Film

“Leave It On The Floor” screens at 7 p.m. on Oct. 22

The 24th annual Milwaukee LGBT Film/Video Festival, running Oct. 20-23, presents a pleasing and entertaining variety of full-length and short features. Representing many facets of the LGBT community, this year’s selection of films, domestic and foreign, dramatic and comedic, fiction and documentary, have something for everyone. Below are reviews of a selection of the movies playing at the UWM Union Theatre, 2200 E. Kenwood Blvd., 2nd floor, during the festival. For the complete schedule, visit click here.

Viola Davis gives an Oscar-worthy performance in “The Help.” – Photo: Courtesy

‘The Help’

Based on Kathryn Stockett’s acclaimed and best-selling novel of the same name, “The Help” is set in 1960s Mississippi, where not much has changed in race relations since the Civil War. Most of the white society women of Jackson treat their maids as less than human, refusing to share toilets with them. And yet these maids are indispensable in the kitchen and the nursery, where they essentially raise the children of women who can barely conceal their disdain for the help.

Then along comes Eugenia (the ubiquitous Emma Stone), aka Scooter, fresh from college with her wild and frizzy hair and her progressive attitudes. For her first job, Scooter is hired by newspaper editor Mr. Blackly (gay actor Leslie Jordan) to fill in for the cleaning advice columnist. Having been raised by a maid herself, Scooter knows nothing about cleaning or housekeeping. So she solicits the aid of Aibileen (Viola Davis), the maid of a friend.

Ryan Reynolds stars in “The Green Lantern.” – Photo: Courtesy

‘The Green Lantern’

I’m not a comic book reader (although I am married to one), but I would hope that they are as offended by the inconsistent super-hero movie franchise as I am. “Thor” “thucked” and the bilious “The Green Lantern” isn’t much better. The most science fiction-like of the recent spate of comic book adaptations, “The Green Lantern” tells the tale of how hotshot pilot Hal (Ryan Reynolds) came to become one of the harnessers of emerald energy, a member of the Green Lantern corps and a wearer of the ring.

“Gun Hill Road,” about the relationship between a macho Latino ex con and his son who is transitioning into a girl, screens at the festival at 7 p.m. on Oct. 23.

This year’s Milwaukee LGBT Film and Video Festival has something for nearly everyone in the LGBT rainbow – and then some, says festival director Carl Bogner. The popular event returns for the 24th year on Thurs., Oct. 20, and runs through Sun., Oct. 23. The festival continues with monthly showings in November and December, as well as in 2012.

Katie Holmes in “Don't Be Afraid of the Dark“ – Photo: Courtesy

'Don't Be Afraid of the Dark'

What does it say that the late-summer movie season in August comes to a close with remakes of two horror movies? The first, “Fright Night,” features a fit Colin Farrell as vampire Jerry, a role originated by Chris Sarandon in the 1985 version.

The second is a loose remake of “Don’t Be Afraid of the Dark,” a 1973 TV movie of the week. In the new version, architect Alex (Guy Pearce) and his interior designer girlfriend Kim (Katie Holmes) are in the process of remodeling Fallen Mill, a very old mansion in Rhode Island that has a very bad history. Blackwood (Garry McDonald), the house’s original owner, was an artist whose nature illustrations and paintings rivaled Audobon.

Mila Kunis and Justin Timberlake are “Friends With Benefits.” – Photo: Courtesy

‘Friends With Benefits’

Possibly the funniest rom-com since “(500) Days of Summer,” “Friends With Benefits” takes the no-strings-attached relationship concept and ties it in little love knots. Right from the beginning, the laughs are fast and furious, silly and sexy.

In New York, executive recruiter Jamie (Mila Kunis) is dumped by boyfriend Quincy (Andy Samberg). Meanwhile, in L.A., website wunderkind Dylan (Justin Timberlake, bringing sexy back and more) is getting the ax from John Mayer-obsessed girlfriend Kayla (Emma Stone).

As Stephen Sondheim musicals go, “Company” is what you could call non-traditional. And it was even more non-traditional when it debuted on Broadway more than 40 years ago. It lacks the sort of plot and narrative structure that lend themselves easily to feature filming.

Leonardo DiCaprio portrays J. Edgar Hoover in November. – Photo: Courtesy

After a lackluster summer of superhero-driven special f/x duds, the fall movie season appears somewhat more promising. It looks like the gay-themed “Beginners,” an early contender for best movie of 2011, has some queer competition in “Weekend,” “Toast,” “Pariah” and “The Girl With the Dragon Tattoo.” Sequels and remakes aside, there’s something for almost everyone on the schedule.

“The Debt.” – Photo: Courtesy

'The Debt'

John Madden’s English language remake of the 2007 Israeli film "Ha-Hov" is a taut and first-rate thriller with many layers. In many ways, it’s reminiscent of gay filmmaker Eytan Fox’s "Walk On Water." Nuanced performances by Helen Mirren, Sam Worthington and the increasingly ubiquitous Jessica Chastain also make it a worthwhile experience.

‘Harry Potter and the Deathly Hallows, Part 2’

‘Harry Potter and the Deathly Hallows, Part 2’

“Harry Potter and the Deathly Hallows, Part 2” is not just the best movie in the Harry Potter saga, but likely the best series finale ever. It’s as foggy, misty and murky as some of its recent predecessors. But in David Yates’ capable hand “HP+DH2” succeeds in not only tying everything up in a tight knot but also casting an eye to the bright future.

“Two Spirits” airs on PBS affiliates in June. It’s also screened at 1 p.m. on June 18 at Central Library, 201 W. Mifflin in Madison, and is also available on DVD from Independent Lens. – Photo: Courtesy

“The true story of a Navajo boy who was also a girl,” Lydia Nibley’s powerful doc “Two Spirits” is essential viewing for everyone. By combining the story of the brutal murder of trans teen Fred Martinez, as told by his mother Pauline Mitchell, friends and observers, with that of the nádleehi (Navajo for “male-bodied person with a feminine nature”) and their role in Native American culture, the tragedy takes on profound meaning.