Four More Years: a not-so-innocent rom-com

Four More Years: a not-so-innocent rom-com

After they first sleep together, Martin does everything he can to not let David get away. First, he makes him breakfast. Next, he drives David to his parents’ house in rural Sweden and they spend another night together. After driving David back into Stockholm the next day, Martin knows that this is as long as he can cling on; now, he must let David go back home, and hope that he comes back to him after his homosexual comedown. Fortunately for us, this is a romantic comedy, so I don’t think it spoils anything to say that’s not the end of their love story.

Stage Mother: painfully average

Stage Mother: painfully average

Sometimes bad films are so bad they become iconic: The Room (2003), Michelle Visage’s favourite Showgirls (1995) and even the nightmare-fueled Cats (2019) have become cult classics. On the other side, sometimes great films have huge success and go on to be universally acclaimed by critics and audiences alike: think Citizen Kane (1941), The Godfather (1972) and even Titanic (1997). The least memorable films sit right in the middle: never good enough to be truly great, but never bad enough to be iconically awful. Stage Mother is one of those films. [...]

Wish You: a flawed but precious rom-com

Wish You: a flawed but precious rom-com

Soft acoustic pop and passing cars lead into lingering glances across a sleeping city. Adoring fan Sang-i gazes longingly at street singer Kang In-su as he strums his way through a soppy ballad, the almost-title track “Wish For You”. Initial seeds of romance are planted within the first 2 minutes; yet, we are forced to wait with baited breath until the last 2 minutes to see whether the buds will blossom. This, of course, begs the question: how much do we really gain along the way? [...]

Dating Amber: queer solidarity at its purest

Dating Amber: queer solidarity at its purest

In 2020, it’s hard to believe that a film about a gay and a lesbian being each other’s beards (pretending to date each other so people think they’re straight) hadn’t been made. I suppose there was that one storyline on Glee… but still, here it is, finally, in full cinematic force. Of course, the main question is: does it live up to the hype? And the answer, of course, is complicated. Dating Amber (David Freyne, 2020) is a coming-of-age comedy set in oppressive 1990s Ireland. The story follows baby gay Eddie (Fionn O’Shea) and baby lesbian Amber (Lola Petticrew), and their developing friendship as they pursue a pretend relationship. [...]

But I’m a Cheerleader: hilarious parody with a heart

But I’m a Cheerleader: hilarious parody with a heart

Come one now. It’s a gay classic at this point. You’d think that a whimsical comedy about queer kids forced to attend conversion therapy camp wouldn’t work at all... but it so does. Let me tell you why. But I’m a Cheerleader (Jamie Babbit, 1999) focuses around the story of Megan (Natasha Lyone), a timid 17-year-old coming to terms with her sexuality. At an intervention, her friends and family affront her with hilariously problematic lesbian stereotypes that she seems to follow, such as “being a vegetarian” and “liking Melissa Etheridge’s music”. They decide that she should be sent to “True Directions”, a gay conversion therapy camp that imposes 1950s-style gender roles on its unwilling teenage attendees.

Love, Simon isn’t a queer film

Love, Simon isn’t a queer film

“I’m just like you, I have a perfectly normal life” says our protagonist Simon, as the camera shows him outside his large house in the suburbs getting a 4x4 for his birthday. Ah yes, it is clear from this opening shot, or even from the trailer and a quick glance at the cast, that Love, Simon is a gay film made for a cis, straight, white, middle-class audience. Or at the very least made to be palatable to The Hetties™. That doesn’t make it a bad film, but it is glaringly apparent, even in the first two minutes of the film. Then again, as (self-proportedly) the first film by a major Hollywood studio to focus on a gay teenage romance, it is a step in the white direction. I mean the right direction. Didn’t I say that? [...]

Holy Camp!: sis, it’s a wild ride

Holy Camp!: sis, it’s a wild ride

Coming into this, I think I was promised something like But I’m a Cheerleader: The Musical, in Spanish. What I got was, if you can believe this, so much more and so much wilder than that. My thoughts throughout were, to quote lovely fifth alternate Alyssa Edwards, 'what the fuck is going on in here on this day?' Avoiding any major spoilers, I will try to explain ー though I’m not sure to what extent that will be possible.

Handsome Devil: beautifully vulnerable in its sensitivity

Handsome Devil: beautifully vulnerable in its sensitivity

If the success of Fleabag is anything to go by, Andrew Scott playing sexy Irish anything is guaranteed to be a hit. Before he was a sexy Irish priest in that hit TV show (that’s hit TV show, Nina), he was a sexy, Irish and even on-the-cusp-of-homoerotic teacher in Handsome Devil. Top Tip: Try not to get distracted by Andrew Scott’s beauty. Or his seductive Irish accent. Or his brooding eyes. What were we talking about?

Naomi and Ely’s No Kiss List: mostly inoffensive with a heavy dose of charm

Naomi and Ely’s No Kiss List: mostly inoffensive with a heavy dose of charm

Two minutes in and it's already an assault on the senses: from scribbled scrapbookish title sequences, to waivering cameras, via both voiceovers and on-screen dialogue. Sis, it's a lot. We get the film's eponymous best friends: gay boy Ely and straight girl Naomi (a classic combo, let's be real). A supposed central plot point is introduced: their 'no kiss list': a collection of boys they both fancy and are thus off limits' And there begins a visual introduction to the world we'll be living in for the next hour and a half: two perfectly quirky (and conveniently adjacent) young adult bedrooms in the heart of an idealised and colourful New York City. Okay, yes, it's a lot for eyes and ears to deal with, but at least we can say for certain that the scene is set. [...]