Here’s my review or something of Disney’s live action remake of Beauty and the Beast. This is the latest in their line and this one I probably dislike the most because of what it’s trying to recreate. The original animated Beauty and the Beast was a best picture nominated film and is loved by many, but this live action remake by Disney just doesn’t live up to it.
To conclude this series of Pride 2017-related posts (though certainly not the end of gay-relevant content on this blog), here’s a two-part post on Todd Haynes’s exquisite 1950s-set lesbian romance Carol (2015). Last year, Carol was voted the best LGBT film of all time in a poll that featured over 100 critics and was compiled to mark the 30th anniversary of London’s lesbian and gay film festival, BFI Flare. There are many qualities worth celebrating in this film: the sublimely modulated lead performances by Cate Blanchett and Rooney Mara, the richly atmospheric period detail and mise-en-scène, Haynes’s deft invocations of classical Hollywood genres (melodrama, film noir, women’s pictures). But most importantly, as the following quote reminds us, Carol’s uncommonly uplifting and affirmative take on same-sex love represents a quietly radical step forward for LGBT narratives in cinema.
“In the years since Brokeback Mountain, we’ve seen Best Picture nominations for The Kids Are All Right and Dallas Buyers Club – though in both of those cases, the primary audience surrogate was arguably a straight man (Mark Ruffalo in Kids, Matthew McConaughey in Dallas) – and the slightly Sapphic Black Swan. And, of course, there was Milk and The Imitation Game, both stories about gay men who met with tragedy… Spoiler alert: Carol’s protagonists fall in love, consummate their passion, and encounter some difficulties – it’s the early ‘50s, after all – but do not die for/from being gay. Such a declaration sounds stark, but an astonishing number of films about gay life have seen their characters come to some sort of a tragic end, as if comporting to the old Hays Code, where characters must be “punished” for their “sins.” Ultimately, Carol’s most transgressive quality is its refusal to engage in such shenanigans; this is a film about full-blooded gay lives, not tragic gay deaths. Maybe Oscar voters weren’t sure how to deal with that?” — Jason Bailey, Flavorwire (January 2016)
“2017 has been a unique year so far. Luca Guadagnino’s masterpiece “Call Me By Your Name” stunned even the most optimistic Guadagnino fans when it premiered out of competition at Sundance in January. Frankly, this writer didn’t think the gay-themed coming of age drama could earn a Best Picture nomination until “Moonlight” won Best Picture a month later.
Two years ago you couldn’t imagine “Call Me By Your Name” earning a nod no matter how many critics anointed it the “best film of the year.” Now? It has a legit shot to take the crown.”
Gregory Ellwood for The Playlist.
Y/N L/N: Hollywood’s Newest Darling? By Zev Darling
“It’s awards season and with the Oscars coming up in two weeks, everyone has been placing bets and predictions on who will win.
So far the nominations have been the usual suspects, but there’s one movie causing a lot of buzz. Whirlwind has been one of the highest grossing movies at the box office so far this year. For those of you unfortunate enough not to see the film, it is a gripping story dealing with themes of family, love, and many social issues facing us today, all cleverly hidden in an action packed science fiction world. The main character, a young woman by the name of Macey, discovers the deep dark secrets of her “utopian” world in the not so distant future, sending her on a journey of self discovery, love, and a few badass fight scenes.
Directed by Brian Falstadht, the visionary behind the cult classic, Look Up, critics set the bar high, and were not disappointed. The film was written by Katie Callaghan, who is likely guaranteed more contracts for her screenplays in the future after Whirlwind garnered a Best Picture nomination. Y/N L/N plays the heroine, her stellar breakout performance gaining her attention and even a good shot at winning Lead Actress at the upcoming awards. She starred opposite fan favorite, comedic dreamboat Robert Reid, best known for playing the titular, fourth wall breaking anti-hero, Killswitch. Reid is confirmed for Killswitch 2, to be released next summer.
Meanwhile, rumors have been flying since the film’s premiere about what Y/N will be doing next, from an action franchise to rom-coms to her own television show. Whatever Miss L/N picks to be her next project, she’ll have fans and critics waiting with baited breath.”
You’ll feel so homesick that you’ll want to die, and there’s nothing you can do about it apart from endure it… And one day the sun will come out. You might not even notice straight away — it’ll be that faint. And you’ll catch yourself thinking about something or someone who has no connection with the past. Someone who’s only yours. And you’ll realize that this is where your life is.
The story of Four Weddings and a Funeral’s success is about as likable as the movie itself: With a name that sounds like a working title the producers forgot to change, the low-budget tale of a bumbling bachelor somehow broke the box office, made an overnight international star out of Hugh Grant, and earned a Best Picture nomination.
How did a film (in U.S. wide release 20 years ago this week) shot over one month for four million dollars end up grossing more money than any British film made before it? The answer may lie in the movie’s refreshing take on romance. In an era of glossy erotic dramas ruling the box office (Basic Instinct, Indecent Proposal, Sliver etc.) filmgoers were apparently ready to watch a bunch of awkward British patricians attempt, and usually fail, to navigate sex and love. Grant’s endearing Charles at one point even mutters to Andie MacDowell’s Carrie, “Oh God, for a minute there I thought I was in Fatal Attraction.”
From the first, expletive-laden line (“Oh fuck, fuck fuck… fuck”) in Richard Curtis’s screenplay, the British sitcom writer immediately lets you know that he’s not telling another tale of the quietly restrained customs and code of the British aristocracy. In his high society the affluent are self-deprecating and foul-mouthed—the most repeated words in the movie are “fuck” and “splendid.”
A beautiful queer masterpiece with an ending that does not involve tragedy or “I-turned-straight” plot line and it doesn’t receive any exposure from mainstream award shows like the Golden Globes or the Critics Choice (and not to mention the snubs of Best Picture and Best Director nominations from the Oscars).
This film is so important for the LGBT community and I feel it’s an injustice that it is ignored and unrecognized.
me: i love awards season its so fun i love movi- *suddenly flashes back to that time star wars: the force awakens (2015) dir. jj abrams didnt win a single oscar it was nominated for had no best picture nomination for the academy*