Movie Review: "Upstairs Inferno"

With a deep pool of interview subjects, and a strong sense of right and wrong, Upstairs Inferno does more in 90 minutes to elicit empathy for a community of people than the city of New Orleans did in 40 years. It's astonishing, quite frankly, the level of ignorance and vitriol that came from city and church officials in the wake of the worst gay mass murder in U.S. history. In NOLA, of all places. On the edge of the French Quarter. Amazing how lifestyles are "accepted" until they have to be publicly "acknowledged". Replace lifestyles with humans in that sentence - that's an additional tragedy.

Movie Review: "The Wolfpack"

It's been argued often that the Batman depicted in the Christopher Nolan films isn't, himself, deserving of much admiration. A wealthy playboy who beats on people of unfortunate circumstance doesn't sit well with those who dwell. Maintaining the very status quo his fans think he's against. This problem has been addressed in other comic book movies like Dredd (and beautifully so), but not so much in The Dark Knight Trilogy. This most recent incarnation of Batman wasn't really hung up on flaws in his character, but rather larger scale moral questions of right and wrong, answers to which leaned toward ambiguous and conservative.

Movie Review: "Below Dreams"

Joel Potrykus' Buzzard might be the best commentary on and representation of the post #OWS generation of slackers / slacktivists. The lead character Marty scavenges and scrounges around his domain and that of others, scamming and stealing anything and everything with a misguided and misinterpreted sense of entitlement. You COULD pull some kind of conservative Republican message from the film - just blame the rich for all of your problems, why don'tcha - IF it all weren't a self criticism with a humorous and protective bent. We're self absorbed and going nowhere but DAMMIT we are who we are! Then again, that could also be taken as a depressing and dangerous self assessment of our own worth...

... not that "our" covers ALL of "us"...

Movie Review: "The Human Centipede 3 (Final Sequence)"

"I castrated him myself!"

"Yes sir; we're all aware."

I suppose Tom Six should feel proud for achieving what he has with the Human Centipede series. From, let's say "humble", beginnings - a simple b-movie body horror tale with a horrific (and creative) premise - Six gained obscure pop culture recognition for a gimmick that makes everyone gag just a little. Someone like myself who is grossed out by toilet bowl selfies, being sewn mouth to anus is pretty unsettling. And a little funny, too. I had a great time watching the first movie in the theater, with an audience giggling along the way.

The sequel, (Full Sequence), was a joyless affair of self commentary, pointing a finger at his audience by taking things to the next level of disturbance. If the first movie was Drive, consider this to be Only God Forgives. The follow up nobody expected or wanted; I suppose Tom Six deserves applause for that.

I suppose much about Tom Six, but, he might just suppose less of himself.

Movie Review: "Good Kill"

"Drones aren't going anywhere. In fact, they're going everywhere."

At the heart of Good Kill is the above line of dialogue, said by an Air Force commander to newly stationed personnel, in a depressingly matter of fact manner. It's a lament for sure, but more in the vein of a Wal Mart manager who slightly disagrees with superior decisions, but goes along anyways for the sake of their career. We see this commander drink liquor at his desk - an act which may be more widespread in military bases than most would think. How the hell else do you get through this job?

And, never forget, it is a job. This fact is presented as a mentality and loose justification for the events in the film. You go along withhorrific and morally grey acts because "it's your job". When that excuse doesn't work, you're told if you don't kill them, they'll kill you. Or 9/11. Or Murica. Or all of the above. Where's the scotch?

Andrew Niccol, director of greater movies that force us all to question things like Gattaca and Lord of War, attempts a return to form after such anomalies as In Time and The Host. I can't explain what happened during those years, but he seems to have lost an edge. Or rather, mistaken his previous edge for a current anger.

Ethan Hawke leads a small crew of Air Force pilots who, based on the outskirts of Las Vegas, control weaponized drones over the Middle East. In between investigations and semi controlled kills, they talk and bicker about the politics and morals of what they're doing. For them, a joystick that helps to unleash fire from the sky is their water cooler. And their talk? Well, it's awfully straight forward and rarely well thought out. Basically, it does approximate water cooler conversation.

When the team starts getting missions from an unnamed CIA official - the clone of Snidely Whiplash - via speakerphone, the office chat only ramps up, as does the kill count. They throw around sarcasm when given a war crime like task, as it seems to be the only defense they have.  When we see the result of their strikes, it's eerily quiet. We're hearing what the team is hearing. After months of doing this, it must start to feel like a dream than a game.

By the time we meet our "hero", he's already burnt out and depressed, beginning to drink himself into a coma and on the verge of a divorce. It's not really the authorized off the books murder that's getting to him, but the disassociation of it all. I think he can still feel, but would rather feel more. Deployment was better, he suggests. To be deployed is what he wants. Face to face judgment, I suppose.

In the end, Hawke commits two righteous acts that can be said to be both the fault of those above him and dangerously ambiguous as to the message of the movie. He essentially becomes a full blown product of this system of war - a drone of his own maybe - taking it upon himself to execute what (and who) he wants. Both actions might be seen as heroic, but are done in such clumsy and twisted ways that it's hard to decipher how the film feels and, ultimately, how we should feel. Misplaced ambiguity and cliche conclusions make for something very confusing.

Good Kill is an exercise in near meaningless ranting, rarely providing anything to chew on other than blunt force talking points. Everything it tries to express about drone policy and war in general is done so at high volume, but comes off with frequent static and repetition. Lots of repetition, actually. Droning, you could say.

2.5 / 5 *s

Good Kill opens May 22nd in New Orleans at the Zeitgeist.

From Groening to MacFarlane: "Dumb and Dumber To" Review

Dumb and Dumber is probably THE movie that I've seen THE most times. I followed the exploits of Harry and Lloyd from the theaters to the VCR, never wearing myself out (though maybe I wore out the tape). Endlessly quotable to me, I'd be willing to bet that I could perform a live reading of the film, straight from memory. My repetitive viewings were never obsessive, but always affectionate. There's something cute about two hapless dopes, "eking their way through life", then going on a friendship affirming trip/adventure. This gem didn't work because the characters were buffoons who got into shenanigans, but because of their dimwitted/oblivious resolve and childlike innocence; they aren't man children in arrested development but rather heightened versions of Tom Hanks' dilemma from Big. It's really a sweet movie.

Growing up, I had many an idea for a potential sequel, the main one being that Harry and Lloyd come across a fortune and open up their worm store, possibly in a leased building from a scheming villain, and have to do something that unknowingly stops him. As the years turned into decades, I kinda cooled on anything to do with a follow up, and even came to the conclusion that our heroes walking down the road was the perfect conclusion.

Too bad Bobby and Peter Farrelly disagreed.

#HYFF2014 Q&A: Michael Domangue and Colt Cabana

From November 12th - 16th, New Orleans will play host to the comedy event Hell Yes Fest, spread out across multiple venues. Like last year, a film fest will occur, showcasing several comedy flicks from several talented filmmakers. I chatted with film fest programmer Michael Domangue (MD) AND special guest presenter / pro wrestler / comedian Colt Cabana (CC) over email about the ins and outs of HYFF and what we can all expect!:

#NOFF2014 Q&A: Sean Hanley

Every year, the New Orleans Film Festival features workshops to help educate and inspire local filmmakers and novices in specific areas of the medium. Sean Hanley of MONO NO AWARE, in partnership with Cinema Reset, put on experimental technique workshops during the opening weekend of the fest. I chatted with Sean about this project:

#NOFF2014 Spotlight: "61 Bullets" and "Big Charity"

Two great local documentaries. One great local festival:

61 Bullets

Beneath the top headline of a newspaper, ink faded from time, lies a small subtitle: “Baton Rougean evidently was possessed of hallucination.” It’s an article about the funeral proceedings for one Dr. Carl Weiss, whom readers may recognize as the man who assassinated Senator Huey Long. A sentence like the one quoted above, I imagine, could not have been written with a straight face or an in check code of proper journalism. Was it a Hearst outlet? Long Family controlled?

At the start of 61 Bullets, a class of young students are guided through the halls of the Louisiana State Capitol Building, where the supposed assassination took place. “Has everyone gotten a chance to touch the bullet holes?” a guide asks aloud. How demented. While the kids are investigating the walls, our guide whispers to the camera that it’s all for show, but it helps them learn. How truly demented.

A Creature Birthed From Smoke: "Tusk" Review

One of the things I liked about Clerks 2 (and I liked many things) was how it both capped off and started a new era of filmmaking for Kevin Smith. Once the color faded in over the Quick Stop window, a process began of Smith showing off skills he had developed since the first Clerks, but hadn’t utilized fully in a single movie; a roaming camera, the planning out of where actors ought to be placed for said camera, edits and transitions that kept scenes — individually and collectively — at a good pace, etc. This was a more polished Kevin Smith, from writer who directs to director who orchestrates. 

Fast forward a few years and a few movies, and we have Tusk. Hmm.

An Exercise in Exorcism: "The Dance of Reality" Review

Jodorowsky's Dune, a documentary of interviews about Alejandro Jodorowsky's planned adaptation of 'Dune', is about 90 minutes of talking that feels like 2 1/2 hours of wonderful flashbacking. Jodorowsky, even when subtitled in English, has such a command of words; every sentence spoken by him is evocative and filled with purpose. Mundane moments of casually meeting someone are made alive and important, with every detail necessary to the story. This is a man not worried about time, but still concerned enough to not waste it.

Why isn't he making more movies?

When the conversation of who was to direct Man of Steel was held, the first names to jump to my mind were Clint Eastwood and Alejandro Jodorowsky. Both men have vastly different styles and agendas when it comes to making film, but they do share a certain reflective quality, a thoughtfulness, that I was looking for in a Superman story (which I still liked, by the way). Actually, the hero would've been a mere vessel for the filmmakers, as they explore themselves the more they examine the star.

Seriously, why isn't Alejandro making more movies?

The Clones of Josef K: "The Double" Review

In the book 'Kafka Goes to the Movies', an author investigates journal entries and letters, written by Franz Kafka himself - the tortured soul behind 'Metamorphosis' and 'The Trial' - to piece together his thoughts and feelings regarding the new form of entertainment: cinema. Someone who wrote such nightmarish prose, filled with anxiety upon anxiety, would surely have a perspective more critical than that of the masses. Would he even be able to enjoy watching this parlor trick?

Actually, yes. Yes he was.

According to the book, he wrote about his time watching moving pictures - some as simple as a young woman looking pretty - with *shock* joy. And it's joy at something superficial, too. Amazing. If Kafka could time travel, would he be stuffing his face with popcorn, laughing at Michael Bay robot testicle jokes?

It's scary to think of, but might be easily explained with, ironically, Kafkaesque logic. At least, I hope it can.

Decayed Contrast: "The Great Flood" Review

As I sat in a theater filled with mostly middle aged festival goers, halfway through The Great Flood, I came to some conclusions:

• Bill Morrison is THE filmmaker who could possibly settle the digital vs. film debate.
• People make their own stories, with or without a camera being present.
• Intent isn't always relevant.

It's amazing the kind of work and study that went into this movie - hours upon hours of footage, carefully chosen sequences edited in specific order, music scored along with it all, etc. When I add the three bullet points above, the images presented take on startling depth. Who is responsible for this depth? The original cameramen? The modern editor? The people and objects depicted? The effects of time on the film stock itself?

All of the above.

St(alk)ing and Occupying: "Buzzard" Review

"What do you do at Wal Mart?"

"I'm a night stalker."

At this point in the film Buzzard, our "hero" Marty has been living off of his skills as a scam artist for a few
days, on the run from trouble with a previous con. He's been caught by the manager of a check cashing place, and is being held in the back office until the cops arrive. During some chit chat, he comes up with several stories, one of them about a job at Wal Mart. In passing, it's not all that important, as he just wants out of the building. But, when asked the specifics of his job, he pronounces stocker as "stalker".

This takes the manager back a bit, who responds with a what and a smirk. To us, it was only a matter of time.

"Guardians of the Galaxy" VS. "Star Wars: Episode VII"

Two different movie franchises. One monolithic conglomerate.

Marvel and LucasFilm are now owned by Disney. While the MCU (Marvel Cinematic Universe) has been rolling along the last several years, churning out story after story and learning from creative mistakes, the Star Wars series has laid dormant with the aftertaste of the prequel trilogy and the failed 3D release. That being stated, much has been learned from the success of Marvel, and is being applied to the next installment of the Skywalker saga.

But, with so much content being pushed so close together by Disney, will one project over shadow the other?

Two subsidiaries in competition for the same audience - Marvel and LucasFilm. Two movies similar in genre - Guardians of the Galaxy and Star Wars: Episode VII.  In my opinion, it's Lucas Film at the disadvantage. It's Star Wars with everything to prove. It's Guardians of the Galaxy that will capture the torch.

Well, in my mind anyways...

For one reason and one reason only I, personally, compare and contrast these two films: The Mos Eisley Cantina. Allow me to elaborate a bit.

That F***ed up bar

Guardians of the Galaxy is set beyond the familiar reaches of the MCU, deep into space, on worlds where creatures beyond imagination exist. It's a frontier that Earth bound men have yet to conquer. A wild west almost. Bounty hunters, galactic police, thieves and bootleggers run amok. Sound like a place you know of?

I've put these two films together in my mind not only because they share so much, but because one is directly inspired by the other. Star Lord, kidnapped at a very young age and raised by aliens, was a product of the Return of the Jedi and E.T. generation. If anything, real life Earth would be boring and uncomfortable to him. But, as an adult on planets beyond our own, he's at home. This is the stuff he imagined. Han Solo was his idol, creatures like Chewbacca didn't freak him out and The Mos Eisley Cantina would be his favorite hang out. It's commentary on and the ultimate expression of kids who grew up on The Goonies, and the worlds they wanted to live in. Guardians - 1, Episode VII - 0.

In a way, it might be the most personal film for director James Gunn, who is himself part of that generation. Kinda like how J.J. Abrams' most personal film Super 8 is inspired by and a fond nostalgic trip into Spielberg's catalog.

Unfamiliar territory

This year has been filled with more sequels, remakes, reboots and adaptations than I care to think about. While I'm sure there is math to support claims of over saturation and lackluster audience response, I've actually felt this in theaters. The Amazing Spiderman 2, while surprising and enjoyable, was barely half full at the screening I went to, and is showing disappointing financial returns.

Now, I'm sure Episode VII will make a bundle by default, but the fact remains: it's a property we all know about. Only super comic book fans are really aware of Guardians. How will people react when they see Rocket Raccoon talk smack or a space adventure with Wars or Trek printed on the poster? Honestly, it could go the way of cult favorites like Dune, or it could be a smash hit oddity. It's a toss up. Episode VII is riding that wave of being a "guaranteed slam dunk", while uncertainty surrounds Guardians.

When the prequels were rolled out, they made plenty of dough, but didn't reach the heights of something like Marvel's The Avengers. Why? A) Bad word of mouth fought hand and fist with the recognizable brand name and B) It was something everyone had seen already. If there is one thing going for Episode 7, it is the uncertainty of where the story goes. At the same time, it is the high expectations associated with this that could spoil the success. With Guardians, among the general moviegoing public, it's not a recognizable brand and isn't a story we've seen before. Where the uncertainty harms Star Wars, it helps Guardians. 

I'm a huge Star Wars fan, and will always be one. But, this is a series that has a huge wall to climb over. The MCU has provided some of the most wonderfully entertaining and absolutely joyous fantasy stories I've seen in a while, and Guardians looks to put it all over the edge. Either way, Disney wins both of my tickets, but which one will be a classic in my heart?

My score: 2 - .5 in the favor of Guardians of the Galaxy.

Feel free to comment below, contact me on twitter @neauxreelidea and visit/share/support my page on Patreon.

audioBoo Reviews: "The Raid 2", "The Final Member" and "Oldboy"

At the moment, #cineNOLA Weekly is on hiatus. In the interim, here is a new series, using audioBoo, that will focus on movies I missed in theaters, didn't get to write about previously, or classics I'd like to talk about. Enjoy!

Visit my patreon page for more information on how you can support this blog.

Review PLUS: "Captain America: The Winter Soldier"

Up to the point of Thor: The Dark World, the current incarnation of the Marvel Cinematic Universe (MCU) has been, almost entirely, pop entertainment. Awesome pop entertainment, yes, with some wonderful character arcs and relationships, but anything that transcends beyond? Not much. 

The one aspect of the series that has been challenging with regards to modern society and politics has been S.H.I.E.L.D. - the organization that out NSA's the NSA. The organization's director, Nick Fury, is so shadowy and ethically questionable, he rides the fascism line HARD. Dealing with such a group must be a trial even for someone as strong as The Hulk.

The star spangled hero Captain America, a man left over from the WW2 generation, is especially uneasy with this group, and even more so with a world that accepts it as necessary. THIS is what he fought for?

In Captain America: The Winter Soldier, Cap has reluctantly joined with Fury's team with the goal of serving his country (when life throws a lemon...). He has concerns, but swallows them for the greater good - this struggle is read not just on his face, but in the way he walks when not on the job. The dejected disappointment and tragic trudge of someone who is basically superhuman makes for quite a performance, and Chris Evans gives it his all.

Soon, a conspiracy within the ranks confirms and exceeds Cap's suspicions. Instead of spoiling what happens, here's a quote from William Burroughs:

You see control can never be a means to any practical end. ... Control can never be a means to anything but more control ... like junk.

The transcendence of this movie comes from the deeper questions posed by the villains. It's a statement on where we've been, where we are now and where we could end up. Government surveillance, preemptive strikes, borderless wars, and even hacktivism are covered. In The Dark Knight, Batman was presented as being forced to use super surveillance tech to capture a mad man. If seen as commentary, you could take it as the U.S. "not wanting" to do this, but having "no choice", which is B.S. In The Winter Soldier, Captain does an epic amount of dismantling, which some real life politicians might call treasonous. Talk about REALLY having "no choice".

Part of accomplishing this progressive move was the choice of filmmakers. The Russo Brothers were previously known for directing TV shows and You, Me and Dupree. To perfectly tackle the feat of a comic book movie with an espionage thriller edge and non intrusive direction was a happy surprise to see from this duo. There's a confident command going on here, without the need to show boat - very much in common with Captain America himself. Simple execution but not generically textbook. And the one element executed expertly? Suspense.

Tension is thick here. The dilemma and crisis Captain confronts might be the strongest a superhero has faced since The Dark Knight. In that movie, it was Batman's personal code and soul at stake. In The Winter Soldier, it's what the Captain represents - the high standard that he has put on himself, for his country and fellow man. Both conflicts were traumatic turning points for these characters, and the conclusions are more bittersweet than anything. The difference between the two? Captain has no time for brooding and self doubt - there's a mission to accomplish.

Marvel's Phase 1 was pop, and Phase 2 has been a time of change - not just for The Avengers but the creative talents picked to helm these projects. Many chances are being taken, and rightfully so. This is a sequel that, I hope, will be copied and piggy backed for years to come. Hail MCU.

5 / 5 *s

PLUS - When Simple Beat Style: "Captain America: The Winter Soldier" vs. "Man of Steel"

An article on ScreenCrush came to my attention recently. In it, the author made the argument that it was only after watching Captain America: The Winter Soldier that his opinion on the handling of Superman in Man of Steel went sour. It came down to Captain *spoiler* choosing not to finish off Bucky vs. Superman snapping Zod's neck. One was an affirmation of a character's code, and the other an out of place moment.

While I still contend that Man of Steel was a good take on Superman (though I might knock a star off in hindsight), the article's comparison made me think about what else The Winter Soldier may have done better - this time, with the language of cinema. I submit to you the following examples:

Superman = Jesus

There are two "infamous" shots in Man of Steel that floored many a critic, and made many an audience member laugh. The first was in a church, where Clark Kent seeks advice from a young priest. It's a well written scene, and makes sense for the character to reach out in this manner, considering the problem he faces. However, our hero is framed in front of a glass portrait of Jesus Christ. THIS IS TOO OBVIOUS. It's almost film school level framing, actually. Now, looking more closely at it, it seems that Jesus is on his knees in that portrait, meaning to express Clark's doubt in a deeper way. That spec of detail almost forgives the childish attempt at depth, until...

... Superman floats away from the Kryptonian ship, arms extended from his sides, with music playing that makes you think about church. This character has always been compared to Jesus and other religious figures, and there's nothing wrong with that. What IS wrong is BLUNT FORCE TRAUMA. There are other ways to get across this similarity than the superficial.

Captain America and his feelings

In the review above, I touched on the performance of Chris Evans, and how, early on, he carried on his shoulders the weight on Captain America's emotions, all without moping. There was some great body language, sure, but there was more at play here to establish tone, atmosphere and feeling - all to connect us with our hero.

For starters, the sequel feels far different from the first movie. The First Avenger was stylistically designed to have classic cinematography and color schemes. No matter what we all thought of the overall film, the mood was set to give us an old school FEEL. In The Winter Soldier, we have some very modern camera movements and colors to match what's happening in the portion of the story we're watching. Ironically, this too is film school like, but appropriately so. It's textbook in technique, but creative in execution.

There is a feeling of cold detachment to the first act, which makes sense because of Captain's thoughts on the world at the time. He feels alone, so the environment should reflect that to make us experience that. His apartment looks sterile, clean and clear, so we FEEL that way too. His trip to a museum exhibit on his past exploits is shot in a sweeping and slow manner, giving us time to absorb the images, think on them and FEEL what they mean. And, by feeling, we understand without having to be beaten over the head.

What does the tone and atmosphere say about a film? How about of the filmmakers? In Man of Steel's case, it tells me that it's a bit impatient to get information across, slightly clumsy and that Zack Snyder gets lost when trying too hard (despite being a tad restrained). In Captain America: The Winter Soldier's case, it tells me that underestimating the audience's intelligence is wrong, cinema is a universal language that ALL can UNDERSTAND, and The Russo Brothers know how to engage without being obnoxious.

So, in this way, yes, Captain America beat Superman. And he didn't have to snap a neck to do so ;)

If you liked this review, feel free to leave a comment below and visit patreon.com/neauxreelidea to learn how you can support my film criticism efforts.

#cineNOLA Weekly - Episode 2

On this, the second episode of #cineNOLA Weekly, I rundown some more film screenings and review one of the few movies to get New Orleans right, Flakes. The editorial segment will return next week.

If you have any comments or suggestions, feel free to write one below. Be sure to follow the conversation on twitter using the hashtag #cineNOLA:

#cineNOLA Weekly - Episode 1

Just a few weeks ago, I attended a meeting of local New Orleans cinema presenters and aficionados. It was fun, getting to meet those I've interviewed in the past in person. Many ideas were suggested, but the one that has carried over onto an email chain has been the creation of a twitter hashtag - #cineNOLA.

We've been pushing it pretty aggressively, mostly on posts that promote film events in town. In an effort to continue the conversation beyond the 140 character twitter limit, I took it upon myself to produce a new podcast, debuting here on the blog.

This first episode features reviews of Pro Wrestlers vs. Zombie, Curio Shop: A Post Apocalyptic Acid Western, an editorial and a rundown of some events for the week. This is a work in progress - please leave a comment if you have any suggestions for future episodes. Thanks, and enjoy!




If you liked this podcast, feel free to visit patreon.com/neauxreelidea for information on how you can support my efforts!

Review: "Tennessee Queer"

The more things change, the more they stay the same. I’ve heard and used this phrase more times than I care to count, but, much like its meaning, it never gets tired despite the more it’s used. And yet, the lessons that can be learned from it often go in one ear and out the other. Repeating a phrase over and over to people who are constantly repeating the same actions over generations makes me ask; Is an uphill battle worth fighting?

With a sense of humanity and an optimistic radiance, Tennessee Queer says yes.

The strong willed aspect is best expressed through the character of Jason Potts. He’s from a town in Tennessee called Smyth, where high schoolers have a decades old ritual called “Smear the Queer”. It’s a place he has since moved on from, living now in New York with his loving boyfriend. Oh, Jason is gay, by the way. This fact is never presented in an over the top fashion or outrageously stereotypical manner - it’s all very casual and, dare I offend someone, normal. Is sexual preference blindness a thing?

During a visit home, he’s confronted with a family intervention, moderated by a church pastor. I was kinda programmed to expect prejudice to appear here, but that gets subverted quickly; the family just wants Jason to move back to town. They support and love him? Yes. Twice my expectations of cliches were squashed in favor of something much richer. The family tries to impress upon Jason how the town has changed, but they do so with some caution, which he catches on to. Before heading back to New York, Jason proposes to the city council a gay pride parade, mostly in jest and  to mess with their heads. To his surprise, the parade is a go, and he’s now in charge. What felt like a backfired burden at first becomes a chance to provide the youth of his hometown an example of courage, and to show the people of Smyth that they’ve been worried over nothing.

On the flipside, we have the main antagonist, an opportunistic conservative councilman who once bullied Jason (and who I wrongly suspected had unrequited feelings for him). He is, more or less, a bumbling foil for our fingers to point at. An amalgamation of all the regressive and despicably unintelligent politicians that constantly get voted into office. Is he a victim of his environment, merely trying to, in his mind, protect the soul of his town? Is he a person we can feel for? It certainly doesn’t seem so.

This councilman only exists to have awkward moments at gay bars and be made fun of. It’s part deserved and part disappointing. We need to take the piss out of this kind of behavior, sure, but can’t we do so in a less cartoonish way? On second thought, CAN we do so in a less cartoonish way? Is there a false equivalency I’m trying to draw? No matter - while he represents the dying breed of old thought, the parade protesters in this movie represent the heart underneath the hate; the possibility of open minds, shown in a beautiful climax.

Movies like Tennessee Queer are hard to come by. It’s a story that is confident in its stance, knows what’s right and understands that baby steps can be giant leaps forward. Sure, change is slow, but it happens all the same. More and more.

4 / 5 *s

Tennessee Queer will be screening at The Prytania on February 10th at 7:30PM. Visit tennesseequeer.popslice.com/screenings for information on future events.

If you enjoyed this and other reviews, feel free to visit patreon.com/neauxreelidea.