On a rainy London night in 1946, novelist Maurice Bendrix has a chance meeting with Henry Miles, husband of his ex-mistress Sarah, who abruptly ended their affair two years before. ... See full summary »
Three intercut stories about outsiders, sex and violence. In "Hero," Richie, at age 7, kills his father and flies away. After the event, a documentary in cheesy lurid colors asks what ... See full summary »
In 1984, British journalist Arthur Stuart investigates the career of 1970s glam superstar Brian Slade, who was heavily influenced in his early years by hard-living and rebellious American singer Curt Wild.
Jonathan Rhys Meyers,
Another dazzling suburban phantasm from writer-director Todd Haynes, Dottie Gets Spanked (made post-Poison and pre-Safe) is a stylized, bittersweet nod to his childhood fascination with I ... See full summary »
J. Evan Bonifant,
Cathy is the perfect 50s housewife, living the perfect 50s life: healthy kids, successful husband, social prominence. Then one night she surprises her husband Frank kissing another man, and her tidy world starts spinning out of control. In her confusion and grief, she finds consolation in the friendship of their African-American gardener, Raymond - a socially taboo relationship that leads to the further disintegration of life as she knew it. Despite Cathy and Frank's struggle to keep their marriage afloat, the reality of his homosexuality and her feelings for Raymond open a painful, if more honest, chapter in their lives. Written by
Jonas A. Reinartz <firstname.lastname@example.org>
In the middle of shooting, the production's bond company took away the easy-pass cards used by the teamsters on the crew during their daily commute over the Jersey turnpike to locations. This ended up costing the production more, as the drivers still used the no-stop toll lanes at the turnpike and ended up incurring fines. See more »
1970s disco ball hanging from the restaurant's ceiling. See more »
[Frank is drunk at the cocktail party]
Frank is the luckiest guy in town!
It's all smoke and mirrors, fellas. That's all it is. You should see her without her face on.
No, he's absolutely right. We ladies are never what we appear, and every girl has her secrets.
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While certainly this film is about race and sexual preference, I think its observations are actually much more universal. What it is about - and so many of the movies it references are also about - is how social structures work hard to prevent you from stepping outside your little world. People work hard to control attitudes towards outsiders - in this case, black people and homosexuals - in a negative way that not only keeps them out, but also keeps you in. Many people just don't like it when you seek something from the outside and will be manipulative to keep it so. Witness Patricia Clarkson, who is so manipulative that she has to remind Jualianne Moore how old and dear friends they - oldest and dearest - in such a way that it is a threat more than a comfort. And the film does this within the conventions of the genre it is putting itself in. In many ways, it merely uses the tawdry, cliched imagery of Hollywood soapers in such a way that, if you are not familiar, they may appear to be cliches here. But they are very intentional. And in this way, everything is controlled about the film - reactions, colors, everything. No wonder the characters need to break out of their worlds.
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