Reverend's Interview: Liza with an L

I'm not aware of any other out lesbian writer-directors who have gotten to cross over from the visual arts and short films by making a non-LGBT feature starring such acclaimed actors as Linda Cardellini (Brokeback Mountain), Michael Shannon (Take Shelter, the upcoming Superman: Man of Steel) and John Slattery (Mad Men), but Liza Johnson has done so with absorbing results. Her very good military-domestic drama Return opens this Friday in Los Angeles and New York. It will also be available on VOD and iTunes beginning February 28th.

Cardellini plays Kelli, a wife and mother of two young daughters who returns home to smalltown Ohio as the film opens following a year-long stint serving in the National Guard during an unspecified war. It isn't long before Kelli's transition back to civilian life proves less than idyllic. Those who only know Cardellini as Velma in last decade's Scooby Doo franchise will be especially impressed by her performance here and Shannon, as her conflicted husband, is excellent as usual.

Johnson, whose "day job" is as Professor of Art at Williams College, is to be commended for her matter-of-fact approach to this story of a soldier's re-entry as well as for a refreshing lack of histrionics when the process doesn't go as well as expected. She recently spoke with Reverend about her experience making Return, which made its world premiere at no less than the 2011 Cannes Film Festival.

"It isn't a gay movie," Johnson said, "but maybe there's a way it could be called a queer movie in that (Kelli) doesn't quite fit in and learns to live outside a traditional family." The filmmaker has been partnered for seven years and now calls Brooklyn home after her own upbringing in "Rust Belt" Ohio. "Sometimes, I am attracted to stories of people who choose to live outside the norm." Her crew on Return included Production Designer Inbal Weinberg, who worked on last year's Pariah, and Editor Affonso Goncalves, a veteran of such LGBT-interest projects as The Delta and Todd Haynes' Mildred Pierce.

Johnson interviewed numerous women and friends who had recently returned from military service in Iraq, but she couldn't immediately recall whether she had spoken with any LGBT servicemen/women. "I believe that I did," she stated, and she shared one experience in particular. "I visited a friend of mine at Quantico, and I spoke with one woman there who isn't gay and is married but she checked me into the hotel there for significant others of military personnel. They couldn't or didn't ask our relationship (prior to the repeal of the 'Don't Ask, Don't Tell' policy), which is interesting." All in all, Johnson says she "had a great experience as an openly gay filmmaker working with military personnel."

Of working with her lead actors, Johnson reflected: "It was great. I worked with Linda for a longer time and did research with her; she took it really seriously and is very hardcore." Shannon, who will next be seen on the big screen as the villainous General Zod, was the first to be cast in Return by Johnson. "He is also very hardcore and committed to his work," she raved. "(Shannon and Cardellini) are both such powerful performers, the whole crew and film benefited from their seriousness."

Other movies in recent years have explored the experience of soldiers' return home from recent overseas conflicts, notably the lesbian-themed A Marine Story as well as Brothers and Stop-Loss. Return raises what could be a hitherto unasked question: what happens when what has long been considered home no longer serves its traditionally comforting purpose? In Johnson's assured hands (she actually has a PhD in coming-home-from-war narratives), the answer proves both enlightening and heartbreaking.

Reverend's Rating: B+

Interview by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reverend's Reviews: Boyfriends, Beats and a Beautiful Darling

Tales of romance fittingly dominate this month's new releases on home video, but a documentary about a transgender member of Andy Warhol's "Factory" and a Bollywood-inspired comedy are also worth noting.

Now available on DVDand Video On Demand from TLA is the sexy Finding Me: Truth. A sequel to 2009's Finding Me, it continues to chronicle the romantic successes and failures of a tight-knit group of African-American men and women in New York. The players include Faybien (Raymartell Moore), a young gay man pining for his ex-boyfriend, Lonnie (Derrick L. Briggs); the bisexual Greg, who is carrying on simultaneous relationships with a man and Tammy, the cousin of bf Amera. Attention-hogging Amera, meanwhile, suspects her boyfriend Gabe of cheating on her. And then there is Jay (the late Maurice Murrell, to whom the film is dedicated), Greg's effeminate but buff roommate who is romantically involved with a drug-dealing, bisexual gangbanger.

Filmmaker Roger S. Omeus's technique (he wrote, directed and edited both Finding Me films) has definitely improved, but with such a tight focus on a relatively small cast of characters the drama remains insular and fairly predictable. Still, the characters are likable and well-played, and the cast members attractive. Reverend's Rating : B

What Happens Next, being released on DVDFebruary 7th by Wolfe Video, is a romantic-comedy that explores the budding relationship between two very different men who meet on a park bench. Paul (played by Jon Lindstrom of the long-running soap opera As the World Turns) is a wealthy man in his mid-50's who has just sold his business and retired. Believing himself to be straight but never married, Paul is surprised to find himself attracted to the openly gay and much younger Andy (cute newcomer Chris Murrah). They gradually fall in love, much to the chagrin of Paul's overbearing sister, Elise. Elise is played by the always enjoyable Wendie Malick from TV's Hot in Cleveland and Just Shoot Me.

While the script of What Happens Next -- written and directed by Jay Arnold -- has a pleasing retro sensibility, it is often hard to swallow Paul's plight from today's gay perspective. He is so unaware of his homosexuality initially that Andy seems to be wasting his and the audience's time for the first half of the movie. The performances are good but Paul's too-cute puppy steals the show whenever she appears.  Reverend's Rating: B-

Candy Darling, a popular devotee of artist and filmmaker Andy Warhol during his late-1960's heyday, was born James L. Slattery and was known as "Jimmy" to his family and childhood friends. It wasn't long after Slattery became an adult that he underwent hormone therapy and emerged as the first trans superstar. She inspired Lou Reed's popular songs "(Take a) Walk on the Wild Side" and "Candy Says," and gay great Tennessee Williams created a leading role for her in one of his final plays, Small Craft Warnings.

James Rasin's new documentary Beautiful Darling, out this week from Corinth Films, is an eye-opening account of Darling's unique life and career. It incorporates considerable archival footage of Darling and Warhol as well as Jane Fonda, Dennis Hopper and Kim Novak, plus modern-day interviews with such offbeat luminaries as John Waters, Julie Newmar, Holly Woodlawn and Fran Lebowitz. Actress Chloe Sevigny is also on hand to read excerpts from Darling's diary and other writings.

Unfortunately, the film includes a little too much of Darling's friend and confidante, Jeremiah Newton, who also served as one of the doc's producers. While undeniably caring toward Darling and her legacy, the movie threatens to become more about him than its main subject whenever he appears. Despite this flaw, Beautiful Darling is well worth watching.  Reverend's Rating: B+

I love the genre of fun and funky Indian musicals dubbed "Bollywood." Bollywood Beats, available on DVDthis week, is an enjoyable homage courtesy of Breaking Glass Pictures. It is written, directed and partly choreographed by out filmmaker Mehul Shah, who also plays a gay teenager in the movie.

While primarily the story of Raj (dreamy Sachin Bhatt), an aspiring professional dancer, Bollywood Beats features a supporting team of housewives, science geeks and retired women whom Raj helps to discover their own dance abilities. Raj also takes Vincent (Shah) under his wings when the young gay man is kicked out of his home by his homophobic father. This ragtag bunch starts performing at weddings and community events, and soon find themselves contestants in a major dance competition.

The highly enjoyable movie features some great dance numbers, especially its climactic, stylistically impressive "Bollywood through the Ages" sequence. Shah is still developing as a filmmaker and it shows in the film's rough edges but he is definitely a talent to watch, gay or otherwise.  Reverend's Rating: B

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Monthly Wallpaper - February 2012: Best Supporting Actor

With less than a month to go until Oscar night, this month's Movie Dearest Calendar Wallpaper takes a look back at the Best Supporting Actors, the sidekicks, scene stealers and super villains who took home the Academy's gold man in years past.

These iconic performances of unforgettable characters include Joel as the Emcee, Heath as the Joker, Robert as the Don, and more.

All you have to do is click on the picture above to enlarge it, then simply right click your mouse and select "Set as Background". (You can also save it to your computer and set it up from there if you prefer.) The size is 1024 x 768, but you can modify it if needed in your own photo-editing program.

Reverend's Reviews: Grey Matters

If it takes intense trailers and commercials highlighting ravenous wolves, plane crashes and a sharp-shooting Liam Neeson to pack audiences into what turns out to be a meditation on faith and atonement, then so be it. Such is the case with this weekend's big release, The Grey.

Neeson gives one of his best performances to date as John Ottway, a petroleum refinery worker in Alaska. It's a great role that allows Neeson to display both the bad-ass persona popular in past films Taken and The A-Team with his more sympathetic traits previously seen in Schindler's List and Michael Collins (and heard as Aslan in The Chronicles of Narnia films). Ottway finds himself one of only seven survivors after the jet taking his crew home goes down in the frigid wilderness. The cold becomes the least of their worries, as the men soon become prey to a pack of vicious, possibly metaphysical/metaphorical wolves.

As the gradually dwindling group makes its way toward what they hope is civilization, each man's past is laid bare. Most of them are guilty of sin in how they have mistreated their wives, children and/or neighbors. The film begins with Ottway reflecting "I don't know why I did half the things I've done," and wondering whether he's been "damned" or "cursed" as the result of his misdeeds. Increasingly, the men's plight takes on the semblance of a communal judgment day. Some come to greater faith in God, a few have the chance to make their peace before the wolves or the elements take them, and Ottway downright puts God to the test (against scriptural advice) before all is said and done.

The Grey was directed by Joe Carnahan, veteran of the similar morality thriller Narc as well as the big-screen version of The A-Team, in which he previously teamed with Neeson. Carnahan co-adapted his latest from a short story, The Ghost Walker. While the script is rife with now standard, profanity-laden macho dialogue, it isn't without humor or -- more significantly -- compassion. Poetry and even prayer figure in the mix too, with one survivor saying to God in all humility: "Thank you for sparing us and helping us. Keep that up if you can."

A classic theological theme of light vs. darkness becomes gradually pronounced, and is dramatized in particular through Masanobu Takayanagi's superb cinematography that utilizes a variety of styles: verite, handheld, standard and spectacular widescreen nature shots. The film's production company and press rep were kind to let me watch The Grey via streaming download since I was unable to attend press screenings, but this is a film that truly should be seen on the big screen to be fully appreciated.

And then there are the fearsome wolves, brought to life through a combination of real animals, animatronics and CGI. Religious-minded viewers can debate whether the movie's lupine adversaries are demonic agents of Satan or are a justice-seeking force of God. It is intriguing that the wolves kill those unfortunate humans who cross their path but don't eat them, and that they maraud but also seem to police the men. I think it may have been more effective on Carnahan's part to show less of the wolves, a la Spielberg's handling of the infamous shark in Jaws, and leave their existence even more to the characters' and viewers' imaginations.

Different people will no doubt draw different conclusions from The Grey, depending on one's spiritual/religious background, physical endurance, emotional temperament, and admiration of or aversion to wolves. I look forward to hearing and reading viewers' reactions here and elsewhere. As far as filmmaking expertise goes, though, The Grey may ultimately emerge as one of this new year's better films.

Click here to access a special "film companion"/discussion guide prepared by Allied Faith & Family.

Reverend's Rating: B+

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reverend's Report: The Year in GLBT Film Begins

Each January, the eyes of everyone in Hollywood turn toward remote Park City, Utah. While skiing may be on the agenda for some, most film industry insiders are curious about the offerings at this year's Sundance and Slamdance film festivals. The concurrent events ending this weekend provide a sneak preview of independent movies that GLBT audiences can look forward to later in 2012. After all, such popular queer-interest films as Pariah, Circumstance, Contracorriente (Undertow) and Quinceniera all debuted at Sundance in the past.

Some of this year's most intriguing GLBT indies that just had their world or US premieres in Park City include:

Unconditional: From British director Bryn Higgins comes this dark, psycho-sexual tale about bored teenage twins, Kristen and Owen, who meet an older man promising them endless love and good times... if Owen becomes his sister.

Love Free or Die: The bluntly-titled biography of openly gay Episcopalian bishop Gene Robinson, this documentary provides considerable insight into the many obstacles he has endured as he has tried to serve God's people (including death threats) as well as into his longtime relationship with his devoted partner.

Heavy Girls: A poignant German comedy, in which an overweight "mama's boy" teams with his elderly mother's male caregiver to find her when she goes missing. The two men soon discover an unexpected affection for each other. Heavy Girls won two special awards at Slamdance: a Special Jury Award for Bold Originality and the Spirit of Slamdance "Sparky" Award.

The Invisible War: Not specifically GLBT but nonetheless of interest is the latest eye-opening documentary by Oscar-nominated filmmaker Kirby Dick (Twist of Faith, This Film Is Not Yet Rated). He details how an estimated 30% of women and at least 1% of men serving in the US military have been sexually assaulted by their trusted comrades.

Kelly: A young transgender prostitute searches for love and acceptance in a landscape of broken Hollywood dreams in this powerful documentary.

Keep the Lights On: Documentarian Ira Sachs helmed this fictionalized but no less personal account of a gay relationship fueled as much by addiction as attraction. This film was among the finalists in the Sundance Film Festival's US Dramatic Competition.

How to Survive a Plague: A bracing expose of mostly HIV-positive young men and women who took on the medical establishment during the AIDS epidemic's early years. Not unlike last year's We Were Here, this is a revealing and inspiring documentary.

In addition to features, both Slamdance and Sundance showcased a number of GLBT-interest short films. Notable among these were 33 Teeth, about a hormonal boy who becomes fixated on the comb of his hunky neighbor; The Devotion Project: More Than Ever, the moving true story of two men who forged a 54-year romance against tremendous odds; Park, in which a teenage girl living in a trailer park begins a relationship with an older woman; The Thing, by trans filmmaker Rhys Ernst, finds a trans man, his girlfriend and their pee-shy cat on a road trip to see the title oddity; and Andrew Ahn's intuitive, telling Dol, which focuses on a gay Korean-American man's coming of age through the occasion of his nephew's first birthday.

I can't conclude without mentioning the Slamdance Audience Award winner for Best Feature Narrative, Bindlestiffs. It is directed by Andrew Edison, who has the distinction not only of being the youngest filmmaker at this year's fests but of being the grand-nephew of cinema pioneer Thomas Edison (curiously, both Edisons are deaf in their right ears). Tom Cruise's Joel in 1983's Risky Business didn't have anything on the three degenerate youths (one of them played by the director) desperate to lose their virginity in Bindlestiffs. It is crude, gay-ish, bound to offend some and absolutely hilarious. Watch for it and all the great features and shorts showcased in the Mormon capitol this year.

UPDATE: Congratulations to the makers of Love Free or Die and The Invisible War, who are among the award winners of this year's Sundance Film Festival.

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.