A conflict develops between a troubled Vietnam veteran and the sister, with whom he lives, when she becomes romantically involved with the Army buddy who reminds him of the tragic battle ... See full summary »
A comedy about a screenwriter (Robert Wuhl), whose old movie script is read by a producer (Martin Landau) and the search for financial backers begins. But it seems that each money source (... See full summary »
Walt Koontz, a homophobic cop, ends up with paralyzed vocal cords because of an unfortunate stroke. His therapy includes singing lessons from a neighbor who is not only flamboyantly gay but also pre-operative transgender. Both of them are equally prejudiced; Koontz against non-heterosexuals and the neighbor against closed-minded straight people.Written by
Rob Reser - The Movie Kid - <firstname.lastname@example.org>
Philip Seymour Hoffman is good--if one-note--as a drag queen in New York who makes nice with the neighbor he hates, security officer and now stroke-victim Robert De Niro. The antagonistic relationship between the two might've used a bit more smoothing over (occasionally it feels like they're winging it, and De Niro's speech impediment tends to vary), but with two such fine actors running the scenes, there are compensations. De Niro himself looks fantastic, and he doesn't try to command the picture or any of his scenes with Hoffman; he's such a team player that you automatically respond to him. A drug-czar subplot is old hat, and the dancehall girl-with-the-pure-heart stuff is an obvious cliché, it has all been done before. But the real problem with the movie is that times have changed and perceptions are different, and not all gays are drag-queens and not all drag-queens want to have sex-change operations. It's a moldy movie myth that the filmmakers don't seem to get (perhaps they were brought up in an earlier era and believe the stereotype?). The continual foul language is a strain to listen to, but the growing camaraderie between the two leads proves to have some interesting give-and-take. **1/2 from ****
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