Bill Clayton is known as Broadway Bill because he is the most prominent Bill in the night life of the white way. Muriel loves Bill, but loathes his mode of life, and for her sake he goes to Underwood's lumber camp to work the alcohol out of his system. Hardigan. the foreman, thinks he is sent to spy upon his actions and makes several efforts to get rid of him, but in the end Bill thrashes the foreman, takes his place and wins the girl, though not before a curious chain of cross, purposes.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.
As a frequent “the book was better” extoller, this movie was well worth the watch.
A short film that begins with the language of romance but slowly reveals something far more unsettling beneath the surface.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
'The Lost Daughter' doesn't paint over the choices Leda and Nina make as mothers as right or wrong but examines the messy in-between.
Greta Garbo, a queer actress playing a real-life queer Queen is the best of both worlds.
