Queer.Horror.Movies

The curated portfolio of film journalist Joe Lipsett

Horror Queer Posts

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My writing partner, Trace Thurman, and I write biweekly editorials for Bloody Disgusting entitled “Horror Queers“. The series focuses on films with LGBTQ themes, a high camp quotient or both.

Thus far the editorials have tackled the following films:

  •  Dead Silence
  • Nightmare on Elm Street 2: Freddy’s Revenge
  • Rabid Grannies
  • Ticked-Off Trannies with Knives
  • Urban Legend
  • Thelma
  • Sliver
  • Rift
  • Sorority Row
  • Hellbent
  • Anaconda
  • Closet Monster
  • I Know What You Did Last Summer
  • The Hunger
  • The Brotherhood / The Covenant
  • Insidious: Chapter 2
  • The Skin I Live In

[Review] ‘A Moment In The Reeds’ Is A Lush, Evocative Romance

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Janne Puustinen, Boodi Kabbani

It appears that at least once a year, LGBTQ-hungry audiences are being gifted with a quiet, introspective gay love story that delivers both the romance, the passion and the geography porn. It truly is a marvelous time to be alive.

Following in the footsteps of Brokeback Mountain, Call Me By Your Name and – most closely – God’s Own Country, writer / director Mikko Makela’s debut feature film is the latest entry in a recent trend of gay art cinema films that chronicles a forbidden romantic relationship between two men from different backgrounds.

In this case, it’s Finnish graduate student Leevi (Janne Puustinen) – back home for a long weekend from his studies in Paris, France to help his father, Jouko (Mika Melender), fix up the family’s lakeside cottage for sale – and Syrian refugee, Tareq (Boodi Kabbani) who is brought on as a handy man. Almost immediately the men are forced together because Tareq does not speak Finnish and Jouko’s command of English doesn’t extend beyond polite chit-chat, meaning that Leevi must act as translator. He’s also required to be the mediator, explaining Tareq’s frustration to his father because the refugee is unable to procure better work despite his expertise as an Architect; Leevi is also negotiating his father’s volatile xenophobia, which adds an additional layer of complication to their already strained familial relationship.

The tension eases up when Jouko is called away overnight on business and the pair of younger men are left getting to know each other. Makela wisely takes his time developing their relationship: for the better part of their dockside chat, their discussion in the sauna, their romp in the lake and finally their nighttime drinking on the porch, the topics are shallow and general. In fact there’s barely any sense of a romantic connection; these are guarded men circling the wagons. Still, a few lingering glances from one when the other isn’t looking serves to build anticipation and by the time the pair finally lock eyes in a knowing fashion at night’s end, both the characters and the audience are ready to put an end to the slow burn and get down to action.

Makela expertly employs a handheld style, as well as tight framing and slightly disjointed editing to convey the impassioned intimacy of their first sexual encounter. Leevi and Tareq’s coupling has a hungry, desperate vibe; the scene teeters somewhere between graphic and carnal and Makela’s script allows it to play out longer than usual before cutting to the next morning. From this point on the connection between the men shifts and their interactions, both verbal and physical, are more charged, sexualized and meaningful. Conversation about the weather is replaced by startlingly frank revelations about Tareq’s double life in Syria and his flight to Finland, as well as Leevi’s memories of his deceased painter mother and his uncertainty about love following a prior relationship back in Paris.

Janne Puustinen, Boodi Kabbani

A Moment In The Reeds spells out its central conflict in its title: this is a film that traffics in a fleeting fantasy. The reintroduction of Jouko and the realities of the external world quickly threaten to upend the romantic connection between the new lovers. In this way, comparisons to God’s Own Country are certainly apt and unavoidable, particularly the gorgeous, empty countryside playing host to forbidden desire and brooding spectacle.

The natural beauty is amplified by Makela’s exquisite direction and the naturalistic performances by the two leads. Puustinen and Kabbani wisely underplay their attraction until the men act on their desires, at which point their sexual chemistry and affection comes on strong. Although I’m not in favour of a requirement to hire LGBTQ actors to play queer characters, the ease with which the two men interact, particularly in the sex scenes, belies a comfort by the real life gay actors that is absent in other projects.

The film is not without criticism. Despite all of the groundwork laid in advance, the ending of the film feels sudden and abrupt, which won’t satisfy fans of the film’s otherwise languid pace. Narrative-focused audiences, meanwhile, may find that their attention drifts: this is a simple, straightforward story about a brief, fleeting encounter between two men. At one point Tarek mentions “a fantasy experience” and that’s what the film is for the majority of its runtime, for better or for worse.

Still, the political and social framework of the two men’s backstories is relatable and/or extremely topical. Leevi’s story is familial: he’s working through a communication rift between him and his estranged father and other unresolved issues in the wake of his mother’s passing. Tarek’s story is more global: he’s an immigrant recovering from the experience of being closeted in a country that’s hostile to the LGBTQ community at the same time as he struggles to establish a new life in a place where he doesn’t speak the language and can’t practice his own profession.

Both Leevi and Tareq are hungry – nay starving – for intimacy and someone who will listen to them (sexually, romantically, and emotionally). Considering how memorable and impassioned Mikko Makela’s film is, audiences may find themselves devouring A Moment In The Reeds with similar enthusiasm. It’s a strong contender for queer film of the year.

4/5

[Review] RALPH BREAKS THE INTERNET Is Solid Family Fun

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In both the real world and the filmic world, six years have passed between adventures for Wreck It Ralph‘s titular character (John C. Reilly) and his pint-sized bestie, Vanellope (Sarah Silverman). It hardly matters whether viewers retain any specifics about the duo’s first outing; although Ralph offers a brief recap, audiences need only recall that friendship is the defining aspect of their relationship, so much so that Vanellope had the words “You’re My Hero” emblazoned on a commemorative medal that Ralph wears around his neck.

In the years since their 2012 adventure, stagnant repetition has set in. For Ralph, the reliability and consistency of the same daily sequence of events is ideal; for Vanellope, however, the appeal has worn off. In an effort to give his bestie an exciting experience, Ralph crafts a new race track in her arcade game Sugar Rush. Unfortunately Vanellope’s agency conflicts with the desire of the human girl playing the game and in the resulting chaos, the game’s steering wheel is broken. A quick Internet search reveals that the one-of-a-kind item is only available on eBay for a costly sum that the store’s owner Mr. Litwak (Ed O’Neill) is unwilling to pay. With the threat of homelessness looming, Ralph and Vanellope must venture into the unknown realm known as the Internet in order to procure the wheel and restore Sugar Rush before Litwak sells the game for scrap.

This new adventure, written by Phil Johnston and Pamela Ribon and co-directed by Johnston and Rich Moore, opens up even more storytelling possibilities than the limited arcade game setting of the first film. Just like many of the Pixar films, adults will no doubt appreciate the (corporate branding) comedy more than kids, but for the most part Ralph Breaks The Internet remains firmly entrenched in family friendly territory.

The candy coloured world of the Internet is visually represented by an endless skyscraper city populated by squat, square headed avatars of people (if you squint, they kind of resemble Funko Pops). Companies are embodied by their logos or obvious visual signifiers (a warehouse of auction items for eBay, a large tree full of little blue birds for Twitter, an enormous pin for Pinterest, etc). One of the strangest elements is the intermingling of both real and fictitious companies; aforementioned Pinterest gets a major plug in the film’s climactic set piece while made-up company BuzzzTube, a combination of Instagram and YouTube, dominates the film’s narrative.

The largesse of the internet allows the production to greatly expand both its narrative and its satirical targets. After their eBay bid for the Sugar Rush wheel goes disastrously wrong, leaving them with an outstanding bill of nearly $28K, Ralph and Vanellope must find a quick way to drum up some cash. Their attempts to do so drives the remainder of the film, which takes aim at spam ads, personality quizzes, product placement, viruses, memes, gaming and, yes, even trolls. How well some of this content will age is uncertain (were bee puns really a thing…or will they become a thing?), but for the most part the observations on Internet culture are on point, even if they hue a little simplistic and obvious.

 

Along the way Ralph and Vanellope encounter a diverse range of vibrant characters, including BuzzzTube analytics maestro Yesss (Taraji P. Henson – clearly having a ball), Dark Web underlord Double Dan (Alfred Molina) and independent search engine Mr. KnowsMore (Alan Tudyk). The most significant character is racer Shank (Gal Gadot), a confident, independent leader of a Grand Theft Auto-inspired racing game called Slaughter Race who prompts Vanellope to reconsider her life goals, thereby widening the rift between the little girl and Ralph.

At 112 minutes, Ralph Breaks The Internet is a smidge too long. By the time that the third act conflict has escalated to a crisis of friendship, things feel ready to wrap up. Unfortunately this is when the film’s Checkov title comes into play and Ralph goes into action overdrive, which includes an extended chase sequence and homage to a giant classical Hollywood ape that hits the necessary, albeit familiar character beats that children’s films tend to focus on.

Thankfully the conclusion features the return of the film’s secret weapon: the Disney princesses (Anna and Elsa, Ariel, Aurora, Belle, Cinderella, Jasmine, Moana, Mulan, Pocahontas, Snow White, and Tiana — all voiced by the original performers, save Snow White). The revisionist interpretation of these classic characters may evoke comparisons to later Shrek films, but Johnston and Ribon are savvy in their discrete, smart use of the Mouse House’s invaluable properties. The fact that these characters provide some of the films greatest laughs doesn’t hurt, either.

Overall, Ralph Breaks The Internet is solid family entertainment with wide appeal to both kids and parents. The film’s perspective on the Internet is a little simplistic and familiar, but it is also visually dazzling and often quite humourous.  As expected Ralph is at its best when it focuses on universal themes of friendship and growing up, both of which are handled in heartfelt and surprisingly mature ways. In a world that frequently feels constructed on doom and gloom narratives, an endearing story about the value and importance of friendship feels both timely and welcome.

VOD Review: The Forest Of Lost Souls Is A Simple, But Effective Thriller

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The most notable element of writer/director José Pedro Lopes’ The Forest of Lost Souls (A Floresta das Almas Perdidas) is that it is filmed in gorgeous black and white. It proves to be little more than an attractive stylistic choice than anything; this first feature is relatively straightforward. What the film lacks in substance, however, it more than makes up for in ruthless efficiency. It is a surprisingly cruel film, which is an inherent part of its charm.

The pre-credits sequence is silent save for a voice-over passage about grief. The images of a distraught looking woman wandering about a woods before finally succumbing in a frigid-looking lake are haunting. Following the title card, Pedro Lopes introduces two strangers, Ricardo Alves (Jorge Mota) and Carolina (Daniela Love), who happen upon each other in a notorious suicide forest located somewhere between Portugal and Spain. Ricardo is grief-stricken following the suicide of his daughter, Irene (Lilia Lopes) from the opener, though he doesn’t appear entirely sure about his decision to end his life. By comparison, teenager Carolina seems much more committed; she’s so organized that she has already prepared her video suicide note and concocted an alibi involving a music concert with spotty cell coverage to ensure that she’s not discovered.

As Ricardo and Carolina wander around the forest, gazing at the possessions that other suicides have left behind, they learn more about each other’s lives. Carolina’s demeanour reminds Ricardo of his remaining daughter Filipa (Mafalda Banquart), whom he claims to have failed, along with his wife Joana (Ligia Roque). His regret prompts him to try and change her mind, pleading with Carolina to give her absent father another chance.

There’s something affectionate and familial about their dialogue, but also something sinister. At times their interactions play off their age difference and difference in temperament, but there is always an underlying tension. When they finally reach the lake when Irene drowned herself, the hint of malice is confirmed in a sudden outburst of violence and one of the pair is revealed to be a killer who preys on the vulnerable and despondent.

There is more to The Forest of Lost Souls, but to say more would be to spoil the reminder of the film. It’s not a particularly complicated film and, at a brisk 71 minutes, it doesn’t overstay its welcome. The abbreviated run time and short ~one day duration of the narrative means that characters, particularly those introduced in the second half of the film, are not very fleshed out, but what The Forest of Lost Souls loses in deep characterization it makes up for in brutal efficiency. The kills are swift and painful (albeit not particularly gory or scary).

The lack of frights is a bit of a deficiency, particularly since the film doesn’t have characters for audience to invest in. Still, the solid production values (particularly the picturesque forest scenes), brief run time and solid thrills make The Forest of Lost Souls a quick and enjoyable watch.

3/5

Friday The 13th The Series Rewatch: S01E22 – “It’s So Cold. Cold And Dead”

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Welcome to the Friday The 13th The Series rewatch. Each day throughout October, we’ll watch one episode of the seminal 1987 television series and tackle the highs, the lows and Micki’s hair (of course). Now step into Curious Goods and peruse our cursed antiques, won’t you?

S01E022: “The Pirate’s Promise”

Wikipedia Plot Summary: Ryan (John D. LeMay) and Micki (Louise Robey) visit a small seaside town which is haunted by the ghost of a murderous, long-dead pirate

  • Director: Bill Corcoran wound up directing a number of episodes of 21 Jump Street and Wiseguy
  • Writer: Carl Binder writes the first of many Friday episodes
  • Famous Guest Star: Like several others, Cedric Smith is well known for his role on Avonlea

The foghorn of doom

Cursed Antique of the Week: A foghorn that summons the murderous spirit of a pirate that trades his treasure for the lives of the descendants of his mutinous crew

Setting: Whaler’s Point, a town founded by pirates who became whalers

Best Death: None of them are particularly exciting, so I guess we’ll go with Fenton (Smith)’s hook to the chest

Quirkiest Add-On: Fenton and Dewey (Thomas Hauff) are revealed to be secret brothers, which is some straight up soap opera shit

Character Bits: This is the first Jack (Chris Wiggins)-free episode since “Scarecrow”

Corny Finish Line: There is no spoken dialogue; just the sound of the foghorn laid out over the image of a full pirate ship on a sea of fog, which is pretty on-the-nose

80s Fashion Closet: Ryan wears a thematically appropriate anchor sweater that is actually kind of fashionable. Less fashionable: Micki’s giant hoop earrings and corset at the end of the episode

Kissing Cousins Incest Watch: Do you think that when the cousins make their way upstairs at episode’s end, they’re going to…Oh never mind

Angus McBride looks ok

What Works…

Ugh – nothing. This episode is a total snore. I mean, at least neither Micki or Ryan winds up being the missing ancestor so we don’t have to deal with them being in any real danger.

Ok, and Angus McBride’s make-up/mask is kinda fun, albeit in a very “dollar store Halloween” kinda way.

Maximum fodder, limited interest

What Doesn’t Work…

If the last episode used all of the collective tropes to deliver one of the series’ best instalments, then this one exemplifies all of its weaknesses. There’s simply nothing interesting happening here. The villain is identified at the very start, a bunch of randoms we have no interest or investment in are murdered and the explanation for what is happening is evident from very early on (and then frequently repeated ad nauseum). This means that the majority of the episode is spent simply watching Ryan and Micki (and to a lesser extent Dewey) stumble their way through a dull, predictable investigation. We’re talking lots of books. Like lots and lots and LOTS of books.

It doesn’t help that there is no way not to compare this episode to the film that so clearly inspired it: John Carpenter’s The Fog. And while that film has its own share of narrative issues, it at least has a great score, great special effects and a host of engaging actors to prop it up (Adrienne Barbeau’s radio DJ is too sultry for words). In comparison, this episode has a bunch of white dudes and a really fake looking cave for Ryan to stumble into.

Oopsie!

Stream of Consciousness Musings

  • The number of people who are casually murdered on a date in this show should inspire any single person to remain celibate for the rest of their lives
  • Dewey says Whaler’s Point is “…just a little town up the coast” to which Micki replies: “Well that doesn’t sound too far.” Huh? It could be ANYWHERE with that description!
  • When Micki fails to distract Fenton while Ryan investigates the lighthouse for the foghorn, Ryan naturally winds up hanging off the ledge as Fenton wanders around above him. This makes no sense because Fenton would FOR SURE see Ryan’s fingertips
  • The middle section of the episode really drags, save from Barney (Bernard Behrens) getting an axe to the back of the head, which is expected but still kind of cool
  • Micki kicking the door to the lighthouse in frustration is surprisingly enjoyable
  • Of all of the items that Fenton could attack someone with, he chooses a sword?
  • As expected, Dewey gets the sharp end of the pointy sword…although it sticks out of his back at a much lower angle than I would have expected. Did Fenton stab him in the groin?
  • Why does the ghost of McBride attack Ryan in the caves? This is never really explained
  • Micki delivers yet more exposition to Ryan about Fenton’s use of the foghorn to summon McBride. No shit, WE ALREADY KNOW THIS
  • “I already killed 12 people!” Lol. This line by Fenton shouldn’t have made me laugh, but it’s delivered so indignantly. Like, how many more people must he murder before he gets his bounty!
  • Oh shocker, Fenton is the final descendant. Snooooooze
  • The bit where McBride summons Fenton to him and impales him with a hook is satisfying, but bloodless. Why are some episodes so light on FX when others are a goldmine?
  • Why is Micki so distraught by Dewey’s death? I don’t get it. Just because he cared about Barney and saved her life? This is true of half of the episodes for crying out loud
  • Oh my god, even in the coda we’re still delivering exposition about why Fenton was killed. Ugh this episode draaaags

See you back here tomorrow for Friday The 13th The Series episode 23: “Badge of Honor”

Friday The 13th The Series Rewatch: S01E21 – “Anyone Who Comes Near Us Dies”

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Welcome to the Friday The 13th The Series rewatch. Each day throughout October, we’ll watch one episode of the seminal 1987 television series and tackle the highs, the lows and Micki’s hair (of course). Now step into Curious Goods and peruse our cursed antiques, won’t you?

S01E021: “Double Exposure”

Wikipedia Plot Summary: Ryan (John D. LeMay) sees famous television newscaster Winston Knight (Gary Frank) hack someone to death with a machete at the same time he was on the air live.

  • Director: Newcomer Neill Fearnley directs the first of two Friday episodes
  • Writer: Oh dear, “The Poison Pen” and “The Great Montarro” writer Durnford King returns for his final episode
  • Famous Guest Star: By this time, Frank has appeared on several episodes of Remington Steele while Catherine Disher would go on to a starring role in Canadian genre TV classic Forever Knight

Old timey camera

Cursed Antique of the Week: A camera that produces a murderous double of the person whose picture was taken. The original will die if the negative isn’t destroyed in five hours

Setting: Winston Knight’s apartment / Curious Goods

Best Death: Despite appearing offscreen, Cathy (Disher)’s “the killer is in the house” murder is easily one of the most terrifying deaths on the series so far

Quirkiest Add-On: In his desperation to recover the negative, Knight creates a duplicate Jack (Chris Wiggins) to do his bidding

Character Bits: Judging from Ryan’s repeated insistence about getting into Cathy’s apartment, he’s definitely still a virgin

Corny Finish Line: Not unlike “Brain Drain“, the episode ends on a downer note as Ryan hears one of his last conversations with Cathy play out while staring at her picture

80s Fashion Closet: Micki (Louise Robey) wears a black turtleneck mini, a three-quarter button up jacket and a matching motherfucking bodice. It looks SO RIDICULOUS

Kissing Cousins Incest Watch: Since Ryan is too busy crushing on someone else and Micki isn’t acting completely irrational (like she did in “The Quilt Of Hathor 1 & 2“), there are very few incest vibes in this episode

Machete fight!

What Works…

Friday the 13th is giving me whiplash. One episode is lacklustre, and the next is excellent. The show’s quality is all over the map, but I am happy to report that “Double Exposure” is definitely one of the best.

Part of my appreciation of this is undoubtedly personal: I like mad scientists, doubles and slashers, so this episode is checking all of my boxes. What’s fascinating is that most of the best material in the episode isn’t new territory for the series, but when it is smartly packaged, well-written and tied into the development of our core cast, it works like a charm.

Among the best features of “Double Exposure” is the examination of the camera/photograph as a reproduction that is inferior to the original. There are cameras (and images) scattered throughout the episode, including the picture that Ryan and Cathy take on their last date, the cameras that confirm Knight’s alibi in the television studio and, of course, the cursed camera that literally reproduces a subpar copy of the original. “Double Exposure” reinforces that all of these doubles are inferior copies over its 45 minute runtime. The live feed of Knight doesn’t actually prove he isn’t a killer, his double Knight 2.0 is a mindless somnabulist that can’t have its own life and, sadly, Ryan and Cathy’s picture only confirms her absence after she is killed. This is surprisingly deep material for the series.

Of course none of this would work if all of the other technical cylinders weren’t firing. The gooey vat that the doubles come out of harkens back to classic monster movies (with a touch of Re-Animator) and creating a Jack double for a machete fight in the climax is inspired. Throw in two standout supporting turns from Frank (solid) and Disher (charming and memorable) and “Double Exposure” is an episode I definitely won’t forget after five hours.

The ultimate hot flash

What Doesn’t Work…

It’s mostly a minor quibble, but I’ll confess that Jack and Micki’s initial disbelief of Ryan frustrated me. At this point in the series, it’s unbelievable that they wouldn’t trust each other about anything remotely supernatural considering it is literally their raison d’être.

Cathy’s murder is among the best the series has ever done

Stream of Consciousness Musings

  • I’ll admit that I thought the villain was going to be an amphibian based on the hand that first came out of the goo
  • Still don’t care for the way the show randomly introduces new characters like they’ve always been there (see “Brain Drain” and “A Cup Of Time“). At least we’re provided context for how Ryan and Cathy met
  • Not only does Ryan try to invite himself in to Cathy’s place, he brings up the fact that she wouldn’t let him later when he’s being questioned by Detective Duncan (Tony De Santis)! Newsflash Ryan: Cathy doesn’t owe you sex because you went on a date, you dumb horny virgin!
  • The slow-motion machete attack in the alley is the first indicator that this episode is going to be solid
  • The special effects for the doppelgänger death are a little odd: initially it looks like Knight 2.0 is bleeding to death, then he turns to charr like the negative
  • Direct from my notes: “Detective Duncan provides Ryan’s name to Knight, confirming that Duncan is, in fact, the stupidest cop on the force”
  • Ryan apologizes to Cathy for “dragging her into all of this” so she’s pretty much guaranteed to die at that point
  • In case you wondered: Ryan is a boxers man
  • The nightmare sequence when Ryan is attacked through the TV in slow motion is really good. It gave me a touch of A Nightmare On Elm Street 3 and a dash of Videodrome
  • Knight puts on a good show when Ryan and Cathy visit his apartment. Maybe he should have been an actor instead of a news anchor?
  • It’s hard not to blame Cathy for her own death. If she is dumb enough to go home in spite of the knowledge that she left her purse at Knight’s house and then she calls Ryan instead of the police, well she kinda deserves to die
  • The sequence when Knight 2.0 turns on the TV while Cathy is recording her message to Ryan is shiver-inducing. It’s a quintessential slasher moment. As soon as we know that the killer is already in the house, you know she’s a goner.
  • Also: didn’t she see Halloween? Don’t hide in a flimsy closet!
  • I’m pretty sure that random strangers like Jack and Ryan aren’t allowed to just burst into a crime scene
  • Detective Vincent wants a statement from Ryan, who is crying profusely, and Jack shuts it down. Good job Jack
  • Probably should have anticipated that someone would be duplicated, but I didn’t. So it’s a fun surprise when Jack 2.0 shows up
  • Knight thinks that he’s going to win a Pulitzer Prize for catching the Machete Killer? Lol. Dude, get real
  • Argument for a standalone episode where we follow Knight’s producer Phil (Dennis O’Connor) as he is charged for agreeing to wait to call the cops outside of Curious Goods
  • Ryan realizing that Jack is a duplicate because he doesn’t know the cursed antique can’t be destroyed is good continuity
  • My absolute favourite moment of the episode is the freaking MACHETE FIGHT! Bonus points for the moment when Knight 2.0 cuts Jack 2.0 and the watery goo pours out of his wounds
  • Sidebar: Jack 2.0 has a machete, and Knight 2.0 has a machete. Is Knight (original flavour) getting them wholesale or something?
  • Does the fact that Knight meets his duplicate, then disappears in plain sight, then Knight 2.0 dies on camera mean that everyone now knows that the supernatural is real? (Yes, that’s rhetorical because I don’t expect it to happen)
  • I disagree with Jack’s claim that if Knight 2.0 had lived, he would have used the camera to continue making duplicates. There’s absolutely no evidence to support this claim
  • Sad Ryan realizes that the three of them are the cursed ones (which, duh!). The real question is whether he is legitimately upset or if he just wistfully realizes that he’s no closer to getting laid?

See you back here tomorrow for Friday The 13th The Series episode 22: “The Pirate’s Promise”