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Merci Docteur Rey

Lesbian Movies — Sat, 13 Nov 2010 16:54:25 +0000

Dieane Weist is over-the-top as a self-absorbed opera star who longs to reconnect with her estranged son. He’s gay but can’t tell her, so he concocts a cover story that predictably unravels in this fast, furious, and very funny farce. A great Buddy Night movie – invite the gang and make popcorn for this gigglefest.

An opera diva, hustlers, and murder collide in this rollicking Parisian farce from Merchant Ivory. A hot young phone sex addict and his narcissistic opera diva mom. A dangerously agitated hustler and a half-dozen dangerously agitated hustlers who look just like him. A tittering neurotic who thinks she's Vanessa Redgrave and Vanessa Redgrave herself. Pot brownies, puke jokes, a gay dad, a flying lesbian, Jerry Hall, a dead body and a fetish for Brian DePalma movies! Anchoring the mayhem is Elisabeth Beaumont, an American opera star visiting Paris to perform "Turandot" and dabble in some belated mothering of her 23 year-old son Thomas. Thomas doesn't need mothering; he needs some good hot manhandling. And, in the best DePalma tradition, the quest for sex leads to voyeurism and voyeurism, leads to murder. From there, it's just a short path to therapy. Unfortunately, the psychiatrist that Thomas visits is a little on the dead side herself, and a nutty patient has taken her place.

Dark Habits

Lesbian Movies — Fri, 12 Nov 2010 00:11:48 +0000

The wildly popular movie “Sister Act” is really just a watered-down version of this wicked, witty dark comedy by the crazy guy who brought you “Women On The Verge Of A Nervous Breakdown”. After her boyfriend croaks, Yolanda the trashy nightclub singer needs a place to lay low for a while. Hey, what’s more innocent than a bunch of nuns, right? Holy smokes! What the heck is going on here? Sleazy porn novelists, wild tigers, coke-snorting crazies and lots of lezzie shennanigans? These are some wild and crazy nuns!

Who but Pedro AlmodÃ³var would make a movie in which a nightclub singer named Yolanda, whose boyfriend has died from a heroin overdose, hides from the police in a nunnery--only to discover that the nuns have more perverse lifestyles than her own? The nuns of Dark Habits use drugs, write lurid pulp novels, design high-fashion habits, and keep a tiger in their courtyard. Yolanda (Cristina Sanchez Pascual) gets caught up in the head nun's scheme to regain the patronage of a wealthy noblewoman, but betrayal, illicit love, and a campy musical number are waiting in the wings. Dark Habits features AlmodÃ³var regulars Carmen Maura and Marisa Paredes, as well as a bit part by Cecelia Roth of All About My Mother. Fans of AlmodÃ³var's magnificent later films (like Habla Con Ella (Talk to Her)) may find Dark Habits a bit thin, but it offers its own charms and comic delights. --Bret Fetzer

Double Dare

Lesbian Movies — Fri, 27 Aug 2010 00:53:12 +0000

How it’s really done: the grrls behind the sheros. These are the real-life adventures of two of Hollywood’s top stuntwomen. Have you ever said “damn, that action chic is hella COOL!”? Here they are, the real action chics, the superb professional athletes behind the great screen stunts.

An entertaining documentary focussing on the lives of two stuntwomen. Jeannie Epper is a grandmother who has worked in the business for decades-she's doubled for Kathleen Turner and Shirley MacLaine, among others-and Zoe Bell, a relative newcomer, was nominated for a World Stunt Award for doubling for Uma Thurman in "Kill Bill." The filmmaker Amanda Micheli eagerly explores the challenges that these unconventional women face-their battles with injuries and the aging process, their family responsibilities-and creates a compelling account of their courageous, physical work.-Bruce Diones (Quad Cinema.) -Bruce Diones Copyright Â© 2006 The New Yorker DOUBLE DARE is a double-barreled, action-packed documentary about the struggles of two stuntwomen in male-dominated Tinsel town to stay working, stay thin, and stay sane against the backdrops of Xena: Warrior Princess, Wonder Woman, and Quentin Tarantinoâ��s Kill Bill.

The L Word – The Complete Second Season

Lesbian Film — Tue, 06 Jul 2010 01:00:49 +0000

The L Word Season Two is bigger, better and boasts a steady stream of guest stars and bands.
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Once a series has broken new ground, where does it go from there? Showtime's The L Word, concerning the relationships of a community of lesbian Los Angelenos, turned heads with its smart, funny writing and fully realized characters. Season Two offers more of the same, with some notable guest stars and experiments in narrative and music. This season, Jenny (Mia Kirshner) fully embraces her sexuality as her ex-husband/roomie (Eric Mabius) departs and voyeuristic documentary filmmaker Mark (Eric Lively) and womanchaser Shane (Katherine Moennig) move in. Shane and Jenny struggle good-heartedly over the affections of new character Carmen (Sarah Shahi), who isn't given much to do plot-wise apart from occasionally spinning records and serving as one corner of the love triangle. Bette (Jennifer Beals) and Tina (Laurel Holloman) start the season on the rocks due to Bette's infidelity; the introduction of the one-dimensionally nasty Helena Peabody (Rachel Shelley) causes further friction between Bette and Tina while playing havoc with Bette's curatorial career. Meanwhile, Dana (Erin Daniels) and Alice (Leisha Hailey) go from being best friends to being a whole lot more, providing some of the most touching scenes of the season. Kit (Pam Grier) takes on The Planet, the seeming center of LA's lesbian universe, converting it into a nightclub where, conveniently, guest-starring bands can play. Strong points of the season include Bette and Kit confronting the death of their father (the superb Ossie Davis) and Shane's new job as a gopher for a high-powered Hollywood producer (the equally superb Camryn Manheim). Less strong are the distracting, neo-expressionistic passages meant to be glimpses into Jenny's creative mind and the interminable use of the series' theme song--re-interpreted in a number of genres--to the point of distraction. Mark's voyeurism, which crosses all sorts of boundaries as he installs hidden cameras around the house, is a brilliant way to challenge male viewers who may tune in just to TiVo their way to the sex scenes. That said, the arc of that particular story grows increasingly far-fetched as Mark somehow avoids criminal prosecution and instead endures the horrible fate of having Jenny refuse his offer of coffee and a muffin. Despite its flaws, The L Word is a show that deserves to be cheered on, not for its politics, but for the skillful way it conveys complex human entanglements with sensitivity. --Ryan Boudinot

The L Word – The Complete First Season

Lesbian Film — Tue, 06 Jul 2010 00:28:09 +0000

This is how it all started — the lesbian cable TV series that took the world by storm. Showtime took a chance that just maybe, if they put time and money into a series about gay women, it might have an audience. Obviously it paid off big time.

Four years after Showtime made gay men the focus of its original series Queer as Folk, it was time for a little turnabout with The LÂ Word (bad title, great show). Centering around a tight-knit group of lesbians in Los Angeles, this drama was far removed from its working-class male counterpart in both style and content. While the men of QAF enjoyed a fabulous if melodramatic life on the middle-class streets of Pittsburgh, the women of The LÂ Word lived it up in sunny California, with gorgeous houses, glamorous careers, and sexy wardrobes. Ironically, though, The LÂ Word adhered more to the everyday drama of ensemble shows like thirtysomething than the soap opera antics of QAF, and the results were surprisingly heartfelt and effective, appropriately stylish but never over the top. There was plenty of room for titillation, but creator Ilene Chaiken fashioned from the start a show centered on characters and not just sex, aiming for the heart rather than... well, other places. The LÂ Word focused primarily on committed couple Bette (Jennifer Beals) and Tina (Laurel Holloman), a former power-career duo who've decided to have a baby; however, artificial insemination and the changing dynamics of their relationship throw their previously happy existence off-kilter. Within their orbit are spunky journalist Alice (Leisha Hailey), sultry hairdresser Shane (Katherine Moenning), closeted pro tennis player Dana (Erin Daniels), and espresso bar owner Marina (Karina Lombard) who, in the show's most polarizing storyline, bedded the seemingly straight Jenny (Mia Kirschner) and shook up her heterosexual world. Jenny's am-I-straight-or-not? kvetching frustrated both her fiancÃ© (Eric Mabius) and many viewers, who were alternately irritated and intrigued by her inability to decide one way or the other. But Jenny's weakness was part of The LÂ Word's strength: in exploring many sides of many issues, both domestic and political, it never came up with an easy answer for any of them, making the show all that more fascinating--and compulsively watchable. --Mark Englehart

Robin’s Hood

Lesbian Film — Mon, 05 Jul 2010 15:47:44 +0000

Robin, a disillusioned social worker, and her girlfriend/bank robber, Brooklyn, present a modern take on stealing from the rich and giving to the poor. Set in Oakland, CA.


A Whirlwind of Love, Robbery and Philanthropy. A hip-hop rework of the classic rob from the rich give to the poor fable! A lesbian 'Bonnie & Clyde'.an enterprising first feature. -Dennis Harvey, Variety.

Ellen DeGeneres – Here and Now

Lesbian Film — Mon, 05 Jul 2010 10:19:31 +0000

It’s America’s favorite lesbian in her very own HBO special. Everyone from house-fraus to post-feminist rebel Grrrls watch and love Ellen DeGeneres. You can catch her Here and Now show on DVD here and, er, now.

With a loose, free-associative flow, Ellen DeGeneres glides through her 2003 HBO special, Here and Now. In just the first 10 minutes she touches on procrastination, new paint colors, television commercials, and mental disorders--topics that fit into the show's subtitle, Modern Life and Other Inconveniences. By the end, she's also spun out sneaky jokes about cell phones, memory loss, elevators, vocal inflections, pickle jars, and social embarrassment. Her genius is that she never seems like a genius; on the contrary, DeGeneres seems like your next door neighbor pointing out the obvious, yet somehow an hour whizzes by in complete enjoyment. It's peerless observational humor--nothing groundbreaking or piercingly satirical, but simply fun. --Bret Fetzer

2 Seconds

Lesbian Film — Mon, 05 Jul 2010 04:28:58 +0000

2 Seconds is about Laurie, a woman who is kicked off her downhill mountain bike racing team. She moves to Montreal and develops a contentious friendship with a grumpy ex-cycling champion who now builds bikes. This is a well-received character driven story.


With her dreamy eyes and crew-cut, the stunning Charlotte Laurier is entrancing as Laurie, the 28 year-old lesbian bike messenger. This immensely pleasurable, fast-paced comedy tells of an unlikely friendship (between scrappy young Laurie and an old Italian cycling champion) and is truly one of the greatest bike movies you'll ever see.

When Night Is Falling

Lesbian Film — Mon, 05 Jul 2010 04:19:00 +0000

Conservative Christian college teacher Camille meets unrestrained circus performer, Petra. The women fall in love, and Camille must decide between marrying her longtime boyfriend and becoming co-chaplain of the college, or running off to join the circus and being with Petra.

When Night is Falling has dreamlike, sensual imagery and overly obvious religious and moral conflicts. This combination doesn’t make for a strong film, but it does have very strong and enthusiastic supporters. Women either rave about this film for its raw, sensual beauty and passion, or it leaves them cold and complaining about the disjointed story and unintentionally humorous dialogue.

Throughout Patricia Rozemaâ��s third film, conservatives tangle with liberals, men with women, and heterosexuals with those of more fluid sexual persuasions. Surface tension aside, When Night Is Falling feels more personal than political. Camille (Pascale BussiÃ¨res) teaches mythology at a Christian college in Toronto. Her fiancÃ©, Martin (Henry Czerny, Clear and Present Danger), is a fellow theologian. Their superior, Reverend DeBoer (David Fox, The Saddest Music in the World), encourages them to marry. When Camilleâ��s dog dies, she neglects to inform Martin. At a laundromat, she meets Petra (Rachael Crawford), a circus performer, who offers support. She also leaves her card, so Camille seeks her out, but when Petra makes a pass, she flees. Petra tries again, so Camille talks her into being friends, but mutual attraction proves too strong to resist. A simplistic reading suggests that the death of a pet can lead to experimentation, except Rozema (Iâ��ve Heard the Mermaids Singing) aims for a metaphorical reading rather than a literal one. Though the narrative isn't autobiographical, she also attended a Calvinist institution (the same one as writer/director Paul Schrader). It's a testament to her skill that the film feels so fresh, since the storyline echoes Lianna (the academic milieu) and anticipates Tipping the Velvet (the circus angle). It's also one of the more quotable same-sex love stories of the 1990s. As Martin tells Camille, "Maybe you can imagine more intoxicating options. That's okay--that's what imagination's for." To Rozema's heroine, however, fulfillment is for experiencing, not imagining. --Kathleen C. Fennessy

Boys Don’t Cry

Lesbian Film — Mon, 05 Jul 2010 03:45:09 +0000

The true story of Brandon Teena’s life and death in Nebraska. Teena changed his name from Teena Brandon to Brandon Teena, moved to a new town where he lived as a charismatic and well-liked young man. Fateful events revealed his secret and lead to a brutal and tragic slaying at the hands of his newfound friends. Gut-wrenching Oscar-winning performance from Hilary Swank.

When Brandon Teena, a young man with an infectious, aw-shucks grin and an angelic face that's all angles, wanders into Falls City, Nebraska, he takes to the town like it's a second skin. In little time he's fallen in with a gang of goofy if temperamental redneck boys, found himself a girlfriend, and befriended enough people to form something of a small family. In fact, it's the best time Brandon's ever had. However, there are shadows looming over Brandon's life: a court date for grand theft auto, a checkered criminal record, and a seemingly innocuous speeding ticket that could prove to be his undoing. Why? Because as it turns out, Brandon Teena is actually Teena Brandon, a woman masquerading as a man. This fascinating story was based on real-life events (as documented in The Brandon Teena Story) that occurred in 1993 and ended in tragedy: Brandon's rape and murder by two of his supposed friends. Despite this horrible outcome, however, in the hands of director Kimberly Peirce (who cowrote the unfettered screenplay with Andy Bienen), Brandon's story becomes not oppressive or preachy, but rather oddly and touchingly transcendent, anchored by Hilary Swank's phenomenal, unsentimental performance. Swank inhabits Brandon's contradictions and passions with a natural vitality most actresses would refuse to give themselves over to. Brandon's deception is doomed from the start, but Swank's enthusiasm is infectious, and when Brandon starts romancing the sloe-eyed Lana (a pitch-perfect ChloÃ« Sevigny), he finds a soul mate who wants to transcend boundaries and fated identities as much as he does. The last part of the film, when Brandon's true identity is discovered, is truly painful to watch, but in between the agony there are touching moments of sweetness between Brandon and Lana, who wrestles with the truth of who Brandon actually is. You'll come away from Boys Don't Cry with affection and respect for Brandon, not pity. --Mark Englehart