A couple of gay men must break up due the impossibility of one of them to accept his homosexual condition. The farewell gets very difficult when the other one tries to convince him to accept himself and not to leave him.
Joaquin (Polo Ravales), an unassuming fisherman, is forced to confront his homosexuality when his sex-starved wife Cynthia (Althea Vega) returns from her overseas job eager to get pregnant.... See full summary »
Young girl spends her adolescence in an institution for minors, developing some masculine traits in her personality. In this hostile environment, she can only find some sympathy in a ... See full summary »
Ana Beatriz Nogueira,
Lonely teenager Marc is secretly in love with Olaf, the cool boy-next-door. He dreams about a relationship with him, and when the two go camping, this dream seems to become reality for Marc... See full summary »
Alfie Byrne is a middle-aged bus conductor in Dublin in 1963. He would appear to live a life of quiet desperation: he's gay, but firmly closeted, and his sister is always trying to find him... See full summary »
Fernando, a.k.a. Fernanda, a 19-year-old Brazilian transvestite, travels to Milan and becomes a prostitute to finance sex-change surgery. Fernanda dreams of becoming a "real" woman, but in ... See full summary »
Ingrid de Souza,
In a suburb of London, young Jamie is escaping sport hours, to avoid being the victim of his comrades. Young Ste, his neighbor, is beaten by his father, and comes to sleep overnight. They discover new feelings, sleeping in the same bed.
Felix is secretly in love with Ralph. This doesn't seem to be the biggest problem. But Felix is 15 and Ralph his 34 years old soccer coach. They meet every day in an ambush. One day Felix ... See full summary »
Bo is a transexual prostitute in Brussels who left home after being abused by her father. She's now in an abusive relationship with a neighbor and suspected by the police in a series of ... See full summary »
The film was shot in only 24 days. Filming began on June 30, 1997 in Pasadena, California. The 24 days of principal photography were completed on July 28, 1997. See more »
When Clayton and Betty are by the car talking with the open car door between them, from one angle Betty is seen with her left hand on her hip then shown from the reverse angle her hand is on top of the car door. See more »
She was ugly when I brought her. I not like her. Mr. Jimmy not like her. Better you indicate, Mr. David.
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The character name "Boris Karloff" has the 'TM' symbol next to it, meaning it's trademarked. See more »
Truth be told, it's not easy to write a film review as disconnected as I am from the underlying inspirations and principals of the movie in tow: Gods and Monsters. I knew little about James Whale and the Frankenstein franchise, possessed virtually zilch experience with Bill Condon (aside from the trivial baggage that his previous _and first_ feature film was the Direct-To-Oblivion sequel to the Scariest-Movie-Of-All-Time-When-I-Was-Fourteen, Candyman.), and unceremoniously avoided anything to do with Brendan Fraser. So, there's not much I can say about historical accuracy, era juxtapositions, or tour-de-force performances. All I know comes from the ninety-eight or so minutes I had with the film.
Which were pretty splendid, to say the least. What more, I was pleased by how little the film seemed to hit me over the head. Not with a lengthy diatribe over the political progressions of societal acceptance of diverse sexual orientations, not with any sort of disgusted expose of Hollywood's miscreants. Instead, I found a minimal but simplistically acceptable plot moved along by wonderful acting, vivid portrayals of what it's really like, beneath the typical distractions, gimmicks, and veils, to be a human being. Ian McKellan astounded me. Fact or fiction, he wasn't necessarily James Whale, but a complicated, reserved, and often misunderstood director who found a glimmer of intrigue and desire for his new gardener, Clayton Boone, played impeccably by Brendan Fraser. From their initial meeting with Whale indulging in staring at Boone hard-driving an edger, I was struck by a remarkable sense of kinship between the two, which only got better as the film unfolded. And, with Hanna--the third vertice of the bizarre love triangle--the edgy buffer between the men, I felt incredibly comfortable just watching three very different people open up to each other and to me. The irony of the title, Gods and Monsters, is that whether someone or something is considered a 'God' or 'Monster' is largely due to perception...human perception. We invent our gods and our monsters daily, and they are usually people we know, love, hate, or admire. I spent a very good ninety-eight minutes, mostly from being in the company of those three fellow humans.
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