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Christina Ricci had a great year in 1998. The young actress continued to cast off her youthful image from the Addams Family movies and made a big splash on the independent movie scene, especially in this scathingly witty comedy in which Ricci has the central role. Here she plays Dedee, a buxom, sexually precocious teenager who's pregnant, cynical, and looking for a volunteer father for her unborn child. This takes her to the home of her gay half-brother (Martin Donovan) whose current lover (Ivan Sergei) becomes Dedee's latest target for seduction. That's just the start of the mischief that Dedee so masterfully orchestrates, and Lisa Kudrow (from TV's Friends) is also on hand to deliver some of the movie's most quotable dialogue while fending off the affection of a local policeman played by Lyle Lovett. If all this sounds rather sordid, rest assured that the movie's got a warm heart (well, sort of) beating beneath all of its sharp-edged sarcasm. Writer-director Don Roos (Single White Female) injects most of the movie's appeal and humor through Dedee's voice-over narration, which constantly reminds us that even the most familiar movie clichés can be cleverly overturned. As a result, The Opposite of Sex is the opposite of boring. --Jeff Shannon ... Read more

Reviews (85)

Opposite Attraction
This Indie film from 1998 is a real winner. Deedee Truitt (Christina Ricci) pays a visit to her half brother, Bill (Martin Donovan), in Indiana. When she arrives, she turns everything upside down, with her tell it like it is style. Within in a short time, she seduces Bill's live in boyfriend, Matt (Ivan Sergei) and they run off to LA with $10,000 of Bill's money. At the same time, another of Matt's boyfriends (Johnny Galecki) blames Bill for Matt leaving with Deedee, and starts trouble with the town sheriff (Lyle Lovett). All of the performances are first rate, but Lisa Kudrow as Lucia, (she hates everything about Deedee) really is superb and makes you forget her role on T.V's "Friends".with her caustic characterization. Directed by Don Roos, OPPOSITE OF SEX, has a great understated tone that fits the film nicely. There are some genuine dramatic moments amid the chaos that will surprise you. When you are looking for a different kind of film to watch, you need look no further than this film. Just when you think you have it figured out, the storyline takes a few unexpected turns.

The DVD includes very few extras. There are a handful of deleted scenes with optional commentary from the director. The commentary will offer some great stories about filmming and trivia. Finally, viewers are given the choice of seeing the film in Widescreen or Pan and Scan. There's a lot to like about this movie, enjoy. Recommended

Ricci is peachy!
Ricci aside I thought Lisa Kudrow was a delight playing the oppisite of her well known ditzy blonde "Friends" type cast, which helps her to not become to much of a type casted actress. She does have range. I fully enjoyed this movie. I loved the characters, the offensive (to many) script, the well balanced comedy mixed with drama. This film moves you, makes you laugh, think, and truly has you wanting to reach into your television to strangle some if not everyone. Christina Ricci "She's the human tabloid." is all attitude and no graduate as DeeDee Truitt a 16 year old girl that refuses to grow a heart of gold even for us the veiwers. Thats cool we see that type of stuff everyday in the movies. After her stepfather kicks the bucket she decides to go and live with her brother. He, who is moaring his lovers death welcomes her. One might say that was a huge mistake on his part. She does little more than ruin his teaching career, steal his new boyfriend, gets him involved in a gay sex scandal involving a former student where he teaches (thus, the reason for his almost termination), okay what else... steals his dead lovers urn containing the mans ashes. Oh and thats just the half of it. Let's finish this... "The Oppisite of sex" is what DeeDee wants. SEX involves relationships, deceases, pregnanies and other complications in ones life. Who want's that? The film also addresses the survival of the species topic. It's true if we didn't love sex (complications aside) we would have died out aeons ago. Good move on God's part. This is a movie that can be enjoyed by adults that aren't easily offended.

A movie that sticks with you (if you like comedy black)
It's saying something about a movie when a friend asks you for a recommendation in 2004, and 1998's "The Opposite of Sex" is one of the first things that pops into your head. Christina Ricci - in her first real adult role - rips the paint of the walls with her performance as Dede Truitt, a one-woman hurricane. She wreaks havoc here in everyone else's life, starting with half-brother Bill, played by the always excellent Martin Donovan (see, among others, "Insomnia," in which he plays Al Pacino's doomed partner).

In fact, for all the attention garnered by what was essentially Ms. Ricci's very successful coming out party, the real news here are the excellent turns by Donovan, Lisa Kudrow (playing about as far from Phoebe as one can get) and Lyle Lovett. Mr. Lovett proves her that he doesn't need Robert Altman to transfer his charisma from his musical performances to film. [He had been essentially an Altman 'house player' up to this point in his career.]

The script is sharp and witty. We've got Don Roos (as writer and director) to thank for that. I'm a little perplexed by Mr. Roos' career since that point - 'Bounce' (a disappointing Affleck/Paltrow outing) came out in 2000. He did have a critical hit with 2000's TV summer replacement 'M.Y.O.B.'

Roos has proven himself to be a great writer who attracts quality stars and directs them to impressive performances. He does have 'Happy Endings' in production right now with Ms. Kudrow and other talented actors. As far as I'm concerned, his success with 'Opposite of Sex' will compel me to see anything that he creates.

SUCKs with a capital SUCK
It's billed as a comedy, but somehow it's just not very funny. The funniest part about it is the fact that you're actually sitting there, subjecting yourself to this. A 16 year old girl runs away from home, seduces a gay guy, exploits everyone she knows, kills the father of her baby... and you're supposed to laugh. I spent most of my time shaking my head in disgust, wanting to reach out and strangle the girl, and wondering who could possibly think it was funny.

The opposite of great
If you like your films to be fast food with extra fries, if you live in a trailer perhaps, or drink lots, perhaps get into fights and have the police around, swear like a trooper, didn't do too well in school, shout to your friends at the other end of the street, buy books at the supermarket, wouldn't know good dialogue from bad/great acting from not so great, think that gay men just need the right woman, think that vegetarians secretly lust after bacon sandwiches, think that National Enquirer is a serious newspaper... get this film because YOU ARE IN FOR A TREAT. ... Read more

Amazon.com

Red Dirt opens with lush images of rain-drenched faces and half-naked bodies lying entwined against the gnarled roots of a tree. Slowly, the movie unwinds the story of Griffith (Dan Montgomery), a young man who feels trapped in a small Southern town by the madness of his invalid aunt (Karen Black). His only comfort is his secret affair with his cousin Emily (Aleksa Palladino), but even that begins to lose its meaning. When a stranger (Walton Goggins) seeks to rent a cottage on Griffith's property, they strike up a friendship that offers Griffith the possibility of escape. At first, Red Dirt threatens to drown in the tortured emotions of a Southern gothic novel, but the excellent performances slowly build a rich, affecting web of hope and passion. Palladino, a young beauty with amazingly thick red hair, is particularly striking. --Bret Fetzer ... Read more

Reviews (59)

Worth your time, money, and emotions
This movie will leave an imprint on your mind similar to the stain left by walking barefoot on the soil of many southern states. I was glad to see that this film was not full of sex and nudity that is easily found in other movies if that is what you're looking for. You will be pleasantly surprised by the involved soundtrack and stunning cinematography, but the real story here is what shines through and makes you want to watch it over and over. The cast performances by all of the main characters are absolutely amazing. There are tears and there is absolute joy, along with a lot of raw human emotion that isn't over dramatized or out of a bottle. I whole heartedly recommend this story if you would like a gay drama that is more than a few guys walking around in front of a camera making out. I rented this movie and within the first few minutes of the film, I knew it was one I would want to purchase to keep and watch. The story unfolds on so many levels - it gives me the same feeling felt when reading a very well written book, with vivid imagery, characters so real you feel like you're them, and a story that you'll catch yourself thinking back to. Get it - for this price you'd be a fool not to. I can't wait to see what the director comes out with next (this is his first feature length film! amazing!)

A First Film's Imbalances, but Most Romantic Kiss Ever
This is Purvis's first film, and it benefits and suffers from typical first-film issues: great attention to cinematography, colors, scenery, etc., some difficulty in plot and character development and pacing. This is an indie in the truest sense. I think, however, it merrits viewing.

The story focuses on a young man and his female cousin, both the last two of their generation stuck in a small, rural Southern town. The red dirt of the title is a prominent thematic in both the soil of the land and even the tint to the cousin's hair. Out of pure drugery and directionlessness, the two cousins engage in a sexual relationship devoid of any passion--a metaphor for their entire condition in this small town.

The young man lives with his aunt who has suffered from mental illness ever since the death of his parents, and an important side story examines the aunt's emergence from mental illness to greater participation in the world.

Eventually, an attractive stranger shows up to rent the cottage in back of the house, played by very attractive Walt Goggins. The stranger and the young man become fast friends, having much in common and sharing a need for "direction." The development of this relationship should have been the focus of the plot, but Purvis glosses over how and why the friendship takes on the intensity that it is.

In short, the two men are falling in love--but it takes a while to get to the point where they are clear that that is happening to them. When it finally does--watch out! Their kiss is the most romantic kiss in cinema I have seen, gay or straight. it is not a sloppy, sexual kiss at all--it is a meaningful, sensual kiss that is at once an act of coming-out, an act of defiance, and act of self-preservation, and an act of intense love. I have to say that the sloth of the rest of the movie was truly worth it to appreciate this particular moment.

This is a fine first showing from Purvis, and I would welcome a remake of this particular film one day (with the same cast) with greater attention to pacing and focused, salient plot and character development.

The movie is worth seeing especially if you are a film buff or are interested in watching the evolution of a director's career. I expect Purvis will blossom into a major player.

Touching
No clubing, drag Queens or getting high here, but a lot of emotions. One of the best films I've seen.

Just... A... Little... Slow... and Incomplet.....
It appears most reviewer either loved "Red Dirt" or hated it. I certainly wish I'd liked it better. The cinematography is gorgeous (as everyone agrees); I'm okay with the acting; the script, however, slowly, ponderously, goes nowhere--which is the point of this film, I suppose. I recommend renting this film if you're hankering to experience vicariously the life of a young, bored, gay man (but not out to himself or anyone) trapped by circumstances and a dysfunctional, immediate family to continue in an empty, unfulfilled existence in the deep South, rather than take some chances, make some changes and move on.

No hunky go-go boys
This film is not for everybody. If you are an urban or suburban Gay and you're looking for a movie full of characters and settings that are comfortably familiar to your own big-city gay-bar milieu, you won't find that here. On the other hand, if you've ever lived in the South, or in any rural area where time moves slower and "character" describes more what is within a person than their outward dress or affectations, you will find this very believable, and you will be impressed by the rich, colorful, and authentic people and events in this movie.

No, it's not a "hilarious, predictable, deliriously romantic and sexy feel-good" movie like "I Think I Do."

No, it doesn't have any "aspiring Broadway songwriters" or "hunky go-go boys" or "acidic, motor-mouthed drag queens" like the movie "Trick."

What it does have, as another reviewer here has said, is "profound and multi-layered story-telling at its finest." It's a deeply touching story, with stunning cinematography and amazing cast performances. ... Read more

Description

A hilarious and outrageous comedy from England that throws political correctness out the window! Two Irish lads movefrom London to hit the big time, but end up working as male prostitutes in the gay underbelly of the city. Equal parts John Waters and Quentin Tarantino, 9 DEAD GAY GUYS is a raucous and whacked-out romp! Includes Director'scommenary. Stars Steven Berkoff, Glenn Mulhern, BrendanMackey ... Read more

Description

One of the world's most talented and best-loved performers, Julie Andrews reaches new heights in the most challenging role of her career as a woman pretending to be a man impersonating a woman! Filmed on the Broadway stage in 1995 (and based on the 1982 film), the immenselypopular Victor/Victoria is a warm, funny, wildly energetic look at the nature of love, gender perceptions and the battle of the sexes. Written and directed by Blake Edwards, with an unforgettable score by Henry Mancini and Leslie Bricusse, Victor/Victoria tells the story of an out-of-work singer whose life changes when she meets the flamboyant Toddy (Tony Roberts). With his help, she becomes "Victor," an overnight singing sensation in the nightclubs of Paris. But success becomes hilariously complicated when she meets the love of her life, King Marchan, a macho Chicago gangster (Michael Nouri). Adding her two cents to the couple's troubles is Marchan's ex-girlfriend, the ditzy Norma Cassidy (Rachel York). From the electrifying excitement of "Le Jazz Hot" to the contemplative "Crazy World," from the humor of "Chicago, Illinois" to the touching "Almost a Love Song," this truly classic musical has it all.146 minutes. Filmed in High-Definition video. 16x9 anamorphic widescreen transfer. ... Read more

Reviews (34)

AN EXCELLENT PRESERVATION OF A WONDERFUL NIGHT
On December 2, 1995, I was lucky enough to be in New York City and saw "Victor-Victoria" on Broadway. The excitement and anticipation of seeing Julie Andrews on Broadway was so great-- I'll never forget that. We would have applauded and cheered like mad if Julie had merely appeared on stage and read from the phone book. Naturally, I was thrilled when the Broadway production was released on video. The show is excellently presented in wide-screen format. I'm still in awe of Robin Wagner's wonderful set designs-- one of the production's best assets. Andrews is well supported by Tony Roberts as Toddy. Michael Nouri is super sexy as King Marchan, and Gregory Jhbara is endearingly sweet as his gay bodyguard. Rachael York is extremely funny, but, in retrospect, the best she can do in the role of Norma is give a carbon-copy of Lesley Ann Warren's inspired performance in the 1982 film. Despite what some have said, the Broadway production does flow and move well, with just as much sparkle and bounce as the 1982 film (in some cases, perhaps more). These are professional actors. They know what they're doing, and they give their very best. Let's face it: either you like Julie Andrews (with all her amazing stamina and energy; thankfully captured here before her devastating 1997 throat surgery) and "Victor-Victoria" or you don't. Not much more needs to be said. Having this video in my collection is like having my wonderful night in New York City over and over again. A real treat-- if you were "there" or not.

A "Must Have" for Julie Andrews Fans
This video of the stage production of "Victor/Victoria" preserves what is likely to be the last Broadway performance of a living legend of the musical theater - Julie Andrews. Complications from vocal chord surgery performed not long after Dame Andrews left this production damaged her singing voice, probably permanently. The opportunity to see her in this historic Broadway performance should therefore not be missed by any of her fans.

The show isn't perfect. It gets off to a bit of a slow start with a moody opening number, "Paris By Night," then it takes a while for the story to unfold. There is a bit more exposition than is necessary, and the show really doesn't get into full swing until Julie and company's notable "Le Jazz Hot." From that point on, however, "Victor/Victoria" accelerates, and the laughs come quickly and often.

The energy boost is thanks in large part to the comic genius of Drama Desk Award Winner Rachel York as the dizzy blond gangster moll, Norma Cassidy. She takes the Oscar-winning role created in the 1982 movie version by Lesley Ann Warren and makes it her own. She finds the vulnerable core underneath the crass exterior and turns Norma into a lovable lunatic. Her timing is perfection, and the unexpected little twists in her delivery and physicality delight at every turn. She almost steals the show, but not quite. What she does accomplish, however, is to give Ms. Andrews a venerable foil. When the two of them are onstage together, the chemistry is electric. They have a tango toward the end of the first act that is one of the funniest pieces of choreography ever staged.

All the dance numbers are stellar, in fact. Credit goes to Rob Marshall, who has now become famous for his direction of the Academy Award winning movie adaptation of "Chicago." Every bit of choreography sizzles as the audience watches and wonders just which dancers are men and which are women.

While Michael Nouri as Victor/Victoria's love interest, King Marchand, may be considered the weak link in this cast (he just doesn't have the befuddled charisma that James Garner had in the movie), he sings and acts well enough to carry his share of the load. Tony Roberts is wonderfully droll as Victor's gay mentor, Toddy, and Greg Jbara is quite likeable as King's bodyguard, Squash. He offers up more than one surprise during the course of the evening.

By the time the last laugh is had, the audience is on its feet cheering for a landmark performance by one of the musical theater's all time greats. This reviewer has to agree with Ms. Andrews' own comments about Victor/Victoria. The entire show, and in particular cast member Rachel York, were egregiously overlooked by the Tony's.

IGNORE the other reviews.........
First of all, this is an EXCELLENT brodayway show! It cannot be just like the 1982 movie because people wouldn't go and see it. The acting is pretty good and most people dissed Julie Andrews on her acting, but remember she was older in this production and I thought she did an excellent job. The rest of the cast, Tony Roberts, Rachel York, and Michel Nouri do an excellent job. Bravo to Rachel York for doing an Excellent job playing Norma! There is more songs and dance then the 1982 movie and they do leave out the "Shady Dame from Saville" that was the only thing that I thought they should have put in the this production. All in all, one heck of a show! IT made me laugh, until I was almost crying! If you in Doubt, don't be. It is good and I suggest it to everyone! Also, you will the the intro Julie Andrews does before the show starts and at intermission!

A really fun show, luckily preserved
I was lucky enough, in 1995 to not only see "Victor/Victoria," but to get backstage to meet the lovely and truely gracious Ms. Andrews.

While the show has it's problems, it's not nearly the disaster critics made it out to be. Thirteen years after the huge success of the film, Ms. Andrews re-creates her role for the stage (how many other actresses can play the same role, convincingly, 13 years later.) While Michael Nouri, in my opinion, is no match for James Garner, Tony Roberts is a delightful Toddy and Rachael York makes Norma her own. Lesley Ann Warren was BRILLIANT in the film version, Ms. York is equally as stunning in this production and was ROBBED of not only a Tony nomination, but the award itself.

A must-have for all Broadway collectors, the shows flaws (primarily the book) can be easily overlooked due to the fabulous performances, brilliant technical achievements (sets being the most obvious) and terrific production values.

Get it now!

VICTOR/VICTORIA 1995 BROADWAY PRODUCTION
I HAD THE CHANCE TO VIEW THIS WONDERFULL PLAY LAST NIGHT. I WAS VERY IMPRESSED WITH THE PROFORMANCE THAT MS. ANDREWS DID IN THIS PLAY. I HAVE NEVER SEEN HERE LIVE BEFORE SHE WAS EXCELLENT IN THIS. THIS VIDEO OF HER PROFORMANCE IS A MUST FOR ANYONE WHO LIKES MS. ANDREWS AND WHO HAS NEVER SEEN HER BEFORE LIVE ON STAGE. ... Read more

Description

19-year old Jared Price leaves the stability of his home in Georgia to start a new life in Southern California. With only a bag on his back and a few hundred dollars in his pockets, he sets out on an emotional journey of self-realization and sexual discovery. With little privacy and a prostitute for a roommate, Jared stumbles through the tight quarters of a Hollywood youth hostel. He befriends his young neighbor, Robert, whom Jared quickly discovers is eager to pursue more than merely a platonic friendship. Jared gains employment as a personal caretaker for Mrs.Haines, a wealthy, older blind woman. He suddenly falls into a deceptive relationship with her affluent older son, Matthew. When the relationship becomes personally destructive, Jared is faced once again with the difficult decision to abandon his stability and risk his heart. ... Read more

Reviews (25)

Amazing what they did in 5 days....
Parts of this movie are great. Parts are a bit rough. When you come to realize that it was made in 5 days with little budget, the end result is pretty amazing. It is a good quality movie that tells a sweet story.

The Matthew character is well done. You don't know whether to hate him or pity him. There are many people like this out in the community so I think the character hits a note of familiarity. The Robert character is a bit simple but likable. The actor that plays Jared does a fine job but there are times when it just doesn't seem to come together. Specifically, when Jared is yelling at Matthew. That feels forced.

Mrs Haines is, in my opinion, the most lovable character and if I were to ever watch this movie again, it would be because of her. She adds a great deal to the movie. Her interactions with Jared are kind of like icing on a cake but it is very sweet.

Overall, not a great film but certainly worth watching. A good "snuggle up with your sweetie and watch a good movie" kind of film.

This Movie Rocks
I have purchased many gay movies and The Journey of Jared Price is the best. I have watched this movie three times already. Corey Spears, who plays Jared- and was also in Traffic as the kid who OD'd, is a cutie and a swell actor. When you watch Corey Spears the actor in the interview at the end of the DVD you can get a sense of the difference that separates the actor and the character. Corey has a hot body, beautiful electric-blue eyes, is polite to a fault, has that cute little southern accent and has the most expressive face of anyone I have seen. Rocki Craig who plays Ms. Haines is to die for. The story was inspiring and shows Jared to be a man of character as he leaves at the end even though he could have stayed and milked the situation. Instead, he moved on with his life. His struggle with his sexuality comes through, especially in the scene in the park where he meets the guy from the hostel. The DVD is clear and has a lot of nice extra features such as deleted scenes and interviews with the cast. Dustin Lance Black is young but obviously a talented director- although his name sounds toooooo gay...

Not bad for low budget
This film was corny at times and lacked any real depth. It was enjoyable for light entertainment and if you are critical of movies than aviod this one. If you want less than oscar quality, fun entertainment to see with a friend. You would enjoy this movie. I enjoyed the film because it was light and funny, even when they didn't write it that way.

Simple, sweet and compelling story
Having viewed this movie several times now, several aspects worth comment jump into my mind.

The look and feel of this movie, shot on video with handheld cameras, with sometimes bouncy and jerking motions, perfectly mimics the type of video the main character Jared is shooting. Therefore, I think the director has very effectively tied the cinematography to the main character and therefore the story that is being told. It is almost as if Jared filmed his own life story.

Dustin Lance Black has created a film that is very different from the typical "young gay man goes to the big city" story. When we first see Jared, he has just arrived in LA and with a backpack and sleeping bag, he appears to a target for any street criminals. Even more so when he is seen making a call to the youth hostel...one view of Jared is through the window of a car parked across the street. This gave me the impression that someone was watching Jared and that this might lead to the typical "pimp forces Jared to turn tricks" movie. But that didn't happen.

Instead this is the story of a genuniely sweet and very, very polite young man exploring a world different than his Georgia upbringing. This is not about being all excited about being in LA; its not about the glamour of LA.

Jared's polite Southern upbringing is evident when he first meets Mrs. Haines. The way in which Corey Spears delivers his lines leads me to believe he is overly polite and kind...so if he isn't this way, then he is a truly great actor.

Having known several "Mrs. Haines" in my life, I found Rocki Cragg's acting to be right on the money. She is one of those wise, yet quirky characters that make any moving interesting. Mrs. Haines plays a "former diva" perfectly, whether she ever was a true diva or not.

But all the other characters Jared meets are also interesting...his hostel roommate who makes his money as a male prostitute, the front desk clerk who can't say "monopolize", Robert, the boy who just wants someone to love, Matthew, who seems to find men by posting job notices in youth hostels. While Robert is overlooked through most of the film, Matthew makes his presence known.

Matthew supposedly has it all...success(with his mother's money) and a boyfriend. But Matthew is really the little boy in this film, not knowing that he really does have alot and always wanting more. Sexually speaking, he gives Jared a rather pleasant introduction to gay sex. Emotionally speaking, Matthew tramples on Jared. Not ready to give up his boyfriend, Matthew suggests a threeway with Jared and Matthew's boyfriend and this is where Jared fails to understand the big city ways and rightfully so. Matthew's boyfriend may be the most understanding character in the film...offering to give Jared a ride home when the threeway sex fails and there are alot of hurt feelings all around.

Quite possibly it is Matthew's office assistant who is the best overall character in the film. Her straight forward and totally honest approach to life is always refreshing among a group of people where emotions rule the day. She's the type of friend everyone wishes they had and the type of person who gives great advice that is usually ignored.

Overall, this film is a rare gem. It's simple, raw, rough, and sweet all at the same time. I think what makes this film a standout is how the cinematography blends so well with the story and the character of Jared.

Lots of heart, but that's it
I'm sure all the folks involved in making this movie are good people. The DVD contains an interview with the cast and the writer/director, and they all seem pretty likeable... But the movie just wasn't very good.

First, the good points. The story was ultimately sweet -- it had heart. I found myself liking Jared and Robert and I rooted for them to get together. (Corey Spears is so darn cute that I was often distracted from his mostly not-so-great acting; Josh Jacobson was better.)

The film quality: I could forgive the fact that it was filmed on digital video.

And now the bad points.

The characters: they're mainly unoriginal archetypes straight out of 60 years of gay pulp fiction. The cute, innocent small-town boy in the big city; the rich, 30something guy who turns out to be a lecher; the elderly woman who dispenses wisdom and turns out to be liberal...

The plot: It's all black and white and obvious. Men with money won't bring you happiness; follow your heart instead! Okay -- there are definitely lots of people out there who still don't know that, so maybe they'd benefit from watching this. But you can advocate a point of view while still writing an entertaining movie with three-dimensional characters.

The plot has little narrative flow. Things are left unestablished. For instance, what does Jared see in Robert in the first place? And there's little dramatic buildup and payoff. Things happen abruptly. There's a scene where Robert calls Jared but Matthew doesn't give him the message, and then it's dropped. In a better movie, this scene would lead to misunderstandings and a little bit of tension. But nothing happens here.

The movie's dialogue is pretty bad. It consists mostly of cliches, as well as things like "cool" and "oh, okay" and "my bad." Sure, those expressions are true to life. And many of the scenes between Jared and Robert seemed very real, as if I were watching them on a surveillance camera. But there's "interesting" real and there's "boring" real. Watching paint dry is also real, but it's not entertaining.

Although much of the acting is decent, two of the actors were pretty mediocre. ... Read more

Reviews (32)

Triple your pleasure, triple your fun
Due to a computer glitch, Alex (Lara Flynn Boyle) is classified as a boy by her college's housing department, and she's assigned to a suite with Stuart (Stephen Baldwin) and Eddie (Josh Charles). Alex reluctantly accepts the situation as she can't afford to live off campus. A curious scenario develops: Alex has eyes for Eddie, who's studious and bookish and might be gay, sexually brash and obnoxious Stuart likes the demure Alex (who can't stand him) and Eddie realizes he's attracted to Stuart. The unlikely trio explores themselves and their sexuality with an "us against them" attitude, or as Eddie puts it: "Those who get the joke, and those who don't". Very funny and thought provoking, and Boyle, Charles, and Baldwin seem to be tailor made for their roles. I'm sure this known but overlooked movie will achieve cult status over time.

one of my top 5
it also shows a smaller role played by the very funny arguette sibling Alexis Arquette who you may note for his boy george wanna be character in "the wedding singer" in this movie though he plays one of the lobby lizards. a guy with a nerdy little faghag and kittie litter breath with a big ole crush on Eddie..

one of my top 5
i love this movie. i always have since i rented it when i was about 15 (24 now). granted i probly shouldnt have been seeing this movie at 15 but when i watched it as i got older i connected with things alot more. it deals with breaking through your boundaries and basically it shows a trio of friends and what they go through, one main thing being a love triangle. This movies being set in college is too funny because that is in fact where people explore as eddie refers to it in the first 20 seconds of the movie "deviancy". "the word deviancy is from the latin roots. de meaning from and via the road, one who wanders from the road or gets lost. now days it refers to someone whos sexual practices are abnormal. This is the story of stuart alex and me and how for a while we became deviants, in both senses of the word"...
there is so much more to the movie but its not one of those gripping your heart type movies. this movie is mean to be fun. its a comedy, a romantic comedy on the verge of insanity. its also got some of the best lines ive seen in a movie.

Alex: If you're so hot on the idea, why don't you have sex with him?
Stuart: Taste of semen makes me gag.
Alex: How would you know? Whose semen were you eating?
Stuart: My own.(that was one of the many times stuart opens his mouth followed by people just staring at him with nothing to say)

Eddie: If Alex and Stuart were genetically merged into one person, he or she would've been the love of my life.(who hasnt felt like that before)

it also has a great soundtrack.

Everything is fairly much on an equalibrium until Eddie goes to pee one day and finds in the shower next to him a believed anti social suite mate, Alex who is very much a girl. Due to a computer glitch she is registered as male and cant afford her way out of it.

Time goes on as the boys (Eddie and his roommate Stuart) and Alex avoid eachother and Eddie and Stuart keep things that way by being the worst roommates they can find ways to be but soon they al find themselves connecting. well, Eddie and Alex anyway. Alex cant stand Stuart and sees him as a no neck ideot. then as alex describes it
Alex: You have the hots for me, I have the hots for him, and sooner or later he's gonna have the hots for you.
They find themselves in a triangle of hard crushes where "no ones getting out easy".
and as the title shows there is a big threeway which you can guess is going to happen after a short way into the film.

its incredibly funny. you should see it. its a movie that your gonna love wether your gay strait or bi. i dont care what you are just see it..

Sexually Fun
"Threesome" is a hilarious comedy released in 1994. It stars Josh Charles, Stephen Baldwin, and Lara Flynn Boyle. This explores three college students of different life backgrounds who unlikely become friends: a gay and artistic student, a sexually active man, and an emotional wreck. The written despliction is brilliant, keeping a unique theme. They know the perfect way to keep sexual innuendo funny, yet knowing the perfect scenes to add a hint of drama. Such erotica and other risque themes earns the cast and crew tremendous respect for expressing what few other filmmakers have in and before 1994. Many twists and turns arise, keeping audiences interested in every scene. All three lead actors perform at their career best in this film. Whether they're expressing sexual innuendo, suicidal tendencies, loneliness, or any others, they remain flawless in every scene. "Threesome" is a great comedy for those looking for something unique and sexually erotic. This is sure to keep audiences entertained for a long time, regardless the number of viewings.

Nice movie
"Threesome" is a great movie, although it is different than most films of the genre. It's a fun movie to watch, yet melancholy at the same time. I think one reason for its charm is, it is so relative to reality, although the situation, to most, is not. I gave it four stars for this same reason; it always puts me in a weird state of mind by the end. But that is okay -- sometimes, 4/5 star movies are the best. Stephen Baldwin, Lara Flynn Boyle and Josh Charles all make great performances, and I found the "Catcher In The Rye" connection they added in the movie rather unique. To close, I enjoy this film every time I see it. ... Read more

Reviews (7)

Just short of perfect
This film takes a look at the leopold/loeb case that is often glossed over in other films and even books on the subject. The focus is obviously on Leopold and Loeb rather than the crime itslef and the importance their personalities play in their connection to each other. The film seems rushed at times but it just seems to add to the intensity of it all. It's rushed but you can't seem to think of it being any other way. You're not left thinking one of the two boys is any more 'evil' than the other (which is perhaps the best thing about the film).

However, if you're not familar with the leopold/loeb case much of the movie could potentially be confusing and while many of the lines are actual things said by the two boys they are often placed in a different context or said to different people. If you've previously read Hal Higdon's book on the subject the movie makes much more sense than it would otherwise. However, if you have not, it is still a disturbing yet touching story. You'll realize the complicated nature of the boys' relationship and question who really contributed to the crime.

Very Different
This is a great film. Its prospective is very different from the two previous films(Rope/Compulsion) made on the Leopold/Loeb case. These other movies were both highly fictionalized versions of the case. This film is considered the most historically accurate to be made so far on the case, the trial scenes were taken directly from the actual trial transcripts. For this reason the film is often shown in Criminal Justice, Law and History classes.
This movie is also the first to boldly examine the homosexual relationship between the two killers.
Actors Daniel Schlachet (Loeb) and Craig Chester (Leopold) do an excellent job in the very diificult roles of two child killers.

A film that borderlines on greatness.
In my 11th grade English class, we were given a study on the case of Richard Loeb and Nathan Leopold, two college students who came from well-to-do families, who committed a most gruesome act of murder against a small boy by the name of Bobby Franks. The question throughout our studies: why would two well-off young men, with everything going for them, do such a thing to ruin their futures?

Tom Kalin's "Swoon" answers that question in gritty detail, using an unrelenting style that is admirable but brings little emotion to the film's central story. Told in black and white, with small bits of narration cast into the sequence of events, the movie provides us a look we've never seen before at the duo, one that is intriguing at times, though becomes tedious and dismal in others.

Daring in its approach to reveal the truth behind the scandal, Kalin's script goes into the relationship of Loeb and Leopold, whose sexual relationship with one another serves as the drive for their crimes and grievances against others. Their murder of the Franks child, to them, was little more than a promise kept by Loeb to Leopold, while to the rest of the community, it was a sheer act of horror for which, everyone hoped, they would pay with their lives.

But this new theory that becomes the center of the story is never quite full of the energy it needs to make it more engrossing. There is a certain amount of gratification with the exploration of the relationship between the two; in one scene, Leopold tells a shrink of a slave/master fantasy, which describes his views of his relationship with Loeb. The two find themselves together not out of want, but out of a need for one another, which makes for some very twisted yet intriguing mind games between the two.

The way the material is handled creates a problem: there's no energy to it. Throughout the second half of the film, primarily after their arrest and imprisonment, the movie loses what little momentum it had reserved, settling into stages of boredom without becoming absurd or redundant. The black and white photography is in the film's favor, placing us in Chicago during the mid-20's with an authenticity that accentuates the time and setting. Actors Daniel Schlachet (Loeb) and Craig Chester (Leopold) are convincing in their portrayal of Loeb and Leopold as emotionless, and without remorse for the crime.

So what is it about "Swoon" that keeps it from being a first-rate film? I just don't know. Here is a film that borderlines on greatness, boasting a daring story with style and acting to boot, and yet it never seems to cross the line into something interesting. It doesn't have the spark needed to make the story worth getting into; there's no emotional drive or connectivity, which allows us to get into the plot only so much before we start wondering what we should be feeling for it.

Great black and white/brutal irony
I was really impressed by the quality of this film, particularly considering its budget. Good black and white shooting is nearly lost in my opinion but apparently the photographer of this one had studied his Earnie Haller and Leni Refenstahl. I also found it highly ironic that in this retelling of the story that Leopold and Loebe escaped death due to a lack of understanding of homosexuality. They were declared mentally deficient by virtue of phrenology and old freudian neurosis. Had the establishment of the 20's understood homosexuality, Leopold and Loeb would surely have hanged, for they were guilty as can be. I was very pleasantly surprised at how good this film was. When it came out, any film with a gay theme got a good review so I have avoided the late 80's and early 90's gay movies. This film was quite the exception. Very good.

A stunningly beautiful and original film
"Swoon" starts out with a surrealistic reading of Leopold van Sacher-Masoch's "Venus in Furs." The tone set in this opening scene, both in the artistic and narrative sense, continues throughout the film. Told first through the journal entries of its two main characters and then through an objective, reporter-like narration, "Swoon" presents the story of the real-life murderers in a fashion that is both historically accurate and cinematic. The research is admirable, creating a depiction of the events that stays true to real life and allowing the audience to peek inside the minds of Leopold and Loeb. (Save for the film's one flaw: a minor inaccuracy that occurs when Leopold mentions a fantasy that is sadistic, when he was in fact masochistic.) The performances delivered by the two leads are breathtaking, turning the characters into humane figures while never trying to excuse their actions. The directing is ingenius, creating an atmosphere that not only cultivates a true sense of the trial of the killers, but of the entire twenties era.

I would recommend this movie to anyone who has any interest in history, cinema, or is simply able to enjoy a complex story-line. While the film may not be suitable for an audience that is not prepared to exercise its mind, it would be a pity for anyone to miss such a work of art. Suspenseful, humorous, dramatic, and heartbreaking, it is a story that stands both as a documentary and a brilliant story. "Swoon" is an example of what historical cinema should be like: unnervingly beautiful and strikingly unforgetable. ... Read more

Reviews (30)

Astonishing
Once again, I'm a bit taken aback so many reviewers did not understand this film. My advice is this: if you're a Hollywood or porn fan, you'll probably feel the same as the viewers here who offered negative, confused views. But if you're up for experiencing an intelligent and aesthetically beautiful film, you will enjoy this one.

This film is so many things, but summarized it's a piece of exotica (the East as seen through the eyes of foreigners) which takes advantage of its distant locale to peer back and dissect the social flaws of the West, and the forgotten humanity of the East as well. It accomplishes as much through a deceased main character, an Italian who late in life discovered her place and contentment in Turkey. Through the living characters, we discover her tale and journey.

I say this is an intelligent film as there are no black or white characters here; every character is multi-dimensional. No one character is portrayed as more valid than another. Nowhere else is this more evident than in the character of wife, who to the astonishment of the lovers shows up in Turkey unannounced. And in a brilliant twist, it is this character who is the hereoine of the film.

This a peek into a strangely beautiful piece. It profoundly moved me and I can not thank the director enough for inviting me into his cultural realm and the heart which was shaped by it. I would enjoy discussing this film with any viewers who to some degree share my opinions.

An Italian in Istanbul
This is a story about an Italian man who goes to Istanbul to settle the estate of his deceased aunt. Though eager to sell off the property she has left him, when he discovers that the property is a hamam (Turkish bath), he becomes ambivalent about selling. His own perspectives on his life, Istanbul, the hamam, and the family with whom he is staying are highlighted by his aunt's words which we hear throughout the movie as he reads her returned letters.

Istanbul is somewhat romanticized, with old and new customs side by side, sometimes competing and other times in harmony. All in all, it's a lovely film in Italian with English subtitles.

I'm on the next jet to Istanbul
I'm keeping this review short. I loved this film. Although a little slow from the start,Francesco's and Marta's evolution took my breath away.

Fountain of Life
This movie is beautifully shot. The story can be described as "grace and intriguing". It is so good that I don't know how to start. If possilbe I will give it six stars.
It can be recognized as a gay movie. But in fact, elements of gay life in this movie is little. The most important subject of this movie is about discovering your true self (no matter male or female). Many metaphors appeared in this movie. It reminds me of those Arabic phylosophy I have learned. It reminds me of poems written by Omar Khayyam. The fountain of life never stop, we have only one time to experience. Live the life you want and be happy(mentally, not only phisically)

A Great Movie - but packaged so as not to do it justice
This is a superb film - very atmospheric, and captures Istanbul perfectly. The description of the winds is spot on. It's a film about self discovery and getting balance in life (in the same way that Local Hero was) and about beoming entraced by an idea, and a different approach to life.

It is not a 'gay' movie at all, despite the cover and the hype. Ok there is an element (without giving the story away), but it is a sensitive and clever film exploring a group of people.

It's not a 'romp' movie. Anyone who buys it for watching alone for self comfort will be hugely disappointed. Anyone who buys it for a great story and tremendous atmoshere will have an excellent evening. ... Read more

Description

ARMISTEAD MAUPIN’S FURTHER TALES OF THE CITY is the third installment of Maupin’s classic saga of San Francisco life.Set in 1981, the four-hour miniseries involves the residents of 28 Barbary Lane in a racy and rollicking adventure/mystery that leaps from Golden Gate Park to the home of a Hollywood icon to a remote island in the Alaskan wilderness.As usual in Maupin’s world, romantic entanglements abound. Landlady Anna Madrigal (OLYMPIA DUKAKIS) is stunned by her mother’s sudden arrival.Mother Mucca (JACKIE BURROUGHS) who runs a bordello in Nevada is in town to take care of personal business and meets a man from her past, Royal Reichenbach (JOHN MCMARTIN).When Mother Mucca introduces Anna to Royal, they find themselves in a rivalry over him. Madrigal’s tenants have their own stories from the past to unravel.Michael Tolliver (PAUL HOPKINS) is working at a nursery called "Best Laid Plants."He tries to get over being dumped by his former lover Dr. Jon Fielding (BILLY CAMPBELL) who went off to work on a cruise ship.

Exploring his sexuality full tilt, Michael embarks on a series of sexual escapades involving cowboys, cops and Cage Tyler (JOHN ROBINSON) a closeted movie star. Michael's friend and neighbor Mary Ann Singleton (LAURA LINNEY) is challenged with a relationship problem of a different kind.Her boyfriend and upstairs neighbor, Brian Hawkins (WHIP HUBLEY) who has spent most of his adult life as a womanizer, comes to the realization that he wants to marry her.She, however, is hesitant to take the next step as she is focused on her career.Longing to become a serious reporter, but not given a chance by her station manager, she is forced to work as a daytime host of the "Bargain Matinee" show. Mary Ann’s late boss’ widow, socialite Frannie Halcyon (DIANA LEBLANC) is tormented by her daughter DeDe’s (BARBARA GARRICK) apparent demise in the Jonestown Massacre.Living on Mai Tais and sleeping pills, she refuses to accept that DeDe and her children, Little Anna and Edgar were killed.She seeks advice from psychics to help her find her missing daughter.When a fortune-teller convinces her that DeDe is indeed alive, she asks for the support of society columnist Prue Giroux (MARY KAY PLACE) to make her story public. When Prue refuses to get involved, Frannie calls Mary Ann to share her secret. Since Mary Ann is always searching for a good story, she is eager to meet in hopes of finally getting a break on the evening news.

Meanwhile, Prue meets a mysterious homeless man, Luke (HENRY CZERNY) in Golden Gate Park.Immediately drawn to his intense charm, she falls madly in love with him.Little does she know that she’s opening Pandora’s Box when she attempts to bring him back to society with the help of flamboyant celebrity priest Father Paddy Star (BRUCE MCCULLOCH).Luke’s past is far more sinister than Prue could ever imagine. Then it’s revealed that DeDe Halcyon Day has spent three years in Cuba with her lover Dorothea (FRANÇOISE ROBERTSON) after escaping the massacre in Guyana.She ends up in a camp for gay Cuban refugees in Fort Chafee, Arkansas and finally calls her mother Frannie in San Francisco to tell her that she wants to come home. Through DeDe’s unexpected reappearance and a twist of fate, the storylines begin to intertwine and all of the characters in Maupin’s tales find themselves in the midst of an unpredictable adventure. ... Read more

Reviews (12)

A wonderful miniseries in an excellent DVD set!
Further Tales Of The City continues on with the tradition of the 2 previous mini-series - wonderful characters and amazing storylines. To be truthful though the whole Jim Jones storyline didn't quite gel with me - I thought it could have been handled a little better. But what makes this series stand out is the way the subtle changes between the 70's and 80's are illustrated. Further Tales is set in that transition period from loving and caring attitudes towards each other to the greed and emotional corruption of the 80's. Great to see the character of Mother Mucca back as well - one of the best characters TV has ever seen!
This series has been lovingly created and it shows. The characters are all magically relatable in their way, though I did miss Mona.

A special mention needs to be made of the DVD - a whole disc packed with an outstanding set of extras. From interviews, to behind the scenes footage, and much more besides - you really get a indepth look at the making of the miniseries - all TV shows should be released on DVD like this!

Hopefully there will be 'Even Further Tales' for us to enjoy in the future....

"Magical" Ms Madrigal Invites You to 28 Barbary Lane, SF
Olympia Dukakis leads a cast of otherwise little-known actors in this very entertaining serial about life, lust and liasons surrounding the tennants at 28 Barbary Lane in San Francisco of the mid-1970s.

This set keeps going where the "2nd" set left off. A few casting changes were made (some for the better, other...oh, well!). A few facts worth knowing for those who are "jumping in" with this 3rd installment in the series:

The main character, Maryann Singleton, an innocent 20-something Ohio girl escapes the smothering arms of her over-protective parents and becomes the latest arrival at mysterious Ms Madrigal's house of sweet, odd and gorgeous young people. Not only is she (like everyone else) welcomed and accepted, but soon finds herself in a web of weird situations, corporate greed, sexual experimentation, suicide, and other shocking things.

The recurring central focus on homosexuality eventually becomes so nonchallante, that the viewer soon no longer sees this as anything worth talking about. It's almost like watching episodes of "Ellen", "Roseanne" or "Will & Grace", only that any "viewer advisories" seem redundant now (it's about time!).

Tales of the City is a look back at the 1970s decadence we saw in "Studio 54", but otherwise only 'heard rumors about'. This is an honest, unashamed view of the "San Francisco Scene" as experienced by the author/screen writer Amistad Mopin. Along with historically authentic facts and references (The "Jonestown Tragedy" of 1979 is briefly referenced at the end - if you blinked you missed it!) this otherwise mostly ficticious plot makes for fun viewing. The 6 part series nicely fits on this DVD. Have it piece meal or all at once. I think you're gonna like this picture!*****

So-so conclusion
I did enjoy seeing my favourite movie characters again, but the whole Jonestown story seemed to be a bit unconvincing. Still, the cast are brilliant and it was a good way to finish!

Badly mastered DVD
Four starts for the content. Zero stars for the DVD mastering.

Perhaps it's because they tried to stuff more than three hours worth of material onto 1 DVD, but like others, I too was unable to play this all the way through on my DVD player. The problems start right about at the start of episode 4, and just keep getting worse. But perhaps it's just bad mastering, because I had the same problem with the second, extras, DVD, which isn't nearly so full. It's a shame such a wonderful series is marred by a badly mastered disc.

technical difficulties as well
I also went through two copies of the DVD and returned both due to the tale end skipping and not reading on my player. One was purchased through Amazon, another through Borders, both had trouble in the same spot! I love the books, and enjoyed what I saw to the point it fritzed out. I had seen it on Showtime initially and went out and bought the books and the first two series...what a gem. Hopefully I will get lucky on the next purchase. ... Read more

Description

Critically-acclaimed drama that invokes the glory days of the Harlem Renaissance. As an elderly man, poet Bruce Nugent meets a young black gay artist struggling to find his voice and together they embark on a surreal narrative journey through his inspiring past. ... Read more

Reviews (2)

Without Fear and Shame!!!!
Brother to Brother isn't a film so much about a young black gay man coming to terms with his sexual identity as it is more preciselya story about a young black man who inspite of the prejudices against him for being black and gay manages to live life and create art on his own terms without fear and shame and the bowing down to prejudices of a hostile world that expects him to conform to a stereotype and fetish to others peoples ideas.

As the story begins, Perry (Anthony Mackie) has already been thrown out of his father's home for being gay and has just had a heated discussion with another classmate during Lit class after volunteeringinformation that a black male literary legend from the past was gay. This classmate of Perry's represents a segment of the black community hostle to the idea that black gay men do exist and are sometimes unwelcomed.Balancing out this hostile classmate is Perry's long-time straight friend, Marcus (Larry Gilliard) who kinda goes against the popular notion that every person of African decent is a homophobe.He is dependable and supportive, but he does not quite understand where Perry is always coming from when he talks about the ill treatment of some "brothers" but he can understand the obstacles Perry is facing as a black artist in the artworld who much like the world of publishing is often both intentionally and unintentionally prejudiced (!). All this and Perry beginning a brief relationship with a white peer who may have a kinda of fetish thing for black guys.

In walks a figure from the past, a "black" undiscovered gay hero of the Harlem Renaissance, Richard Bruce Nugent (the great Roger Robinson) who teaches Perry that every thing he is now dealing with in his life were the same issues face by a group of talented young black writers of 1920's Harlem Renaissance heyday.Nugent tells stories that bring to life the whirl of days of Niggerati Manor and its inhabitants like Langston Hughes (Daniel Sunjata) who was black and proud and celebrated black beauty long before the black protest movements of the 1960's and in whose coded poems sometimes celebrated the love, "Beauty," and admiration of one black man for another black man,Zora Neale Hurston (Aunjanue Ellis) whose talent and charisma is capture well in the film, Wallace Thurman (Ray Ford) who was gay and possessed of an surperior intellect that rivaled anyone past and present and black and white, and of course Nugent himself as a young man (Duane Boutte) who was talented but refused to deny his identity and make the same sacrifices Langston Hughes did to become a well known writer and the Dean of Black American Letters. Through Nugent, Perry learns pretty universal thems as believing in yourself, not compromising your vision and integrity to cater to someone else's idea of how they think things should be done, and self pride despite prejudices.

I am happy Rodney Evans made this movie his way without compromising his beliefs and values to do it.From such a small budget to make the film came a movie rich in texture and meaning, especially with the absence of gay men of color often being ignored in the media, mainstream and mainstream gay, baring the ocassional tokenism of a mouthly gay magazine and film.

In Makie, Robinson, Sunjata, Ellis, Ford, and Boutte and Rodney Evans's care and skill, I saw my face and its inherent beauty that is often denied. That was nice!!!

brother not with brother
This film is about a young black gay man who meets Richard Bruce Nugent, the first African-American to publish a fictional story on homosexuality. The film is pretty and a great effort for a first-time director. However, folks in the audience were furious. In this film, every black gay character has a white lover. Viewers were non-plussed by the interracial coupling, but they viewed the lack on ANY black gay couples as problematic. The movie implies that a defining trait of being black and gay is to have a white partner. In this film, blacks can be friends, pro-gay allies, or homophobes, but they never love each other romantically. This film is set in New York City where there are countless black gay male couples. This film was wrongly titled "Brother to Brother." It should have been called "Black Man with White Man" because that was the coupling which the movie focuses on and celebrates. Brother who love brothers don't exist here. ... Read more

Amazon.com

The Crying Game offers a rare and precious movie experience. The film is an unclassifiable original that surprises, intrigues, confounds, and delights you with its freshness, humor, and honesty from beginning to end. It starts as a psychological thriller, as IRA foot soldier Fergus (the incomparable Stephen Rea) kidnaps a British soldier (Forest Whitaker) and waits for the news that will determine whether he executes his victim or sets him free. As the night wears on, a peculiar bond begins to form between the two men. Later, the movie shifts tone and morphs into something of a romantic comedy as Fergus unexpectedly becomes involved with the soldier's girlfriend Dil (Jaye Davidson) and discovers more about himself, and human nature in general, than he ever dreamed possible. Like Spielberg's E.T., The Crying Game was supposed to be director Neil Jordan's "little, personal movie," the one he just had to make, even though no studio was willing to give him money because the story was so unusual. Instead, it became a surprise popular sensation, thanks in part to Miramax's cleverly provocative campaign playing up the hush-hush nature of the movie's big secret. The performances (including Miranda Richardson as one of Fergus's IRA colleagues) are subtly shaded, and the writing and direction are tantalizingly rich and suggestive; you're always trying to figure out the characters' true motives and feelings--even when they themselves are fully aware of their own motives and feelings. The Crying Game is a wise, witty, wondrous treasure of a movie. Director Jordan's credits include Mona Lisa, Interview with the Vampire, Michael Collins, and The Butcher Boy. --Jim Emerson ... Read more

Reviews (75)

A deep , tender study on repressed human nature
Somewhere in Northen Ireland , a group of IRA terrorists kidnaps a british soldier . One of it's members , Fergus gets to know the hostage and starts a friendship with him . In a moment of fear and insecurity , the soldier asks from Fergus to go to England if something bad happens to him and try to find his fiance Dil and see if she's alright . Some years later Fergus arrives to England and traces Dil in the haidresser Saloon where she works .

During the first half of the movie what we watch is probably themost melancholic , beautiful romance ever to be filmed . He's trying just to protect her yet instead he falls for her and at the same time feels guilty for flirting with the soldier's wife . She's haunted by the ghosts of the past and although every word and move of hers is full of confidence , she desperately needs some love and tenderness yet she's much too proud to let it show .

Then somewhere a little after the halfway mark the film has a twist which leaves the viewer speechless . From that point and after , the movie becomes more dramatic and intense . Neil Jordan's direction has that magic something called personallity . I have never seen a scene as atmospheric and sensitive as the one where Fergus cuts Dil's hair . The key element of this film though is it's actors . Stephen Rea and Jaye Davidson give spectacular perfomances without which the film would certainlty be a lot different . Love is the thing Dil needs the most and love is what this great film is all about .

A funny thing happened on the way to the assassination
THE CRYING GAME teaches the lesson that terrorists have relationship problems just as messy as other folks.

Jody (Forrest Whitaker), a British soldier stationed in Northern Ireland, is ensnared in a honeytrap by Jude (Miranda Richardson), kidnapped, and held by Irish militants threatening his execution unless one of their own is released by the British authorities. One of Jody's captors is Fergus (Stephen Rea), who forms a sympathetic bond with his prisoner. At one point, Jody shares a photo of his significant other, Dil (Jaye Davidson), living in London, and exacts a promise from Fergus such that, in case he (Jody) is executed, Fergus will search out Dil and share drinks at the local pub. Jody fails to regain his freedom, but not for the obvious reason. In any case, Fergus ferries over to England and makes the acquaintance of Dil, a hairdresser, through the ruse of getting a haircut. An attraction develops between Fergus and Dil after the former helps the latter out of a tough spot with an overly aggressive male admirer.

I feel a smidgen of guilt for awarding THE CRYING GAME four stars instead of five since the clever screenplay unfolds as a series of unexpected events. The first half of the film culminates when Fergus is privy to a stunning revelation. However, from then on, even after Fergus's IRA colleagues arrive in London and coerce him into another attack on the establishment, the pace of the film seemed relatively languorous as both Fergus and Dil come to grips with, um, issues. I was left marveling at the mess into which Fergus had gotten himself. The conclusion seemed positively anticlimactic, although justice was served and dues paid all around.

Rea is effective as Fergus, though his perpetually sad, hangdog look wouldn't garner him the Charming Boyo of the Year award. The film's best acting job is by Davidson as the emotionally tormented Dil, and an Oscar should have arguably been won for that performance.

If one believes that life is a comedy, then THE CRYING GAME is surely dark humor, though I suspect the film's makers didn't intend it to be. I guess it depends on one's sense of irony. The pleasure of the viewing experience is ultimately in traveling down paths completely hidden during the first thirty minutes of screen time. THE CRYING GAME will leave you muttering to yourself after you've left the theater.

Twist and turns and more twists and turns
The movie starts with Forest Whitaker (playing an English soldier with an accent that does not suit him) gets kidnapped by the IRA. You think the movie will be about the kipnapper and him bonding. It ends earlier however and the kidnapper has to flee to England. FW has asked him to take care of his 'girlfriend' which he does. There he finds out the real secret...

It's a great movie with many great twists in the plot. It's a little slow at times but beware of all the changes in the storyline. There might be some things you did not expect...

Five-star movie on a one-start DVD
No reason to repeat what others have said -- this movie is on my top-ten list.

But whoever did the DVD should be tied to a chair and forced to watch it. Bad focus, shimmers, and several times the sound disappears. It's the worst presentation of a movie on DVD I've seen (apart from a Dennis Hopper flick I got from the $4 bin at the grocery store). I suspect this is a result of the (bad) decision to cram both widescreen and TV versions on the same side of the disk.

This is a brilliant movie, and it deserves better.

not great
i liked this moviebecause it did have originality but the movie went by very slow. that's the only flaw. ... Read more

Reviews (11)

Uneven Avant-Garde Production
This low budget movie retains Shakespeare's language and some startling as well as disturbing interpretations of his play. Prospero's cave is a gothic mansion. Ariel is a deadpan, rather grim butler ala Joel Grey in Cabaret. Caliban resembles an escaped lunatic complete with maniacal laughter. Nevertheless all the characters despite their departure from more traditional depictions are well acted and worth watching. Miranda in particular has more brains and pluck in this production than the simpering waif she is often portrayed to be. The play drags on where Jarmon cut a lot of the poetry in favor of more scenes of the characters traipsing about the mansion. Such scenes become monotonous about halfway through the movie. Film is unrated but contains several scenes of full frontal nudity as well as a particularly disturbing vision of an adult Caliban suckling a nude, obese Sycorax. As a teacher of English, seleced scenes were worth showing to my ninth grade class but the film was too monotonous, and contained too much perversity to show in its entirety.

captivating imagery, mediocre acting
Seeing Shakespeare adapted to film always thrills me, as long as the scriptwriter preserves Shakespeare's unmatchable linguistic phrasing. Jarman does preserve Shakespeare's words, though not always their order or their speaker. I have no problem granting liberal artistic license to most literary adaptations but, since Shakespeare leaves so few guidelines in the form of stage directions I have some trouble understanding why his adaptors wouldn't want to stick faithfully to Shakespeare's conception of his plays, which allows for so much individual interpretation as it stands. Jarman makes some cuts that I don't understand, such as that of the very funny scene in which Trinulco drunkenly mistakes Stephano and Caliban huddled together as a two-headed monster, and some cuts of which I approve, such as that of the nearly unintelligable "wedding" scene. He also elongates and adds emphasis to the scene in which Stephano, Caliban, and Trinulco steal from Prospero, which I think adds his signature to the film more than any other scene in its homoerotic interpretation of acting. The most enjoyable of Jarman's interpretations, I found to be his visual representation of Prospero's magic with a beautiful and captivating array of white candles, mystical crystals, and white chalk scribblings of strange symbols and geometric patterns. The acting is overall rather mediocre, as most of the actors speak every line with weighty ponderance, as if all of Shakespeare is meant to be taken in stiff seriousness. The only truly convincing performance is that of Alonso, King of Naples, who talks of the son he presumes dead with heavy sadness but of sleeping with a tone that conveys the mundanity of such lines. Ferdinand, however, seems equally distant and dejected when he speaks of Prospero's cruelty and of Miranda's beauty. Overall, this is well worth watching for fans of the Bard or of Jarman's cinematic style.

Art for art's sake
Derek Jarman's vision of The Tempest is a strange but artistic one. Although at times it can be too weird to really take seriously, Jarman's film deserves to be seen by those who love Shakespeare and those who love movies. In The Tempest, Jarman combines elements of traditional Shakespeare, Stanley Kubrick, and the Rocky Horror Picture Show to create an extraordinary vision of the classic play. Baz Luhrmann owes a lot to this movie for his adaptation of Romeo and Juliet, as evidenced by the combination of genres, the bizarre imagery, and especially Elisabeth Welch's performance as a Josephine Baker-inspired chanteuse, which mirrors Desiree's incarnation as Billie Holiday in Luhrmann's film. It is worth noting that those who were not open-minded enough to appreciate Luhrmann's film should probably not see this one.

Despite all of these innovations, however, The Tempest moves too slowly to keep up with its own progressive style. The movie would have greatly benefited from being shortened by about half an hour. The one reason to sit through the tedious moments is to watch Karl Johnson, who, as a nervous Ariel, gives by far the most interesting performance.

A cozy dream for exiled dreamers
Ken Russell's designer on The Devils and Savage Messiah, the late Derek Jarman, made one of my favorite movies out of Shakespeare's most fanciful, yet most forgiving, play. Jarman makes a virtue of his tiny budget, having learned much from his former director about how to stretch one: the shadows, fireplaces, dust and antique clutter of Stoneleigh Abbey make a cozy and believable home in exile for Prospero, for whom "my library was dukedom enough," and for his fond daughter Miranda, who dances and play-acts around the vast, shabby manor like any imaginative child who hasn't known anything else, nor any reason to be ashamed of it. The mood is intimate and vespertine (in the Bjork sense); and for once, clutter is not the symptom of a lowlife or a loser, but the habit of a wistful, brilliant man absorbed in his studies and contemplation. For this alone, I recommend the film to anyone who ever felt like an innocent exile, a misunderstood artist or dreamer.

I also recommend it if you enjoy radical approaches to Shakespeare. Jarman's vision succeeds nearly everywhere, aided by superb casting. Hippie-hairy Heathcote Williams and the pleasantly zaftig Toyah Willcox are a warm and very appealing father and daughter, the ectomorphic Karl Johnson an Ariel with his own dreams to dream when not subduing resentment at his slavery to Prospero, and the bald, lisping, leering Jack Birkett nearly stealing the movie as an alarming, grotesque Caliban whose own wide-eyed pleasure in the "thousand twangling instruments" of the isle, with its "sounds and sweet airs that give delight and hurt not" is as strangely winning as his hostility and vulgarity have been repulsive. Jarman's customary homoerotic elements work well and add another dimension to the play, as he contrasts Caliban's baseness not with Ariel's loftier sensibilities but with Miranda's moral innocence; while Miranda's *sexual* innocence is contrasted with Ariel's resignation to postponing his own desires, shown when he enchants and sings over the totally naked Ferdinand but otherwise leaves him alone. Stephano and Trinculo are flamboyantly queer, donning masks and costumed frippery not, like other characters, to symbolize dissembling in a straight society, but in drunken frolic as they plot to overthrow Caliban's master. (This is how Jarman delivers what an earlier reviewer here felt was missing, the "alternative realities.") Jarman's tone of melancholy lifting culminates in musical comedy star Elisabeth Welch's rendition of "Stormy Weather". It works.

The play is heavily cut, but could have benefited from more cutting, as Caliban is not made to look in any way fishlike, but Stephano and Trinculo still talk as though he is; Prospero looks forward to going home, where "every third thought shall be my grave" even though the actor was only 38; and Miranda's exclamation "O brave new world, that has such people in it!" sounds ridiculous when referring to the underrehearsed chorus line of rather fey sailors doing a silly dance that goes on too long. Representing Prospero's servant spirits with dwarves works fine, except Jarman's technique is not skillful enough to convey the menace of their assault on Alonso, Antonio and Sebastian. Jarman's technique would fully mature in his film of Edward II.

Although it was praised by English critics, The Tempest is an obscure little foreign art film, and has not been remastered in any way. The "extras" include the original presskit text, plus three short films that look like static landscape shots in Super8mm, and are of no interest except to Jarman scholars.

Boy, Am I Sorry I Bought This !
I was hoping that this production would introduce me to Shakespeare's "Tempest." Before I bought this DVD, I wish I knew that it is filled with ..., silly giggling, needless nudity, and superficialities that fail to convey anything of Sha