Saturday, June 30, 2012
Monthly Wallpaper - July 2012: French Cinema
You'll be shouting "Viva la France!" all throughout the month of July with the Movie Dearest Calendar Wallpaper salute to the best of French Cinema.
From silent classics by the likes of Méliès and Buñuel to modern favorites starring Depardieu and Tautou to the queer cinema classic La Cage aux Folles,this month's selections are all c'est magnifique!
Just click on the picture above to enlarge it to its 1024 x 768 size, then right click your mouse and select "Set as Background", and you're all set. If you want, you can also save it to your computer and set it up from there, or modify the size in your own photo-editing program if needed.
Friday, June 29, 2012
Reverend's Reviews: We Like Short Shorts
Summer isn't only shorts-wearing season, it's shorts-viewing season... as in short films! While virtually every major film festival includes short films, last week's Palm Springs International Short Film Festival is one of the few fests devoted exclusively to shorts. Each year, the PS fest features a number of GLBT-oriented offerings. Eight such shorts were screened last week: Prora, Performance Anxiety, The Oldest Lesbian in the World!, What You Looking At?!, Pursuit, Hot in the Zipper, Hold on Tight and Absence of Love.
While all have their charms and/or positive qualities, the standouts for me were Prora, Stephane Riethauser's examination of two young men struggling with their attraction to one another while touring the massive remnants of a real-life Nazi resort; the alternately insightful and amusing Oldest Lesbian, a no-holds-barred documentary about out, 99-year old Bobbie Staff; and What You Looking At?!, in which a drag queen and an orthodox Muslim woman trapped in an elevator strive to find common ground.
Alas, none of the GLBT shorts were named as award winners at the fest's end. However, organizers deserve kudos not only for programming them but for having the cajones to run a major film festival during summer in one of the hottest cities in the US, and getting a sizable number of people to show up.
Speaking of short films, Guest House films has just released Blue Briefs, their latest DVD compilation
of six gay-themed shorts. As the title implies, these are generally bittersweet tales of young men finding and, more often than not, losing love. They include Requited, a nice mix of melancholy and camp humor that features several attractive actors and asks the resonant question (especially for those of us whose first love was our straight best friend) "How do you get over something you never had?"; the truly heartbreaking We Once Were Tide, in which a lonely man on the South Coast of England is caught between his lover and duty to his terminally-ill mother; Iranian-American director Abdi Nazemian's Revolution, starring Cougar Town's Busy Philipps as the mother of a gay teenager who falls for the son of the traditional Iranian family they are working for and living with; and the amateurish but still compelling Frozen Roads, from Canada. I found the characters and/or voiceover in the collection's remaining two films -- Boys Like You and The In-Between -- irritatingly, endlessly chatty.
And speaking of other recent film festivals that showcased GLBT topics, both San Francisco's Frameline and the Los Angeles Film Festival came to a close this past Sunday. Although LAFF ended with the well-received world premiere of gay-friendly stripper extravaganza Magic Mike, the fest's second week also featured the US premiere of the potent documentary Call Me Kuchu. It details the ongoing persecution of homosexuality in ultra-conservative Uganda. The film was also screened at Frameline a few days later and won that fest's award for Best Documentary. It is absolutely not to be missed. Cloudburst, starring Olympia Dukakis and Brenda Fricker as a lesbian couple, won Frameline's Audience Award for Best Feature while Beasts of the Southern Wild (which I acclaimed here a couple of weeks ago) won the Audience Award for Best Feature at LAFF. LAFF's Jury Award for Best Performance was shared by the cast of the gay-themed Four, which I also reviewed in my pre-LAFF coverage.
Reverend's Ratings:
Blue Briefs: B
Call Me Kuchu: A-
Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and Rage Monthly Magazine.
While all have their charms and/or positive qualities, the standouts for me were Prora, Stephane Riethauser's examination of two young men struggling with their attraction to one another while touring the massive remnants of a real-life Nazi resort; the alternately insightful and amusing Oldest Lesbian, a no-holds-barred documentary about out, 99-year old Bobbie Staff; and What You Looking At?!, in which a drag queen and an orthodox Muslim woman trapped in an elevator strive to find common ground.
Alas, none of the GLBT shorts were named as award winners at the fest's end. However, organizers deserve kudos not only for programming them but for having the cajones to run a major film festival during summer in one of the hottest cities in the US, and getting a sizable number of people to show up.
Speaking of short films, Guest House films has just released Blue Briefs, their latest DVD compilation
And speaking of other recent film festivals that showcased GLBT topics, both San Francisco's Frameline and the Los Angeles Film Festival came to a close this past Sunday. Although LAFF ended with the well-received world premiere of gay-friendly stripper extravaganza Magic Mike, the fest's second week also featured the US premiere of the potent documentary Call Me Kuchu. It details the ongoing persecution of homosexuality in ultra-conservative Uganda. The film was also screened at Frameline a few days later and won that fest's award for Best Documentary. It is absolutely not to be missed. Cloudburst, starring Olympia Dukakis and Brenda Fricker as a lesbian couple, won Frameline's Audience Award for Best Feature while Beasts of the Southern Wild (which I acclaimed here a couple of weeks ago) won the Audience Award for Best Feature at LAFF. LAFF's Jury Award for Best Performance was shared by the cast of the gay-themed Four, which I also reviewed in my pre-LAFF coverage.
Reverend's Ratings:
Blue Briefs: B
Call Me Kuchu: A-
Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and Rage Monthly Magazine.
Wednesday, June 27, 2012
Reel Thoughts Preview: Do You Believe in Magic?
We’re fairly certain that Sir Laurence Olivier didn’t start his acting career as a stripper named “Chan Crawford” in a troupe called “Male Encounters”, but then again, he didn’t have Channing Tatum’s abs of steel. Tatum joins a gorgeous cast of Hollywood hunks in esteemed director Steven Soderbergh’s (Traffic) sexy and fun-looking romp Magic Mike, in theaters this Friday.
Check out YouTube and you’ll see where the inspiration for this film about a seasoned male stripper showing a “Kid” (Alex Pettyfer) the ropes (and g-strings) of the business originated. Tatum is a rarity – a drop-dead handsome actor who is comfortable enough with his masculinity to have stripped in Florida and posed for some pretty homoerotic pictures to pay the bills. As Ulla in The Producers sings, “If You’ve Got It, Flaunt It!” and Tatum is happy to oblige. He pitched the idea of a film about his experiences as a dancer and Soderbergh saw the potential.
Magic Mike is a Tampa stripper who teaches a newcomer everything he needs to know about dancing, partying and making big money taking off his clothes. In the process, he falls for the Kid’s protective sister Brooke (played by newcomer Cody Horn, who just happens to the be the daughter of Warner Brothers President Alan F. Horn). Eventually, every stripper has to hang up their tear-away pants and settle down, but Brooke isn’t much interested in joining Magic Mike’s lifestyle. Fortunately, the audience is treated to many scenes of what exactly Mike and company do for crumpled up singles, fives and the occasional twenty dollar bill. “You don’t want to know what I have to do for twenties,” Mike warns Brooke, but we can only hope he shows us.
While it will be a couple of days before we can see Tatum and his boys strut their stuff under the watchful eye of club owner Matthew McConaughey, we do know enough about the film to introduce you to the Men of Magic Mike:
- Dallas: McConaughey plays the owner of the night club who shows off some pretty ripped abs himself. McConaughey is photographed shirtless so often, it’s become his trademark, and who can ever forget his Texas arrest for naked bongo-playing?
· 'Magic' Mike Martingano: Tatum plays a big draw at McConaughey’s club who is trying to find something more to do with his life. Tatum is comfortable in comedy, drama and Nicholas Spark-y romances, and more than comfortable out of his clothes.
· The Kid: Pettyfer plays the young guy who Magic Mike indoctrinates into the world of stripping. At twenty-two, Brit Pettyfer has already gained a reputation as a bad boy, which he denies. He likes tattoo tributes to his girlfriends, who’ve included Emma Roberts and Glee’s Diana Agron. He’s best known as the lead in I Am Number Four and Beastly.
· Ken: Matt Bomer has recently come out, which makes him even more gorgeous. In addition to his starring role in the USA Network's White Collar, Bomer also drew raves for his musical work on Glee as Darren Criss’ semi-famous brother. His great physique is drawing raves in Magic Mike. At thirty-four, he and his partner have three children who were born via surrogate.
· 'Big Dick' Richie: Joe Manganiello’s moniker must refer to his 6’5” height, right? This thirty-five year-old True Blood werewolf has been driving audiences wild with his rugged looks for a decade, but he is also a classically-trained theater actor. (It’s also just a coincidence that his 2002 role in something called The Ketchup King was as “Black Dildo.”)
· Tito: Adam Rodriguez rocked Ana Ortiz’ life on Ugly Betty and made CSI: Miami bearable. It only makes sense for a Florida-set comedy to have some Latin flavor.
Eight Sizzling Stripper Sagas:
Magic Mike isn’t the first film to delve into men baring all for their art (and those crumpled singles), but it may be the sexiest. Here are six films to see if you’re into eager ecdysiasts, male or female:
The Full Monty (1997): This hit British film about a bunch of regular blokes who turn to stripping when their factory shuts down was more heartwarming than heart-racing, but it spawned a hit musical and featured Once Upon a Time’s Robert Carlysle, Tom Wilkinson and Mark Addy.
A Night in Heaven (1983): All stripper movies seem to be set in Florida (heck, even the Octomom is set to strip in the Sunshine State), so it is no surprise that this overheated drama was filmed in Titusville. Lesley Ann Warren plays a sexually frustrated professor who falls in lust with Ricky the Rocket, one of her failing students who she spies stripping at a bar called Heaven. The Blue Lagoon’s Christopher Atkins continued his mostly unclothed career as the sexy but immature Rick.
Ladykillers (1988): Grade A Cheese with a healthy serving of beefcake! This TV movie stars Marilu Henner as a tough detective in charge of finding out who is killing the strippers of LA’s hottest club Ladykillers right in the middle of their finales. Her solution is to send her partner, played by Melrose Place’s Thomas Calabro, in undercover, although it is really more of an 'uncovered' stakeout. Another Lesley-Anne, Lesley-Anne Down, plays the Joan Crawfordesque owner of Ladykillers, but is she living up to her bar’s name?
Trick (1999): This hilariously sweet romance tells the story of sweet Gabriel, played by Christian Campbell, who meets sexy stripper Mark, played by adorable John Paul Pitoc. As the title says, they just want to “make it” in the city, but everything and everyone is standing in the way of their trick, including the hilarious Tori Spelling and and the scene-stealing Miss Coco Peru.
The Chippendales Murder (2000): Who knew that before he was a ruthless Iraqi assassin on Lost, Naveen Andrews played Steve Banerjee, the man who invented Chippendale’s male revue? This TV movie featured Castle’s Victor Webster in a very revealing role as dancer Marco Carolo. It’s the true life tale of how Banerjee tried to poison his star strippers when he found out they were going into competition with him.
For Ladies Only (1981): Many a gay man of a certain age looks back fondly upon this made-for-TV beefcake classic, which starred a hot and hunky Gregory Harrison as an Iowa farm boy trying to make it big in the Big Apple. The (almost) all-star cast also included Empty Nest's Dinah Manoff, Reagan daughter Patti Davis (as Harrison's love interests) and a pre-Beastmaster Marc Singer. Why isn't this on DVD yet?
Striptease (1996): What kind of a stripper (in Florida, naturally) does her bump-and-grind routines to Annie Lennox songs? Do truckers and horny businessmen even know who the Eurythmics singer is? Of course, Demi Moore was trying to do “art” with her “striptease,” which makes this sad comedy funny for all the wrong reasons. Burt Reynolds is embarrassing as a sleazy and obsessive congressman who fixates on Moore at “The Eager Beaver” and who likes to cover himself in Vaseline.
- Showgirls (1995): No list of supreme strip-a-thons is complete without mentioning Paul Verhoeven’s masterpiece of bad taste. While the glitzy “Goddess” number at the Stardust Casino was getting all the buzz, the real action was happening over at the Cheetah Show Club, where Elizabeth Berkley’s Nomi Malone didn’t just pole dance and lap lance, she “lick-danced” the stripper pole in one awesomely crazy moment (to a Prince song, no less). That, Demi, is how you do it! The Cheetah is a treasure trove of talent, from Lin Tucci’s boob-baring comic Henrietta Bazooms to Rena Riffle’s sweet Penny, all under the watchful eye of sleazy club owner Robert Davi, who only ten years earlier had been a Bond villain.
Preview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.
Check out YouTube and you’ll see where the inspiration for this film about a seasoned male stripper showing a “Kid” (Alex Pettyfer) the ropes (and g-strings) of the business originated. Tatum is a rarity – a drop-dead handsome actor who is comfortable enough with his masculinity to have stripped in Florida and posed for some pretty homoerotic pictures to pay the bills. As Ulla in The Producers sings, “If You’ve Got It, Flaunt It!” and Tatum is happy to oblige. He pitched the idea of a film about his experiences as a dancer and Soderbergh saw the potential.
Magic Mike is a Tampa stripper who teaches a newcomer everything he needs to know about dancing, partying and making big money taking off his clothes. In the process, he falls for the Kid’s protective sister Brooke (played by newcomer Cody Horn, who just happens to the be the daughter of Warner Brothers President Alan F. Horn). Eventually, every stripper has to hang up their tear-away pants and settle down, but Brooke isn’t much interested in joining Magic Mike’s lifestyle. Fortunately, the audience is treated to many scenes of what exactly Mike and company do for crumpled up singles, fives and the occasional twenty dollar bill. “You don’t want to know what I have to do for twenties,” Mike warns Brooke, but we can only hope he shows us.
While it will be a couple of days before we can see Tatum and his boys strut their stuff under the watchful eye of club owner Matthew McConaughey, we do know enough about the film to introduce you to the Men of Magic Mike:
- Dallas: McConaughey plays the owner of the night club who shows off some pretty ripped abs himself. McConaughey is photographed shirtless so often, it’s become his trademark, and who can ever forget his Texas arrest for naked bongo-playing?
· 'Magic' Mike Martingano: Tatum plays a big draw at McConaughey’s club who is trying to find something more to do with his life. Tatum is comfortable in comedy, drama and Nicholas Spark-y romances, and more than comfortable out of his clothes.
· The Kid: Pettyfer plays the young guy who Magic Mike indoctrinates into the world of stripping. At twenty-two, Brit Pettyfer has already gained a reputation as a bad boy, which he denies. He likes tattoo tributes to his girlfriends, who’ve included Emma Roberts and Glee’s Diana Agron. He’s best known as the lead in I Am Number Four and Beastly.
· Ken: Matt Bomer has recently come out, which makes him even more gorgeous. In addition to his starring role in the USA Network's White Collar, Bomer also drew raves for his musical work on Glee as Darren Criss’ semi-famous brother. His great physique is drawing raves in Magic Mike. At thirty-four, he and his partner have three children who were born via surrogate.
· 'Big Dick' Richie: Joe Manganiello’s moniker must refer to his 6’5” height, right? This thirty-five year-old True Blood werewolf has been driving audiences wild with his rugged looks for a decade, but he is also a classically-trained theater actor. (It’s also just a coincidence that his 2002 role in something called The Ketchup King was as “Black Dildo.”)
· Tito: Adam Rodriguez rocked Ana Ortiz’ life on Ugly Betty and made CSI: Miami bearable. It only makes sense for a Florida-set comedy to have some Latin flavor.
Eight Sizzling Stripper Sagas:
Magic Mike isn’t the first film to delve into men baring all for their art (and those crumpled singles), but it may be the sexiest. Here are six films to see if you’re into eager ecdysiasts, male or female:
The Full Monty (1997): This hit British film about a bunch of regular blokes who turn to stripping when their factory shuts down was more heartwarming than heart-racing, but it spawned a hit musical and featured Once Upon a Time’s Robert Carlysle, Tom Wilkinson and Mark Addy.
A Night in Heaven (1983): All stripper movies seem to be set in Florida (heck, even the Octomom is set to strip in the Sunshine State), so it is no surprise that this overheated drama was filmed in Titusville. Lesley Ann Warren plays a sexually frustrated professor who falls in lust with Ricky the Rocket, one of her failing students who she spies stripping at a bar called Heaven. The Blue Lagoon’s Christopher Atkins continued his mostly unclothed career as the sexy but immature Rick.
Ladykillers (1988): Grade A Cheese with a healthy serving of beefcake! This TV movie stars Marilu Henner as a tough detective in charge of finding out who is killing the strippers of LA’s hottest club Ladykillers right in the middle of their finales. Her solution is to send her partner, played by Melrose Place’s Thomas Calabro, in undercover, although it is really more of an 'uncovered' stakeout. Another Lesley-Anne, Lesley-Anne Down, plays the Joan Crawfordesque owner of Ladykillers, but is she living up to her bar’s name?
Trick (1999): This hilariously sweet romance tells the story of sweet Gabriel, played by Christian Campbell, who meets sexy stripper Mark, played by adorable John Paul Pitoc. As the title says, they just want to “make it” in the city, but everything and everyone is standing in the way of their trick, including the hilarious Tori Spelling and and the scene-stealing Miss Coco Peru.
The Chippendales Murder (2000): Who knew that before he was a ruthless Iraqi assassin on Lost, Naveen Andrews played Steve Banerjee, the man who invented Chippendale’s male revue? This TV movie featured Castle’s Victor Webster in a very revealing role as dancer Marco Carolo. It’s the true life tale of how Banerjee tried to poison his star strippers when he found out they were going into competition with him.
For Ladies Only (1981): Many a gay man of a certain age looks back fondly upon this made-for-TV beefcake classic, which starred a hot and hunky Gregory Harrison as an Iowa farm boy trying to make it big in the Big Apple. The (almost) all-star cast also included Empty Nest's Dinah Manoff, Reagan daughter Patti Davis (as Harrison's love interests) and a pre-Beastmaster Marc Singer. Why isn't this on DVD yet?
Striptease (1996): What kind of a stripper (in Florida, naturally) does her bump-and-grind routines to Annie Lennox songs? Do truckers and horny businessmen even know who the Eurythmics singer is? Of course, Demi Moore was trying to do “art” with her “striptease,” which makes this sad comedy funny for all the wrong reasons. Burt Reynolds is embarrassing as a sleazy and obsessive congressman who fixates on Moore at “The Eager Beaver” and who likes to cover himself in Vaseline.
- Showgirls (1995): No list of supreme strip-a-thons is complete without mentioning Paul Verhoeven’s masterpiece of bad taste. While the glitzy “Goddess” number at the Stardust Casino was getting all the buzz, the real action was happening over at the Cheetah Show Club, where Elizabeth Berkley’s Nomi Malone didn’t just pole dance and lap lance, she “lick-danced” the stripper pole in one awesomely crazy moment (to a Prince song, no less). That, Demi, is how you do it! The Cheetah is a treasure trove of talent, from Lin Tucci’s boob-baring comic Henrietta Bazooms to Rena Riffle’s sweet Penny, all under the watchful eye of sleazy club owner Robert Davi, who only ten years earlier had been a Bond villain.
Preview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.
Tuesday, June 19, 2012
Reverend's Reviews: Tarnished Singing Saints
The 1996 film version of Andrew Lloyd Webber & Tim Rice's Evita
wasn't a blockbuster but, as the first big-screen musical in some time,
did fairly well at the box office and racked up a few Golden
Globes and an Oscar. Now out on Blu-ray
for the first time in a special 15th
anniversary edition (and also simultaneously enjoying a Broadway
revival), Evita has aged exceedingly well and makes more recent musical adaptations like Chicago, Hairspray and the current Rock of Ages look puny in comparison.
Evita tells the story of Eva Peron, wife of Argentinean dictator Juan Peron during the 1940-50's. Various directors tried and failed to adapt the show into a film since its 1980 debut, with such actresses as Barbra Streisand, Liza Minnelli (!) and Meryl Streep in discussions at various points to play the title role. Finally, Alan Parker (who had previously helmed such diverse movie musicals as Bugsy Malone, Fame and Pink Floyd's The Wall) succeeded by casting the one woman truly born to play Evita: Madonna. News of Madonna's casting filled many fans of the stage version with dread, based on the various poor performances she had given in movies. However, the part was a natural for the dance diva who had endured many of the same criticisms that Evita herself had. Also like Evita, Madonna continues to enjoy a popular appeal among the masses that ensures her a permanent place in pop history.
Apart from its magnificent song score, the greatest artistic achievement of Evita -- both on stage and film -- is in presenting its subject as both a saint and, to put it delicately, a whore. While depicting Eva Peron as having considerable talent in the areas of leadership and diplomacy, for which she is still revered in Argentina more than half a century after her death, she is also shown to be a masterful manipulator who slept her way to the top and stole from her people. She certainly gave her public what they wanted, but she and her husband made them pay handsomely for it behind their backs. Eva's early death from cancer foreshadowed the demise of the Peron era but also served to enshrine her as Evita, a popular saint of the people whose cult endures to this day.
As anyone familiar with Madonna's career knows, similarities between her life and Eva's are far from coincidental. Madonna has walked in Eva's shoes, if not in political circles then in cultural ones. Both Madonna and Evita have utilized principles of Catholic ritual and popular devotion to get where they got. While both women have been vilified at times for actions some have seen more as desecration than reverence, both can rightly be considered legendary.
Evita, the musical, can be frustrating for some viewers for its ultimate refusal to either canonize or condemn its protagonist. Instead, it shows her simply as she was perceived by a variety of foes and admirers, warts and all. The film adaptation is able to present both more detail and more nuance than the original stage version, and is superbly photographed by Darius Khondji and -- as is especially apparent on Blu-ray -- impeccably edited by Gerry Hambling. I wish the movie had more full-on dance numbers, but a fresh viewing reveals it as one of the last large-scale productions with a literal cast of thousands before digital imaging took over. Supporting cast members Antonio Banderas (perhaps in his sexiest screen role) and Jonathan Pryce are also excellent.
From the perspective of traditional Catholic anthropology, each human person embodies both the qualities that define a saint and the qualities that define a sinner. Just like the rest of us, the true nature of Evita's soul (and Madonna's) can be known only to God.
Also new on Blu-ray
in a special combo package is the delightful 1992 comedy-with-musical-numbers Sister Act and its unnecessary but still enjoyable sequel, Sister Act 2: Back in the Habit
(1993). Whoopi Goldberg headlines both (in a role originally written
for Bette Midler) as a lounge singer-turned mob informant-turned
erstwhile nun. Maggie Smith, Kathy Najimy, Wendy Makenna and the late,
great Mary Wickes shine as her fellow convent dwellers.
Reverend's Ratings:
Evita: A
Sister Act: B+
Sister Act 2: B-
Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and Rage Monthly Magazine.
Evita tells the story of Eva Peron, wife of Argentinean dictator Juan Peron during the 1940-50's. Various directors tried and failed to adapt the show into a film since its 1980 debut, with such actresses as Barbra Streisand, Liza Minnelli (!) and Meryl Streep in discussions at various points to play the title role. Finally, Alan Parker (who had previously helmed such diverse movie musicals as Bugsy Malone, Fame and Pink Floyd's The Wall) succeeded by casting the one woman truly born to play Evita: Madonna. News of Madonna's casting filled many fans of the stage version with dread, based on the various poor performances she had given in movies. However, the part was a natural for the dance diva who had endured many of the same criticisms that Evita herself had. Also like Evita, Madonna continues to enjoy a popular appeal among the masses that ensures her a permanent place in pop history.
Apart from its magnificent song score, the greatest artistic achievement of Evita -- both on stage and film -- is in presenting its subject as both a saint and, to put it delicately, a whore. While depicting Eva Peron as having considerable talent in the areas of leadership and diplomacy, for which she is still revered in Argentina more than half a century after her death, she is also shown to be a masterful manipulator who slept her way to the top and stole from her people. She certainly gave her public what they wanted, but she and her husband made them pay handsomely for it behind their backs. Eva's early death from cancer foreshadowed the demise of the Peron era but also served to enshrine her as Evita, a popular saint of the people whose cult endures to this day.
As anyone familiar with Madonna's career knows, similarities between her life and Eva's are far from coincidental. Madonna has walked in Eva's shoes, if not in political circles then in cultural ones. Both Madonna and Evita have utilized principles of Catholic ritual and popular devotion to get where they got. While both women have been vilified at times for actions some have seen more as desecration than reverence, both can rightly be considered legendary.
Evita, the musical, can be frustrating for some viewers for its ultimate refusal to either canonize or condemn its protagonist. Instead, it shows her simply as she was perceived by a variety of foes and admirers, warts and all. The film adaptation is able to present both more detail and more nuance than the original stage version, and is superbly photographed by Darius Khondji and -- as is especially apparent on Blu-ray -- impeccably edited by Gerry Hambling. I wish the movie had more full-on dance numbers, but a fresh viewing reveals it as one of the last large-scale productions with a literal cast of thousands before digital imaging took over. Supporting cast members Antonio Banderas (perhaps in his sexiest screen role) and Jonathan Pryce are also excellent.
From the perspective of traditional Catholic anthropology, each human person embodies both the qualities that define a saint and the qualities that define a sinner. Just like the rest of us, the true nature of Evita's soul (and Madonna's) can be known only to God.
Also new on Blu-ray
Reverend's Ratings:
Evita: A
Sister Act: B+
Sister Act 2: B-
Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and Rage Monthly Magazine.
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