Just like the song says, love hurts. In Derek Cianfrance’s romantic tragedy “Blue Valentine,” there’s little doubt that house painter Dean (Ryan Gosling) and nurse Cindy (Oscar-nominee Michelle Williams) love each other when we first encounter them at home with their young daughter Frankie (Faith Wladyka). But unmistakable cracks are beginning to show, especially after Cindy fails to lock the yard gate and the family dog Megan gets out and is hit by a car.
Another indication of trouble brewing is that Cindy’s boss, Dr. Feinberg (Ben Shenkman), has offered her a job that involves relocation, something she hasn’t yet discussed with Dean. It bears mentioning that Dr. Feinberg also is attracted to Cindy.
By far one of the darkest gay romantic comedies to ever hit the silver screen, the long-delayed “I Love You Phillip Morris,” according to the film’s opening, “really happened.” In the film’s first few minutes we watch as Steve (Jim Carrey), a devout Christian police officer with a wife, Debbie (Leslie Mann), and daughter, undergoes a remarkable personal and sexual transformation after surviving a serious car accident.
What do you get when actor-turned- writer/director Steve Antin unapologetically borrows from “Showgirls,” “Glitter,” “42nd Street” and even Bob Fosse? You get the derivative disaster that is “Burlesque” (it should be titled “Hurlesque”).
When Cher is the best actor on-screen, you know that something is amiss. In her dramatic debut, Christina Aguilera’s limited acting range makes Britney Spears look like Meryl Streep. Equally frightful is her hair, which can be explained one of two ways. Either she’s got a bisexual hairdresser or she gets her wigs from the shiksa collection at the Sheitel Shack. As if that wasn’t enough, the script is an embarrassment of clichés, a source of unintentional laughs, from the opening to the closing credits.
Eight months since the death of their 4-year-old son Danny, who was hit by a car while chasing the family dog Taz, Becca (Nicole Kidman) and Howie (Aaron Eckhart) are still trying to find a way to deal with their loss. Becca gardens and declines party invitations from neighbors, including Peg (Patricia Kalember). Her mourning is disrupted by the bad behavior of troubled kid sister Izzy (Tammy Blanchard), an unemployed Applebee’s waitress who gets into bar fights and needs to be bailed out of jail. Izzy, who also happens to be pregnant by musician Augie (Giancarlo Esposito), has taken up residence at the home of their mother Nat (Dianne Wiest).
As if ballerinas didn’t already get enough of a bad rap, “Black Swan” director Darren Aronofsky does for the ballet what he did for professional wrestling and junkies in “The Wrestler” and “Requiem For A Dream,” respectively. He exposes the flat and muscled underbelly of that exclusive world.
The 23rd Milwaukee LGBT Film/Video Festival screens Oct. 21 to Oct. 24, offering regional premieres of features and documentaries from around the world. This year the festival includes monthly screenings of LBGT works the first Thursday of each month, beginning Nov. 4, throughout the coming year. In addition, there will be free, repeat screenings of award-winning docs throughout the festival. Highlights include:
If you were among those who were utterly blown away by young gay French-Canadian filmmaker/writer/actor Xavier Dolan’s directorial debut “I Killed My Mother,” then you’ll be happy to learn that the film was no fluke. His second movie “Heartbeats” is an equally original and engaging film.
The relationship of best friends Marie (Monica Chokri), who is straight, and Francis a.k.a. Frankie (Dolan), who is gay, is put to the test when they become involved in a potentially lethal romantic triangle. At a dinner party, the BFFs come in contact with self-satisfied blond Adonis Nicolas (Niels Schneider), a country lad studying literature at McGill University and making his way in Montreal.
Country wrong is more like it. How Shana Feste, writer/director of the powerful “The Greatest,” can be responsible for this Southern-fried fiasco is a mystery. A cheap patchwork quilt of a flick, with sewn together swatches of “A Star Is Born,” “Crazy Heart,” “Dreamgirls” and “All About Eve,” “Country Strong” is thoroughly weak.
Natalie Portman and Mila Kunis play bitter ballet rivals in Darren Aronofsky's trippy “Black Swan.” But the heightened emotion they feel for each other ends up bubbling over into a passionate sex scene that's had people talking for months before the film's release.
Well, now “Black Swan” is finally here, so it's a great opportunity – and not gratuitous at all, really – to take a look at the five most famous lesbian scenes on film. A side note: “Showgirls” might have been a serious contender, but it appeared last week among the five most irresistible guilty-pleasure movies. It is tempting to find a reason to talk about “Showgirls” every week, though...
Out director Greg Berlanti’s new movie “Life As We Know It” (WB) starts off as a traditional, goofy romantic comedy, but then takes a sharp turn. Mismatched couple Messer (Josh Duhamel) and Holly (Katherine Heigl) are set up on a disastrous blind date by best friends Alison (Christina Hendricks) and Peter (Hayes MacArthur). Nevertheless, Messer and Holly are thrown together over the years, at Alison and Peter’s wedding and the birthday party of their daughter Sophie. Messer and Holly are even Sophie’s godparents and guardians, which doesn’t mean anything until Alison and Peter are killed in a car accident. Messer and Holly must take on new roles as Sophie’s caretakers in spite of their dislike for each other.