Manu Chao and Radio Bemba Sound System

MUSIC CONCERT Que paso, que paso? (In case you don’t know, you have to scream real loud when you sing that.) Try again: QUE PASO, QUE PASO?
That’s how it’s done with singer-guitarist Manu Chao and his Radio Bemba Sound System band, who rocked the house at the Electric Factory in Philadelphia tonight. When the six man group took the stage, the drummer, bassist and lead guitarist were shirtless anticipating the workout they would get from their jumping, bouncing and high-energy music cranked out during the non-stop 2 ½ hour show. The audience who had no problem invading others’ personal space mirrored the intense motion on stage throughout the night.
Manu Chao is huge in Europe and Latin America so I was excited to hear he was touring around the US and a little surprised at the full house. Most of the songs, sung in Spanish, French and English, came from his two solo albums, 1998’s Clandestino and my favorite, 2001's Proxima stación: Esperanza (translates to "next station: Hope"), with none from his forthcoming third solo disc, La Radiolina, due in September. While Clandestino has a moderate reggae-influenced tempo and Proxima stación: Esperanza features a heavier Caribbean influence, the live versions of the songs are fierce fever-pitched salsa-flavored rock.
A lot of Chao’s music is political so it resonated whenever he sang the lyrics: "que hora son en Washington?" from "Me Gustas Tu." Many songs blend into one another and included "Mr. Bobby," "Clandestino," "Desaparecido," "Bongo Bong," "La Primavera," and the party anthem "Welcome to Tijuana" (tequila, sex or marijuana?) There was no stopping Chao and Radio Bemba as the audience cheered them back for what seemed like five or six encores.
If you appreciate world music and want to experience Manu Chao but can’t get to a live concert, pick up the Babylonia en Guagua DVD so you won’t have to ask "que paso?"

Preview the new song "Rainin in Paradize," available for download at the official website: http://www.manuchao.net/

Evening

FLICK "It is the evening of the day; I sit and watch the children play…" When these lyrics are sung by The Rolling Stones or Marianne Faithfull, there is a mood created and you feel the sentiment. Though the theme is the same, it’s too bad the movie Evening doesn’t deliver as much emotion in about 117 minutes as the song does in three.
The amazing Vanessa Redgrave plays Ann who is on her deathbed, deliriously daydreaming of her youth and asking for Harris. When her daughters Nina (Toni Collette) and Constance (Redgrave’s own daughter, Natasha Richardson) ask who Harris is, she tells them he was her first mistake. With our curiosity piqued as to why he’s still lingering in her reverie, we’re now set up to return to the past and follow Ann (Claire Danes) as a young woman. It all takes place one weekend at a gorgeous seaside home for the wedding of her close friend Lila (Mamie Gummer, daughter of Meryl Streep who plays Lila as an adult). Ann shows up with Lila’s self-destructive brother, Buddy (Hugh Dancy), and consoles the doubting bride-to-be, but since Harris (Patrick Wilson) is the catch of the day, he creates conflicts for this group of friends.
The story in the past becomes the focus of the film but it isn’t sturdy enough to create the poignancy it should while connecting to the present. Young Ann’s failed singing career is meant to mirror Nina’s failed dancing career, and the confusion of love and passion for Harris may inadvertently relate to Nina’s commitment issues.
The problems don’t lie so much with the detailed direction by former cinematographer Lajos Koltai as with the screenplay by Susan Minot, adapting her own novel, and Pulitzer Prize-winning author Michael Cunningham ("The Hours"), which never reaches the heights of the brightly shining stellar cast. Dancy and Gummer give solid performances and both Streep and Glenn Close are flawless in minor roles. Wilson capably plays the leading man and easily lays on the charm while his character ends up "the mistake." And Danes is likeable though lacking an intensity and warmth that would connect her more closely to Redgrave who conveys an appropriately distanced glance that captivates as it transports you back to Harrisland. The lightweight and conflicting message –that there are no mistakes – may make you want to forget this journey and just go back into the past too – about 117 minutes. My Score 6 out of 10.

TOP CHEF – Family Favorites

TELEVISION Are we getting to know the 13 remaining "cheftestants" yet? The stronger personalities are getting air time, and a few more, like Lia, Casey and Camille, are beginning to pop their heads up to provide interesting commentary.
Going right to the Quickfire Challenge, Padma introduced guest judge Chef Alfred Portale of the Gotham Bar and Grill and a James Beard Award-winner. The competitors were to catch exotic shellfish, like conch, crawfish and scallops, from a large tank using a small net. It’s a testament to their quick wits, as they executed an idea while shucking, cleaning and deveining their ingredients within 30 minutes.
Speedy Hung’s scooping technique was fast and finesse-less and seemed to make everyone nervous. He didn’t score any points when he left a dropped crawfish on the floor. Guess he’s used to having a busboy or dishwasher pick up after him.
Tre’s poached shellfish with summer corn and grilled leek compote floundered with the judges, as did Camille’s tea-infused flavors, which were too intense for the small delicacies. And Micah, whose conch salad had little conch served a "Sky Juice" that was apparently a tricky item that wasn’t magical. Chef Alfred told Hung he has big croutons, which Hung dismissed saying the chef didn’t understand the concept. I would love to have heard the others’ reactions when he said their cooking with white wine was simple but that his monkey could do it.
CJ’s pan roasted fruits de mer had well-integrated flavors and won him a top spot. Howie, whose ceviche was tasty though an obvious choice, was happy to have had an honorable mention. But last week’s winner, Brian, did it again with his "3 Rivers," a combination of raw (oysters mignonette) and cooked (mixed shellfish with lemon, wine garlic and shallots, and conch toast). Happy with the win, he stated that this doesn’t mean it’s time to relax, but that’s sort of what he does during the Elimination Challenge.
For the EC, the chef’s had to reinvent old-fashioned classics, like fried chicken, Sloppy Joes and fish ‘n chips, with a healthy spin and lower cholesterol count. The new family favorites were served to members of an Elks Club and their children.
Hung sprung up again when he turned the oven off, leaving it to cool down as Sara M was trying to heat up her chicken. But I don’t think this caused her to be in the bottom five. Five! There were five disappointing dishes with Sara M’s chicken a la king with couscous and Micah’s layered meatloaf the least favorite with the guests and the judges. Working against these two is the fact that they grew up in Jamaica and South Africa respectively and just weren’t familiar with these American staples. CJ’s tuna casserole with whole-wheat pasta was said to be too green, grassy and mushy. Lia substituted par-cooked lentils and store bought sausage for her franks and beans, and immunity man Brian made waves using typically high-cholesterol lobster in his stuffed cabbage. He was also urged to get out of his comfort zone and try a few meat dishes. In the end it was Micah who had too many inconsistencies and was asked to pack her knives and go.
Dale’s take on chicken and dumplings was enough to get him into the top two. It was questionable whether using the precooked rotisserie chicken and boxed potato flakes were going to cut the mustard, but the judges bought it. (I think he just smiled at them a few extra times!) It was Howie who wowed them with his tender pork, substituting fennel slaw with ginger reduction for the accompanying applesauce. As this week’s winner, he also won some books from Chef Alfred plus was invited to spend time at his restaurant. Nice comeback, Howie!
Howie was a double winner as he also won the text message poll against Joey as the better chef, with 88% of the votes.
I’m always looking forward to the next episode but I’ll have to stop watching the previews as they always show who is standing in front of the judges during the Elimination Challenge. Editors, please leave a little suspense for the viewers. It is a competition after all and I really don’t want to know who’s going to end up a loser before the show has even begun.

Padma has some nice alternatives for the Elimination Challenge and Gail has some funny observations judging as a viewer on their blogs at BravoTV.com.

SCREENED OUT – Code-Busters/Out & Open (Part 2)

FLICK Robert Osborne and Richard Barrio have passed on a lot of insightful information when discussing the history and context of gays and lesbians in the movies during introductions and summaries on Monday and Wednesday nights this month. The struggles for gay rights issues continue but the films in this series have opened dialogue and pioneered all that we see today. TCM has done a great job with their programming and has shown that they can step up to the plate and tackle as many subjects as Hollywood has to offer. They have certainly lived up to the classic portion of their name.
On the final evening of Screened Out, the films presented are those taking advantage of the weakening Production Code and are moving toward a more open portrayal of “the love that dare not speak its name”.
Otto Preminger filmed Advise & Consent in 1962 and was instrumental in challenging the Production Code. He didn’t shy away from presenting a gay-themed storyline and the first gay bar scene. There is still some shame, blackmailing and dirty politics going around, but with powerful performances by Henry Fonda, Franchot Tone, Don Murray, Gene Tierney, and in his last performance Charles Laughton.
In the same year, challenging the Production Code continued in Walk on the Wild Side, with Barbara Stanwyck running a New Orleans bordello and having an affair with one of her "girls" (Capucine). Costarring Jane Fonda and Laurence Harvey.
Sandy Dennis and Anne Heywood are the lovers in The Fox (1968), one of the first films to be given an R rating. The third part of the love triangle in this adaptation of a D.H. Lawrence story is played by Keir Dullea as the fox who comes between them. And we’ll skip the significance of a tree and exactly where it lands.
The final film in the series is Robert Aldrich’s adaptation of Frank Marcus’ provocative and comedic play The Killing of Sister George (1968). George realizes the nurse she plays in a BBC soap opera is going to be killed off and that the female program director plans to lure away her live-in lover. This tale of London lesbians makes use of old stereotypes while also exploring new possibilities.

8pm Advise and Consent, 10:30pm Walk on the Wild Side, 12:30am The Fox, 2:30am The Killing of Sister George

PINK MARTINI – Hey Eugene!

MUSIC Having a bad day? Did traffic suck and cause you to throw a tantrum? Then sit down, pour yourself a stiff one and listen to Pink Martini’s third and latest album called Hey Eugene! It’s sure to take you to that happy place.
From the sound of the harp introducing the first track titled “Everywhere” you feel as if you’re being transported over the rainbow and you’ll agree with the lyrics “your bliss is this.” From there you’re on an international journey with a light mix of musical styles from track two’s salsa flavored “Tempo Perdido” originally recorded by Carmen Miranda to the mysterious and soothing Japanese-language track “Taya Tan.” The title song was inspired when lead vocalist China Forbes was asked for her phone number by a guy she clicked with at a party, never to hear from him again.
Expanding on themes from their wildly popular debut album, Sympathique, Pink Martini has gone from performing well-known covers (like "Qué Será Será" and "Never on Sunday") to taking fresh variations on familiar tunes, recording mostly original songs in a variety of languages, like Spanish, French, Italian, Japanese, and English as they did with their fabulous follow-up Hang on Little Tomato. Hey Eugene! goes even further, combining many global pop genres, with PM describing themselves as using melodies from the “golden-era Hollywood… to the French cabaret”.
China Forbes is like a mixologist, deliciously pouring out vocals for the 12-piece ensemble, led by pianist Thomas Lauderdale, to create an appetizing mood that will accompany the cocktail of your choice and swirl you into a stress-free zone.

Live performance of “Hey Eugene!” http://www.youtube.com/watch?v=9vf4X6WKPtk

SCREENED OUT – Code-Busters/Out & Open (Part 1)

FLICK Tonight Turner Classic Movies presents night seven of eight of its series focusing on gay images in film and my personal favorite lineup. Before pointing out some of the films’ deficiencies, it should be noted that there is a lot of distinguished talent involved in tonight’s selections that, in addition to the context of film history, make for worthwhile viewing.
In the late 1950s, the domination of the Motion Picture Production Code was waning as writers and directors began to challenge limitations and explore restrictive subjects. There is still a lot of self-hatred going on in these films, but they are transitioning toward openness and breaking down the closet door, despite some negative images. Three of the films are adaptations of Broadway plays but only the first two have altered endings required by the Production Code as well as the Catholic Legion of Decency.
In Vincent Minnelli’s Tea and Sympathy (1956), John Kerr recreates his stage role as a teenager cast as an outsider and harassed by schoolmates for being a sissy. What’s really going on is the fear of accusations, and assumptions being made just because Tom (Kerr) doesn’t want to play football and prefers the company of the coach’s wife (Deborah Kerr). The explicit change of the ending from the stage version offers the love of a good woman as a solution to the "problem", but because she commits adultery, she must suffer too.
Audrey Hepburn and Shirley MacLaine star in the 1962 film version of Lillian Hellman’s The Children’s Hour, about two women running a girl’s school. Accusations of lesbianism by a lying student create an awakening within Martha (MacLaine) realizing that she really has been in love with Karen (Hepburn). The discovery ultimately destroys more than their friendship. Originally directed by William Wyler in 1936 with many alterations under the title These Three, he decided to re-film it, bringing back many of the central themes and the original title.
The Motion Picture Production Code dismantled in 1968 allowing more frankness and exposition of gay-themed films, but perhaps taking baby steps away from the safety of the closet. Reinforcing stereotypes became problematic, particularly in Staircase (1969), starring Richard Burton and Rex Harrison as a pair of bitchy hairstylists.
Another adaptation battling stereotypes is Mart Crowley’s infamous and landmark play The Boys in the Band (1970). On the brink of the gay right’s movement, the action takes place in one evening at a birthday party where the guests vary from self-assured to acid-tongued self-loathing types, including a hunky cowboy as a birthday present. Starring the original theater cast, there are many thought-provoking moments intertwined with witty ones.
Ending the night is Victim, the 1961 British thriller starring Dirk Bogarde as a lawyer confronting blackmailers who pushed a past love to suicide. Of the films screened tonight, Victim exposes oppression and is the one that most urges tolerance and understanding by presenting the dangers of hiding one’s true self plus giving us a character that dares to choose visibility.

8pm Tea and Sympathy; 10:15 pm The Children’s Hour; 12:15 am Staircase; 2:15 am; The Boys in the Band; 4:30am Victim

ERASURE – Light at the End of the World

MUSIC Whoa OH Oh oh…Erasure has a mix of new songs that may be reminiscent of some of their older songs, which is not necessarily a bad thing. The new CD is being heavily debated on the message boards, but it’s sure to please long time fans as well as anyone looking to get their groove on. Andy Bell and Vince Clarke have kicked things back up from their last venture, the unplugged Union Street and The Road to Nashville, and get the electronic party started.
The boyz burst out of the gate with the first track, "Sunday Girl," showing they’re not slowing down for anyone, singing "we can dance till Sunday morning girl." I’m going to do my best to refrain from comparing the new songs to the old ones I’m reminded of, so I’ll dare you to try and stay seated while listening to this – especially during the Chorus.
Whoa OH Oh oh…The party is still going strong on the second track "I Could Fall in Love with You", which was the first single from Light at the End of the World. It has a rolling, thumping beat to accompany Andy belting out the title followed by the line "there are times when I would scream till I was blue." I would never say Andy screams but he definitely puts it out there.
Though the tune has a travelling rhythm, the subject in "Storm in a Teacup" deals with the alcoholism of Andy’s mother. It creates strong images and reminds me of Bronski Beat’s "Smalltown Boy" in that instead of leaving "in the morning with everything you own in a little black case," Andy is stealing "away like a thief in the night." This song and the syncopated "Darlene" create sentiments that should appeal to the Innocents. And any Cowboy would love the light and mid-tempo "Golden Heart."
Whoa OH Oh oh…"How My Eyes Adore You" – and my ears are overjoyed as LATEOTW sounds better with each successive play. (I can't get the Whoa oh's from this song out of my head!) Overall, it’s partytime – the music gets your body moving and the lyrics will make you want to sing out. Anyone new to the Circus of Erasure should get ready to join in the festivities and get Wild!

The Erasure Information website has lots of fun stuff, currently including a contest where you can download instrument & vocal loops for the song "When A Lover Leaves You" to create your own remix. If picked, it will be an official release. http://www.erasureinfo.com/garageband/

Red Without Blue

FLICK Mark and Alex, identical twins born three minutes apart, share a special bond that only twins can experience. But can that change when they are separated and no longer look alike? Identity is examined in this thoughtful documentary, shot over three years, about two gay brothers growing up in Montana who end up living on different coasts. Initially they are pictured as happy boys, but it’s telling when their father, Scott, points to a family portrait saying that everyone was miserable the day it was taken. Things begin to change for Mark and Alex when their parents divorce and they struggle with ridicule from friends and teachers about their sexuality. Discovered drug use and a failed suicide attempt cause the boys to separate, and end up living at different boarding schools.
As an adult Mark, expresses himself by attending classes at the San Francisco Art Institute. He marvels at a sculpture assignment with the subject blue, which happens to be the color given to Alex as a boy. Mark was assigned red. Alex, now living in New York studying sociology and psychology, is transgendered and has changed her name to Clair.
Directors Brooke Sebold, Benita Sills, and Todd Sills are very effective depicting insightful moments, as when the boys’ mother, Jennie, goes through many complex emotions stating that she saw herself a failure as a wife and mother. She feels Clair’s transitioning is a way to get back at her and sees her children simply as young people she knows.
While the siblings have been apart for almost eight years, their bond is unbreakable. Having no experience in a long-term dating relationship, Mark worries when he begins one with David and has to be told that it won’t lessen what he feels for Clair. While gender reassignment surgery is a possibility, Clair considers the meaning of visibility. One wonders if that is what Mark does while his face is concealed wearing a beard.
Compassionate and multi-faceted, the film focuses on self-examination and reconnection, revealing a family’s transformation, adaptability and evolution. Audience Award winner for Best Documentary at 2007 Slamdance Film Festival. My Score: 8 out of 10.

Official site: http://www.redwithoutblue.com/

The film has played the festival circuit and is premiering on Sundance Channel this Monday, June 25, at 9pm.

TOP CHEF – Sunny Delights

TELEVISION The show got off to a swift start, first showing everyone rising up with the sun, Micah wanting to spend more time to stay in bed, and then whisking off to meet Padma and guest judge Chef Norman Van Aken for the Quickfire Challenge. The competing chefs had 30 minutes to incorporate Florida citrus fruits, like blood oranges, tangelos, key limes, grapefruits and Meyer lemons into their dishes. If they looked like chickens running around with their heads cut off it was due to the fact that all 14 were in the kitchen together at once.
At the bottom of the QFC, Sandee’s key lime mojito and pink grapefruit brulée thingy didn’t wow Chef Norman, who complained he had to pull out the flower out from the dish. Sara N flubbed when she couldn’t come up with a name for her blood orange and tangelo shrimp salad, which the judges called unfocused. Micah’s spicy avocado and red grapefruit soup became thick as pudding (yuck) and was told it was unremarkable.
Tre made it into the QFC top three and CJ’s sea perch with carrots, radicchio, oranges and hazelnuts looked yummy but seeds were found in it which may have cost him. It was Hung who won immunity with his slow roasted sea bass with blood orange and tangerine sauce. Hung has a lot of self-confidence and had earlier predicted his win, smiling all the way to the finish line.
Onto the gourmet barbecue Elimination Challenge where 6'8" CJ wished he was 5’3" to be closer to the grill and Sara N lit charcoal for the first time. Hung wasn’t buying Micah’s grumpiness at missing her daughter, saying she was down because of her low show in the QFC. During the preparations, Joey slings a crude remark to Hung about stealing his idea for serving watermelon and berry champagne. This is a drink anyone could have served and I don’t think Hung was out of line. Joey also mentioned after the QFC that he was pissed off because he wasn’t selected. This guy has a bit of an attitude problem, and it comes back to bite him.
At the judge’s table, Sara N and Micah make a nice recovery from the QFC to be in the top three, even though Sara N had left the Scotch Bonnet peppers for her Vietnamese BBQ in the sauce overnight. Since they were hot enough to burn her hands, wouldn’t the sauce have been too hot to eat? But it was Brian who had the winning Chino Latino dish that I would like to have tasted – Scallops, Shrimp & Sea bass Sausage with Ginger Slaw & Chili Glaze.
Tom was very complimentary tonight, saying that no one was particularly terrible, but earlier he did compare Sandee’s Vanilla Poached Lobster to putting lipstick on a pig. (Huh?) Tre, Howie and Joey joined Sandee in the bottom four. I didn’t understand how Padma and Tre thought his peach salmon was salty while Tom, Norman and Gail thought it was without flavor. In front of the judges, Joey recommended that Howie go home without having tasted his Jamaican Jerk Pork; then while waiting for the final decision, they verbally slam each other about not being a man. Their confrontations won’t last much longer as both will be out soon enough and crying like babies.
In the end, the remaining 13 were surprised that Sandee’s dish, though upscale, didn’t meet the grilling criteria and was asked to pack her knives and go. I’ll miss her sunny disposition and Mohawk, but perhaps Dale’s will make a flaming substitution.

Check the Bravo site for videos and more info on the “cheftestants.”

http://www.bravotv.com/Top_Chef/index.php

Ocean's Thirteen

FLICK Have you ever wanted to break the house in Las Vegas? That’s literally what’s going on in Ocean’s Thirteen. All of the familiar faces are back attempting to simulate an earthquake, trying to pull one over on casino owner Willy Bank (Al Pacino) for pulling one over on Reuben (Elliott Gould). Think the 13 guys are lucky enough to do it? Well, that’s not the real reason to see O13. There’s very little suspense and you know George Clooney and crew are going to get what they want in the end. So the reason for going to see this stellar ensemble must be to watch the mugs of Clooney and Brad Pitt – it certainly isn’t for the acting. In fact, the only ones really working hard for the money seem to be Ellen Barkin, as Willy’s assistant Abigail who has to shift gears a few times and looks great while doing it, and a jocular Carl Reiner. Pacino is also having fun but this really isn’t new territory for him. Don Cheadle works his British accent again, Matt Damon tries out a “Midi”-Me look in the final act, and Bernie Mac could crack me up reading a McMenu.
O13 is at least more likeable than the lackluster O12, and director Steven Soderbergh doesn’t really bother letting us know the details of the setup or wasting time with dialogue – and it doesn’t matter. We know the boys are going to wreak havoc on the opening night of the casino and get a shit-load of diamonds, and we go along for the fun never knowing exactly how it’s going to happen until it happens. Soderbergh nonetheless keeps the action moving, gives us enough stylishly different camera angles to accommodate anyone with ADD and has a playful time doing it.
If you’ve ever watched an episode of the BBC show “Hustle”, which airs on American Movie Classics, you’ll know that the five featured scam-artists, lead by Adrian Lester and Robert Vaughn, pay off with higher interest and in weekly installments. (2007) My Score: 6.5 out of 10.

PGLTF

THEATER If you want to see out loud and proud live theater, then get up-close and personal with the queer performances at the Philadelphia Gay & Lesbian Theater Festival, celebrating five years with a bang! Productions in the past have never been disappointing. I’m particularly interested in Tim Miller’s “Us” and hope to check out as many as I can before the end of the month. The festival is happening right now through June 30.

Us, written and acted by well-known performance artist Tim Miller, looks to be a social commentary on homophobia presented with fierce and funny childhood memories of Broadway musical numbers. Two nights only! June 24 and 25 at 7pm. Check out Tim's blog: http://timmillerperfomer.blogspot.com/
Heart & Music: An Evening with William Finn features a five-member cast performing songs from Falsettos, A New Brain and The 25th Annual Putnam County Spelling Bee written by three-time Tony-award winning composer William Finn.
The Importance of Being Earnest looks to be an anything-goes re-imagining of Oscar Wilde’s witty play with absurd characters and outrageous situations.
Iron Kisses by James Still provides a “heartfelt, contemporary look at the changing relationships between parents and children and the emotional ties that hold them together.”
Theater District by Richard Kramer, a moving play examining coming out, self acceptance, and love.
Staged Reading of Gay & Lesbian Grimms Gay Grimms, a new musical by Dan Martin (music), Michael Biello (lyrics), and Ted Sod (book) tells the story of Jackie and Leon, the Cousins Grimm, adapting their ancestors’ beloved stories and adding a queer sensibility to them. 6/23 at 8pm - One Night Only!

For information on times and locations:
http://www.philagaylesbiantheatrefest.org/

To purchase tickets, contact the Festival Box Office at the Arden Theatre: 215.922.1122
All other inquiries: 215.627.6483

The Sum of Us

FLICK Fathers and sons don’t get much closer than Harry and Jeff, who share a home, bicker amiably over household chores and toast each other’s dating successes. High-spirited Harry (Jack Thompson) is widowed and very accepting of his handsome gay son Jeff (Russell Crowe). His overly supportive nature toward Jeff finding Mr. Right can sometimes become embarrassing, but stems from his own mother having been in a long term relationship with another woman. Harry and Jeff’s relationship is sharply contrasted when Jeff dates a gardener who is thrown off by their openness, having to remain closeted with his own parents. But Harry loves Jeff, wants to see him happy and it makes no dif.
With their engagingly witty banter, Thompson and Crowe draw us even closer to them as they occasionally share their thoughts directly into the camera. When tragedy strikes there is still hope as this gimmick continues to work, not only because it serves to relieve the tension and sorrow we feel, but we remain connected and rejoice in a continued optimistic essence.
The Sum of Us is adapted from David Stevens’ Off-Broadway play, which exposes homophobia with a lightness that is never preachy. Many scenes look as if they were recreated from the stage, which could be distancing on film but is easily overlooked due to the overwhelming charm of the two leads.
This heartfelt romantic comedy never makes compromises, and its believability is infused with many positive and uplifting moments. Thompson has never been better and his unconditional love is easily returned by the other characters as well as the audience. Crowe does a terrific job displaying his lighter side, but none so convincing as when he says "I like doing it with blokes..." Australia, 1994. My Score: 9 out of 10.

Family Law

FLICK When boys grow up to be like their fathers, is it hereditary or because it’s something they want to do? Family Law (AKA Derecho de Familia) is a witty portrait of a son who avoids being like his father until he then becomes a father reevaluating his own life and how he will raise his son.
Perelman (Daniel Hendler) is a lawyer who also teaches at the university but has avoided working side by side with his father Perelman Sr. (Arturo Goetz), where there is a place for him. In a lengthy voice-over, Perelman describes how he went to work with his father as a boy and witnessed a daily routine not easily followed. Perelman Sr. knows the birthdays of every client and the workers within the Argentine Jewish community, unlike his son who shows up for lunch and doesn’t remember that it’s his father’s birthday. At the university, the lessons Perelman teaches in his class mirror the lessons he’s about to learn in his life. One of his pupils, Sandra (Julieta Diaz), will become his wife and mother of his son but not until he takes a Pilates class from her and wins a legal problem for her never mentioning that it was with the help of his father.
Hendler is perfect at playing the dualities of Perelman, appearing successful yet under-achieving and subtly registering a mix of expressions from certainty (in his classes) to squinty-eyed puzzlement (with his father) and playfulness (with his son).
Director Daniel Burman lets us observe the characters in their daily routines making his point in understated moments like Perelman going to bed in his suit or creating distance by avoiding mentioning not going to work for a month. The film is more character-driven than plot-driven in order to place significance on contrasting identities of parent and child. Both Perelmans are never addressed by first name, creating a unity and closer familial bond, which may not be apparent to the younger Perelman but in the end, it’s like father like son. My Score: 8.5 out of 10.

TRUE COLORS Concert Tour

MUSIC It seemed like an unusual spot to hold a concert to support human rights issues, but last night at the Borgata casino in Atlantic City, NJ, the True Colors tour shone brightly with a five-act line-up that rivaled the spectrum of the rainbow. For the unfamiliar, the True Colors concert tour is a 16 city nationwide tour supporting gay, lesbian, bisexual and transgender equality and is presented by the Human Rights Campaign and queer TV station Logo.
Margaret Cho was the divine diva who introduced the acts and appealed to the enthusiastic crowd when using her spicy humor for fun as well as to rip into classic homophobes like the (thankfully) recently deceased Jerry Falwell. Margaret is very observant not only when pointing out inequalities but also when telling the mostly gay crowd how they love their digital cameras. Cue flashes. And she looked fabulous in a multi-colored dress, not only accenting the theme of the show but also showing off a beautiful arm-length tattoo.
First up was The Gossip, featuring the lovely and large Beth Ditto with a voice to match and more energy than anyone at the local gym. If you aren’t familiar with this band, keep them on your radar as they are wicked when mixing feminist and gay issues with hard rock. Mesmerizing alt-punk duo The Dresden Dolls (singer/pianist Amanda Palmer and drummer Brian Viglione) added visual flavor to their eclectic sounding set that included my favorites "Coin-Operated Boy" and "Shores of California." What I’d like to know is whoever knew mime makeup could be sexy? Check out their impressive videos for these songs at YouTube.
Stage presence doesn’t come much stronger than Deborah Harry, who is quite commanding while gliding through songs from her upcoming album while still pulling off wearing a short skirt. Erasure kicked up the atmosphere with their synth-pop sound playing a solid mix of new hits and old favorites. Songs like "Sunday Girl" and "I Could Fall in Love with You" from their recent CD Light at the End of the World easily mixed with standards like "Blue Savannah," "Sometimes" and "Oh L’Amour." But the true headliner was Cyndi Lauper, who totally rocked. Her sincerity comes through either when speaking about wearing Erase Hate wristbands or singing songs like "She Bop," " Drove All Night," or Prince’s "When You Were Mine." With few interstitial videos keeping with the equal rights theme of the evening, Lauper punctuated their message by telling the crowd to contact their congressmen, stressing the importance of passing the Matthew Shepherd Hate Crimes Bill.
The big encore number of course is Lauper’s song "True Colors" bringing mostly everyone back on stage and Erasure’s Andy Bell sharing the lead vocals. With powerhouse performances and its heart in the right place, the evening embodied how your true colors are beautiful like a rainbow…

• For more info on True Colors Tour: http://www.truecolorstour.com/main.html
  
• Sign the 'Erase Hate' Petition
  http://www.matthewshepard.org/site/PageServer
  
• Select video: Erasure acoustic version of "Sunday Girl"
  http://www.youtube.com/watch?v=coHteu-bBF0&mode=related&search=

Adventures of Priscilla, Queen of the Desert

FLICK The biggest queen in the Outback isn’t a woman with a tiara or a man in high heels but a dilapidated pink bus christened Priscilla, and carrying three cross-dressing entertainers lip-syncing to disco and pop tunes.
The marvelous 1994 camp classic, The Adventures of Priscilla, Queen of the Desert, features three strong performances by Hugo Weaving, Guy Pearce and Terence Stamp, who shine as brightly as their sequins.
When Mitzi (Weaving) books a show at a resort in the middle of the desert, she enlists the help of her insult flinging friends Bernadette (Stamp) and Felicia (Pearce), not only to perform, but to be traveling companions – leaving Sidney behind and inadvertently learning some life lessons along the way. No matter how much they dress up, the movie finds a way to uncover their identities inside. Another familiar Australian actor, Bill Hunter (Muriel’s Wedding, Strictly Ballroom) carries his weight in a supporting role against the three dishing divas.
The presentation of the musical numbers, with songs like "Finally," "Shake Your Groove Thing," and "I Will Survive," is not only hilariously captivating but also unique with facial expressions bursting through glittered eye shadow. Talk about your extreme makeover, mamma mia! Couple that with colorful and dazzling Oscar-winning costumes, made with materials bought with a 15% discount at K-Mart (which might explain the flip-flop frock) and you have something that could knock me over with a feather boa.
The film, now released on DVD in an Extra Frills Edition, includes sparkling features like deleted scenes, outtakes, photo gallery, a director’s commentary, and a 30-minute documentary titled "Birth of a Queen."
With many high points, Priscilla also has a few sentimental moments and an emotional heart, which is certainly never a drag! My Score: 9 out of 10.

TOP CHEF – First Impressions

TELEVISION Outside it looks like fun in the sun but inside there is heat in the kitchen for 15 new chefs in the third season premiere of Top Chef Miami. You can only get a glimpse into the personalities of the newbies from early episodes so check out their profiles at the link to the Bravo website below for more info on them. The first place we see the new contestants is at the beautiful Casa Casuarina, the former home of Gianni Versace. It appears to be a nice social gathering until Padma and Tom announce that the first Quickfire Challenge is to make an amuse bouche from the array of appetizers they’ve been tasting. Many of the concoctions created looked scrumptious, with Micah the first to win and gaining immunity, serving Tuscan sushi with figs and balsamic dressing. Things didn’t look good for Clay, Dale and Tre, who were at the bottom of the QFC. Mississippi boy Clay gave early indications that he would have an uphill climb when he presented his unappealing fruit gazpacho that was more of a first course than a palate tickler.
Exotic surf & turf was on the menu for the Protein Elimination Challenge, requiring the TC wannabes to use items like rattle snake, buffalo rib eye, whole black chicken, razor clams, geoduck (pronounced gooey duck, which didn’t look very gooey) and alligator tail. This is one time where I certainly would not liked to have been a tasting judge. It was nice to see chef-author-world traveler Anthony Bourdain return as the guest judge, who I’m sure will eat anything. (And regarding the text message voting as to whether Chef Anthony or Chef Tom is the harder judge, I think Anthony won not so much because he’s harder than Tom, but that he just doesn’t censor what comes out of his mouth.)
Some of the dishes created included spider crab jambalaya, wild boar chops, frog leg lollipops, ostriche tartare and goeduck ceviche. Hung and Tre impressed the judges most, with Tre bouncing back nicely from the blundering QFC, dishing up his ostriche fillet and abalone to win the challenge plus a set of books from Bourdain.
The bottom four included Brian, who was told his eel and snake dish was like eating bar food. Ouch! Howie, who didn’t complete plating his dish because of the clock (couldn’t he have just thrown the frogs legs on the dish?) cracked me up with his response on the time issue. When Bourdain asked “What’s your major malfunction,” Howie referenced one of his books and said Ecuadorian line cooks give it to you when it’s done. Way to do your homework! Reappearing from the QFC disaster were Dale, who served tough alligator tail and Clay, who was told his scorpion fish was inedible, had fundamental problems and ended up packing his knives and leaving.

Overall, the season three group looks very strong. It’s hard to tell who early favorites would be at this stage of the game, but keep your eyes on CJ (Chris), Tre, Sandee, Micah, and Hung. I’m glad to hear that CJ has survived testicular cancer, and standing at a cool 6’8” should give him a bird’s eye view on what the competition is slinging.

Top Chef cast: http://www.bravotv.com/Top_Chef/cast/index.php

SCREENED OUT – The Dark Side: Film Noir & Crime

FLICK Turner Classic Movies is continuing with night four of its Screened Out programming celebrating gay pride month. Tonight’s spotlight is on film noir and crime drama. The five films come from the period between 1941 and 1967, a time when gays and lesbians were pretty much pushed into the closet. The Hays Code set industry guidelines on what was morally acceptable between the years 1934 and 1967, so the gay characters presented tonight are mostly seen as sexual perverts. They will not have positive representations and their outcomes in the plot will usually serve to punish or kill them. But the stars in the films shine bright and are worth catching, particularly Marlon Brando, Elizabeth Taylor, Katherine Hepburn, Montgomery Clift, Rita Hayworth, and Peter Lorre.

Tonight’s films include The Big Combo (1955), Suddenly, Last Summer (1959), Reflections in a Golden Eye (1967), Gilda (1946) and The Maltese Falcon (1941).

Reflections in a Golden Eye gives us Brando playing Major Penderton, a closeted army officer married to Taylor but is more interested in a young private played by Robert Forster. Penderton is a tortured character with confused perceptions of masculinity and femininity. There is also a flaming houseboy running around, which serves as the visible embodiment Penderton thinks is hidden within himself. Scenes showing him applying make-up and committing murder are meant to show his evil side. To say he’s sexually frustrated would be an understatement.
Peter Lorre tangles with Humphrey Bogart, playing a devious criminal in The Maltese Falcon. And there is a troublesome threesome in Gilda, with Hayworth marrying gambler Glenn Ford, who keeps his sinister “buddy” George Macready nearby. Though their relationship is only hinted at, their sexual feelings for each other are unmistakable.
In Tennessee Williams’ Suddenly, Last Summer, adapted by Gore Vidal, Clift, who was actually gay, plays the neurosurgeon who tries to sort out the hidden secrets that caused the death of invisible central character, Sebastian Venable. It turns out Sebastian has replaced his aging mother (Hepburn) with his sexy cousin (Taylor) to procure young men for him. He is seen as such a fiend that he’s not even presented on screen. Vito Russo, in his groundbreaking book “The Celluloid Closet” compares Sebastian to the monster in “Frankenstein, in which the peasants pursue the monster to the top of a hill, where fire engulfs him.”

More info is available at the TCM website:
http://www.tcm.com/thismonth/article/?cid=159628&mainArticleId=159623

Original trailer for Reflections in a Golden Eye: http://www.tcm.com/mediaroom/index/?cid=102301

Breach

FLICK It’s spy vs. spy when trying uncover the greatest security breach in US intelligence history. Chris Cooper gives a gripping, multi-layered performance in this incredible true story about super-intelligent FBI double-agent Robert Hanssen who sold secrets to the Soviet Union. Ryan Phillippe is fine as Eric O’Neill the nervous mole with a quizzical look who initially knows little about his assignment while trying to gather evidence against Hanssen. Phillippe may not be as strong an actor as Cooper but the pairing proves beneficial as we misjudge Phillippe just as Hanssen fatefully did O'Neill. Nothing is as it seems as O’Neill plays against a master deceiver. As O’Neill’s superior, Laura Linney takes a moderate role and adds dimension and personality so that we have as much a sense of who she is as we do the others, with half of the screen time. Director and co-writer Billy Ray, who also directed Shattered Glass, about another real-life liar, takes a life and death situation and presents a cat-and-mouse game that is as thrilling as any bestselling novel.
What's lacking in the screenplay is information about how and why Hanssen became a US traitor. We’re told he has freaky sexual obsessions and has a strong religious devotion, but it's not enough to put it all into context. Still there is enough suspense to stay involved even though the outcome is common knowledge. Let’s hope Cooper is remembered next Oscar season for this intense portrait of Hanssen vacillating between confidence and slight paranoia. My Score: 8 out of 10.

THE SOPRANOS – Made in America

TELEVISION There was so much going on in the finale of "The Sopranos," you could write a book about it. But after doing a lot more thinking and reading and talking about that final scene, and almost everyone was buzzing about it today, here is a summary that makes sense to me. It seems that Tony would be dead. My initial thought was that he is now paranoid, always looking over his shoulder and never knowing who will shoot him as he has shot and killed others. That was the life he would have to live. But the editing tells the story. Everything in the diner is from Tony’s point of view. He sees who is coming and going and where everyone is. And just before the screen goes black, we see him – it’s our view of Tony. When the screen goes black, it’s his POV again. He sees nothing because he got whacked. It's like Bobby mentions a few episodes earlier that you probably don’t hear it when it happens. We heard nothing.
There are many suspicious people lurking around in the diner. In the credits, the anonymous man at the bar in the diner is listed only as Man in Member's Only jacket. It’s been pointed out that the African-American guys were the ones who had tried to shoot Tony in the first or second season. There was also another suspicious looking guy wearing a USA cap (who someone referred to as the truck driver with a bug in his hat).
A scene that was nerve-wracking was Meadow trying to park the car. She had a hard time fitting into the parking space because, like the car, she didn’t fit into the family. She’s going to take up criminal law and work for those who try to bring down people like her father. If there were to be a happy ending, we would have seen Meadow join the family for a nice dinner.
The reason they were at the diner instead of at home eating Carmela’s manicotti wasn’t just because she had meeting, but because they are an Americanized family, eating hamburgers and onion rings. This is also why AJ gives up his idealism of wanting to fight the war on terror, so he can have the material things that are so important to his parents. [Carmela is out of touch with her children it was funny when she makes a funny face as she walks out of Meadow’s bedroom after hearing that Hunter, who had partied a little too hard, was in her second year of med school.]
The cat has several references. It could be the ghost of Adriana, staring down Christopher, or even represent Big Pussy. In any event, the cat unnerved Paulie who sat watching as he was sunning himself at Satrialle’s.
Songs like "You Keep Me Hanging On" and "Don’t Stop Believing" are telling us to set me free, get out my life why don’t you. And Carmela is certainly just a small town girl, living in a lonely world…
In the end, "The Sopranos" is like modern day Shakespeare. The following was forwarded to me from a friend who found this on a blog, comparing the last scene to Hamlet. A duel takes place and ends with the death of Gertrude, Laertes, Claudius, and Hamlet. Shakespeare ends with the words "the rest is silence."

MY FAVORITE BROADWAY – The Tony Awards

THEATER Tonight the 61st annual Tony Awards will be broadcast from Radio City Music Hall in New York City. They haven’t been doing well in the TV ratings in recent years and I’m not sure how they will fare airing against another Tony in the series finale of The Sopranos. But there is always an excitement when watching this particular awards show, probably because the scenes of the live performances are just a taste of what happens when you see an actor on stage becoming a character for two hours. I regret having to say that this is the first year in twenty of regular New York theater going, which I have not seen any of the nominated performances. Not that I haven’t been to NYC, but I guess I’ve spent too much time in movie theaters since last fall.

In Good Company
Having said that, it still looks like an impressive season. I love live theater and a few shows I’d rush to see are "Frost/Nixon," "Grey Gardens," and "Spring Awakenings," the musical by singer/songwriter Duncan Sheik and Steven Sater. But the one at the top of my list would be the revival of Stephen Sondheim’s "Company," about a single man and his five married couple friends. This is the first show I ever saw on Broadway and it changed the way I looked at and listened to theater. It was nothing like the Rogers & Hammerstein shows I was used to. The music had a more contemporary feel and the lyrics were clever, precise and thoughtful without being overly sentimental. Sondheim is one of the best musical writers ever. One among many reasons to see this version of "Company" is for Raúl Esparza, who, I’m certain, is commanding in the lead role of Bobby. The one time I saw him perform live was playing Riff Raff in the revival of "The Rocky Horror Show." (On stage, he was fully clothed in a funky suit, but I was seated close enough to notice that when he bent over his pants were split and you could see his ass crack. I mentioned this to him when I met him outside the theater and he asked me if it was too much. I said it was perfect!) He is an amazing performer and one for whom you should keep your eyes and ears open.
I’m Just Wild About Audra
I’m totally in awe of Audra McDonald who is nominated a sixth time for a Tony (she’s won four times) in the revival of "110 in the Shade." The nominated performance Ms. McDonald didn’t win, but was certainly worthy, was for the lead in the musical "Marie Christine" based on "Medea" but set in 1890’s New Orleans. She is an incredibly versatile actress who has a soprano voice that would be well suited for opera but is perfect in Broadway musicals.
When on stage in concert, Audra combines a warm personality with a beautiful voice easily alternating from ballads and lullabies to powerfully belting out standards and show tunes. She expanded her repertoire with the recently released solo album, Build a Bridge, which includes music written by contemporary singer/songwriters like Elvis Costello, John Mayer, Neil Young, Rufus Wainwright, and Laura Nyro, among others. I once met Ms. McDonald who was quite personable and it comes across during a performance. I’ve seen her in concert several times, the most recent being when she shared the stage at the Kimmel Center’s Verizon Hall in Philadelphia with another Broadway legend, Barbara Cook. This blending of voices from two generations was thrilling and something rarely seen nowadays. After an evening of performing songs tailored to their specific styles, they concluded with a patriotic medley of "Of Thee I Sing/America the Beautiful" and "God Bless America."
If you’re a musical fan (and if you’ve read this far, you probably are) one concert available on CD and DVD that is a must-see and a must-hear is My Favorite Broadway: The Leading Ladies recorded live at Carnegie Hall. It’s one spectacular performer after another, including Bebe Neuwirth, Liza Minnelli, Linda Eder, Jennifer Holliday and Elaine Stritch. Audra McDonald appears in two numbers, a version of "Down with Love" that begins slowly and builds into a manic frenzy. Her second number is a real high point, The Webber Love Trio that includes the Andrew Lloyd Webber songs "Love Changes Everything," "Unexpected Song," and "I Don’t Know How to Love Him." Each are lovely on their own but combined in this particular arrangement creates feelings of love from blind elation to humiliation. Each of the women, Audra McDonald, Marin Mazzie and Judy Kuhn, sing one of the songs, respectively, which eventually intertwine creating a poignant mosaic and concluding with a powerful finish. Audra passionately belts out the line "Love will never let you be the same." This song will never let you be the same, and is one of the most moving recordings I’ve ever heard. Maybe ALW isn't so bad...

Tony’s:

http://www.tonyawards.com/en_US/index.html

Raúl Esparza Official website http://www.raulesparza.com/

Audra McDonald sites (non-official): http://www.nonesuch.com/Hi_Band/index_frameset2.cfm?pointer=mcdonald.gif

http://en.wikipedia.org/wiki/Audra_McDonald

Côte d’Azur

FLICK It’s a romp on the beach as directors Olivier Duscatel and Jacques Martineau (Adventures of Felix, My Life on Ice) pull out the stops and have fun in the Mediterranean sun in this hilarious screwball comedy, which never neglects the meaning of friends and family. When Marc and Béatrix take their teenage children Charly and Laura for a seaside vacation, it’s anything but relaxing as everyone has romantic secrets that escalate into mixed messages and sexual high jinks.
Complications arise for Marc (Gilbert Melki, Intimate Strangers) when he meets his gay childhood friend Didier (Jean-Marc Barr, Le Divorce), now a plumber, who gets his signals crossed and can’t let go of their past. The delightful Valeria Bruni-Tedeschi plays the open-minded mother, Béatrix, who is very supportive of her straight son that she believes is gay, and must hide her clinging lover Mathieu who unexpectedly pops up everywhere. Bruni-Tedeschi is as light, sexy and breezy here as she is intensely serious in the François Ozon film, also from 2005, 5x2. (Blink and you’ll miss her in Munich.) Melki and Bruni-Tedeschi easily anchor the shenanigans, which seems to stem from eating oysters and shellfish (alluding to the original French title Crustacés et coquillages) that create an aphrodisiac affect.
The misinterpretations and surprises surrounding everyone at the beach house are reminiscent of French farce, though no one is slamming doors. (But there is something going on with the hot and cold water in the shower!) The atmosphere is enchanting, the acting is pitch perfect, and there is even a musical number! Côte d’Azur is fun for the whole post-modern family. (2005) My Score: 8.5 out of 10.

TOP CHEF 4-Star All-Stars

TELEVISION What makes Top Chef such an exciting competition program is that there are so many things that have to come together instantly. Once you’re given your challenge, you have to blend creativity, technique, art and beauty, know-how to tastefully combine an array of flavors and do it with speed and accuracy.
I’m glad TC is back and relished the Season One Vs Season Two face-off since both teams have a lot of talent, and it didn’t disappoint. First of all, the most obvious thing to notice was Ilan’s sculpted and Elia’s white hair. Marcel still looks like Eddie Munster. This brings back memories of when they were going to scalp Marcel, and Cliff ended up getting kicked off. Speaking of Marcel, it’s still so easy to dis the little rapper wannabe. Even the Season 1 chefs were telling him to shut up when they were in the hotel room. I cracked-up when he whipped up the saffron foam for his eggs in the Quick Fire Challenge, and then winning to become the team captain. He savored beating Ilan, calling it a real smack down, but all I really wanted to do was smack him down.
Though the TC1 team ended up winning both challenges, the personalities of the TC2 chefs are much more congenial. I’d certainly like to hang out with Sam, Elia and Ilan who are much more easy-going than uptight Tiffany, snooty Stephen and bitchy Dave. Harold is sort of laid back yet a little moody. It was nice that Dave held it together and didn’t cry. And way to go Lee Anne Wong who got a job on set as a Culinary Producer. I wonder what exactly that position entails.
Tom, Padma and Gail were in good spirits with Ted Allen making a nice addition to the judging table. Having the Season 3 competitors add their two cents didn’t really do much except to give them an idea of what to strive for and to introduce them to the viewers.
Seeing the two teams side by side during the dinner challenge made it easier to compare strengths. Though many liked Dave’s smoked scallops, Elia had a great idea and won with the combo seared and uncooked scallops with the citrus marmalade. That seemed to fit the hot environment, rather than Marcel’s melting geleé and tableside-presented lobster foam. Stephen, the TC1 captain, took the honors with what sounded like a delicious cauliflower créme angles with the lobster. The judges were disappointed with both winning Top Chefs’ duck dishes, saying that Harold’s lacked flavor and Ilan just having too many things going wrong. Ilan blew it earlier too when his eggs were too salty. (He should be a little more careful as I think he’s just generally clumsy, and didn’t intentionally try to sabotage Marcel when he dropped his diced mango.) Tiffani and Sam seemed to be the most evenly matched but the judges loved her raw Kobe crudo more than Sam’s seared Kobe beef with mushrooms and coriander.
Kudos to Season 1 team for winning $20,000 for Susan G. Komen Breast Cancer organization. Sam must have read some unflattering things about himself online when his parting recommendation to the Season 3 contestants was that they shouldn’t read the blogs because they may find out things they may not want to know about themselves. How could you be nasty toward Sam? I say it only helps to create a better recipe for living. Bring it on, Season 3!

The photos are from the Bravo site, where you can also check out a more-detailed summary of the episode. http://www.bravotv.com/blog/thedish/2007/06/food_fight.php

5x2 & Time to Leave (Le Temps qui reste)

FLICK My initial reaction to watching a François Ozon film is how simplistic it seems, but his movies tend to stay with me and upon reflection, I respond to them more over time, finding a vast depth in the characters and their stories. Tonight, Sundance Channel is airing two films written and directed by Ozon back-to-back beginning at 10pm.

5x2 follows French couple Marion (Valeria Bruni-Tedeschi) and Gilles (Stéphane Freiss) in five different periods of their unhappy marriage. The film begins at the end of their doomed relationship and ends at the beginning, which lets the viewer leave on a lighter note, only to ponder how this mismatched couple stayed together for so long. Ozon uses the reverse structure to add mystery though there is no defining moment of where things go wrong. Bruni-Tedeschi and Freiss turn in absorbing performances and are completely credible in this heart wrenching portrait. (2004) My Score: 8 out of 10.

Time to Leave (Le Temps qui reste) is not a perfect film; however I was again won over by filmmaker Ozon’s style and tone. Romain (Melvil Poupaud), a fashion photographer with a hot boyfriend, is told he has brain cancer, refuses treatment and goes on nasty tirades hurting those closest to him, including his sister and her children. The only person he confides in is his grandmother, French icon Jeanne Moreau, knowing she’s going to die soon too. Romain continues to create social distance until he later develops an unusual relationship with a waitress, played by Valeria Bruni-Tedeschi (5x2, Côte d’Azur) which initially seems selfish but ultimately satisfies them both. The handsome Poupaud (who plays another unlikable Frenchman in the Merchant-Ivory film Le Divorce) is very engaging as the unsympathetic character and easily handles the extremes and subtleties of dealing with certain death. His outbursts are what keep the film from becoming overly sentimental. Ozon may not provide reasons for Romain’s offensive behavior but he excels in creating mood, which is what takes us to the inevitable end. The title’s literal translation is "The Time That's Left." This is supposedly the second in a trilogy (Under the Sand being the first) about mourning or death. (2005) My Score 7.5 out of 10.

Bug

FLICK A friend of mine wanted to see the film Bug because he had seen the original Off-Broadway play and wanted to compare the versions. I went along knowing only that it starred Ashley Judd and was directed by William Friedkin. Don’t expect another Arachnophobia or Starship Troopers. It would give the appropriate audience a better context if it were playing in art-house theaters instead of screening in the major theater chains and being marketed as a simple horror flick. I imagine this to be much better on a stage than on screen. Sharing an intense madness, Bug reminded me of theater like “The Chairs” by Eugene Ionesco, although the former being more of a psycho-drama than the latter’s absurdist farce. This doesn’t mean Friedkin doesn’t deliver the disturbing goods.
Bug tells the story of cocktail waitress Agnes (Judd), who has guilt over losing her son and fears her recently paroled ex-husband (Harry Connick, Jr.). But it’s her deceivingly calm friend Peter (a compelling Michael Shannon, recreating his stage role) who shows up and has the most impact on her. Couple Agnes’ worries and insecurities with Peter’s (who is also off his medication) growing paranoid schizophrenic personality and you have a folie à deux, which translates to double insanity. This happens when two persons closely associated with one another suffer a psychosis simultaneously, with one member having influenced or “infected” the other and then believe in and build on their delusions. Friedkin nicely contrasts the openness of the desert with the interior of Agnes’ claustrophobic motel room, reflecting differing and deteriorating mental states. As Agnes and Peter descend into madness, they talk of government conspiracies and look for bugs – the insect and man-made kind – under their skin and in their teeth, which results in self-mutilation and lots of blood. It’s insanely powerful stuff. If you’re itching to see this R-rated film, leave the kids home, unlike some of the parents who brought them along to the screening I attended and probably now have traumatized zombies running around the house digging their eyes out. My Score: 6.5 out of 10.

Screened Out

June is bustin’ out all over as many TV networks celebrate gay pride month by pulling both old and new film titles out of the closet. Every Monday and Wednesday this month, Turner Classic Movies will air films to compliment Richard Barrios’ book “Screened Out: Playing Gay in Hollywood from Edison to Stonewall,” which follows gays and lesbians in the movies from the earliest years through the 1960’s. With varying themes, like film noir, prison drama, horror and comedy, each night is not only entertaining but also like watching a film history course. Tonight’s theme The Early Years kicks things off chronologically with a mix of silent and early talkies from 1912-1933. It’s interesting to note how some things have changed in the last 95 years as gay men from this period were presented only as flamboyant pansies and lesbians as cigar smoking butch-types in suits. These characters illustrate not only the public’s perception of the love that dare not speak its name in the early part of the 20th century but also how gays perceived themselves.

Tonight’s films include:
8pm Algie, the Miner (1912) about a man who goes west to become a cowboy
8:30 The Monster (1925), a horror-comedy with Lon Chaney
10:15 Exit Smiling (1926), a theater comedy with Beatrice Lillie and Franklin Pangborn
11:45 The Broadway Melody (1929), the first film musical, and Best Picture Oscar-winner
1:45am Way Out West (1930) William Haines is playful as a carnival barker who cheats 3 cowboys
3am The Office Wife (1930), features a cigar-smoking lesbian author
4:15 Stage Mother (1933) sordid backstage drama, includes a director who likes male companionship…

Go to the TCM site to view full details of their Screened Out programming. http://www.tcm.com/thismonth/article/?cid=159623

Read a review of the book, written by out actor, director, and author Simon Callow. http://film.guardian.co.uk/books/story/0,12788,891250,00.html