while portraying the reserved, polite, boyish traits of Aaron, and he and Ramsey make an aesthetically stunning couple. However, when required to stretch emotionally---particularly in the confrontation scene with his mother Gladys (Mary Kay Place)---Sandvoss' performance is amateurish. The sole box office "veteran" recruited for the project, Jacqueline Bisset (as restaurateur Lila) is not exempt from misfires either. Her breakdown scene at the hospital is embarrassingly unconvincing, and novice Sandvoss actually handles the scene more competently than she. Notwithstanding, Bisset's elegance is a compliment to the cast.
"Latter Days" is flawed, but certainly worth a view. However, a few years later, Robert Cary tackled similar subject matter with Chad Allen, Judith Light, and Robert Gant much more effectively in his 2007 film "Save Me".
Fat Girls (2006)
Beyond Bad
"Fat Girls" is among the worst films within the indie gay genre.
The premise is promising: an average-looking gay teen is trapped in a repressive small TX town. His only kindred spirits are the other village HS misfits: the class 'fat girl', a naïve immigrant from Cuba, and the sensitive drama teacher. So far, interesting. In theory, this plot line creates a decent setup for an appealing coming of age story with a built-in audience---the thousands of gay men who grew up in small towns across America and experienced this adolescent anxiety first hand, peppered with a dose of self-deprecating humor.
Unfortunately, rather than a nuanced dramedy, Ash Christian approaches his autobiographical subject matter with a poorly executed attempt at irony and dark humor. The result is a cast of unlikeable, derivative, two-dimensional characters which the viewer cannot but help feel indifferent toward. Sabrina (Fink) is a quasi-Goth bitter navel-gazer. She is such a prickly, unsympathetic person; there is little doubt as to the reason for her friendless condition. The chemistry between her and Rodney (Christian) registers zero. This may have been bad casting, but is more likely due to a screenplay which is simply unsalvageable. Consequently, one is left wondering when there is such a non-existent bond, what could possibly warrant their near-constant companionship throughout the story.
Sabrina's newfound boyfriend, Rudy (de Jesus), and Rodney's mother Judy (Theaker) are among the most exaggerated of the clichéd stock characters ripped off from dozens of other films. Rudy is the horny undersexed immigrant/nerd lifted directly from every raunchy adolescent "comedy" ever made within the realm of TV or film. Judy is the born-again obsessed with Jesus- talk and big hair. Just when you thought the Tammy Faye thing had been done to death, Christian inserts a scene where Judy's mascara is running with her tears! Is there anyone in the civilized world that can possibly think this tired old stereotype gag is still funny after seeing it ad nauseum for 20 years?
In addition to the failed attempts at sardonic humor, there are many puzzling story inconsistencies. Rodney considers himself a "fat ugly" loser. However, he simultaneously manages to participate in casual and regular impromptu trysts with the ubiquitous school jock/hunk, Ted (Miller). Although these liaisons are devoid of emotional fulfillment, most gay teens (filled with raging testosterone, just like their hetero brethren) would find this to be a rather enviable arrangement given the more common alternative of involuntary celibacy.
Rodney finds an object for his affection in Bobby (Bruening), an exotic transplant from England. Against all believable odds, the lad not only happens to land in this tiny TX hamlet, but is conveniently openly gay to boot. Like Sabrina, Bobby is an icy, angry smart aleck and the viewer is left head-scratching as to his magnetic appeal.
Much to his delight, Rodney is invited by his new crush to the town gay bar, where Bobby claims to be the DJ. Upon arrival, the boyfriend-to-be promptly leaves Rodney solo and heads off to another area of the bar for a quick encounter with a rather handsome young man. This is yet one more of the ridiculously inexplicable plot elements since Rodney's feeling as an outcast are supposedly derived largely from his lonely existence in a parochial town. As tiny as the town is, they have openly gay students at the high school? A secretly bisexual football captain? Lesbian moms? A Gay teacher? and it has a gay bar downtown (patronized by attractive men, no less)? Apparently, the place is not so backwater after all.
Ten years earlier, Todd Stephens' "Edge of Seventeen" covered nearly the same material with a much more creative, honest, touching, and humorous film.
The Judge (1986)
Wonderful for Camp value
Despite of the success of Ralph Edwards' "People's Court" with Joe Wapner, there was a brief, golden era during the mid-to-late 80s when scripted courtroom dramas like "The Judge" and a revival of the old daytime staple of the 60s/70s "Divorce Court" made a comeback.
To this day, when I see local Los Angeles news correspondent Toni Guinyard file a report, I can't help but wax nostalgic about her brief stint as host of the 80's incarnation of "Divorce Court".
The perverse charm & hilarity of these shows lies in the fact that they were so unintentionally cheesy in every respect: the lousy scripts, the amateurish acting, the cheap sets, the two-bit camera work, and the feeble attempts at pontificating some "relevant social message".
Like him or not, Wapner was nevertheless a savvy, camera-friendly judge with real experience and an astute knowledge of civil law.
"Judge Franklin", on the other hand, was obviously a community theatre bumpkin plucked from the plains of Ohio---dispensing his own special brand of folksy grandfatherly "wisdom". Hence, the whole camp appeal of the show.
There doesn't seem to be any mention in the notes about the show moving production to Canada toward the end of its run. However, it is obvious that it did, as all of the actors involved in the show (save the "Judge") possessed a distinctly Canadian dialect.
The only "crime" surrounding these courtroom dramas is that they are not available to the small, yet devoted fan base like myself who find a (granted, somewhat twisted) appeal in reliving this tiny slice of Reagan-era banality.
Making Love (1982)
Underrated Landmark Film
When released 24 years ago, critics dismissed this as a "mawkish soaper" and it was shunned at the box office due to its "controversial" subject matter. In reality, it is a well scripted, well acted, and more than competently directed film. Quite the opposite of a melodrama, Jackson, Ontkean, and Hamlin turn in subtle and richly textured performances. The screenplay is equally satisfying: tugging at your heartstrings without being overly sentimental or maudlin.
Ontkean is "Zack" Elliott, a handsome young physician who has spent his life thus far as a compassionate and dedicated doctor, husband, and son. In all of his commitment to "do the right thing" he has been suppressing the fact that he is indeed gay. Because of his stalwart ethics, he comes to the realization that he can no longer deceive his devoted wife. Ontkean shines as a man who is overcome with internal turmoil, yet through the love for his wife, is determined to do what is best for her (more so than even himself).
The precepts of self-sacrifice, honesty, and integrity in the Ontkean and Jackson characters is much of the appeal of the story. Jackson is convincing as Claire Elliott, the wife who, despite her initial feelings of anger and betrayal, experiences acceptance, understanding, and ultimately, unconditional love. An especially touching moment comes in the final scene when, despite her best efforts to be super human, she subtly reveals her sense of loss after a brief reunion with Zack.
Hamlin is Bart, the openly gay, randy, self-involved West Hollywood habitué and Zack's first same-sex encounter. Through narration and in his intimate dialog with Zack, he, too, exposes his humanity, need for acceptance, and sense of loss at the foregone opportunity of a serious relationship with Zack. This is a surprisingly underrated landmark film in that it serves as a rare bridge between the pre-80's depiction of gay men as mincing, self-loathing social misfits and the heavy-handed political correctness of the marginalized "queer cinema" to follow. In contrast to today's movies, there is a near absence of trendy fashions, catch-phrases, soundtrack, and banal preachy social conceits of the moment. That's what sets this apart as an enduring film.