6.0/10
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BearCity (2010)

Not Rated | | Comedy, Romance | 11 June 2010 (USA)
Set in New York's gay "bear" scene and taking a cue from the popular HBO franchise "Sex and the City," BearCity follows a tight-knit pack of friends experiencing comical mishaps, ... See full summary »

Director:

Douglas Langway (as Doug Langway)

Writers:

Douglas Langway (as Doug Langway), Lawrence Ferber

Photos

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Cast

Cast overview, first billed only:
Alex Di Dio ... Simon
Kevin E. Smith Kevin E. Smith ... Santa (as Rockstar)
Joe Conti ... Tyler
Carlos Abrieu Carlos Abrieu ... Computer Bear
Ross Rogers Ross Rogers ... Computer Bear's Boyfriend
Arthur H. Morgan Arthur H. Morgan ... Construction Bear One
Oscar Maurosa Oscar Maurosa ... Construction Bear Two
Andrew McCormick Andrew McCormick ... Finance Bear
Daniel Browne Daniel Browne ... Times Square Bear One
Jonathan Gati Jonathan Gati ... Times Square Bear Two
Justin Ciambra Justin Ciambra ... Dog Walker Bear
Paul Siljee Jr. Paul Siljee Jr. ... Auditioning Actor
Ashlie Atkinson ... Amy
Robbyne Kaamil Robbyne Kaamil ... Receptionist
Phillip S.R. Allison Phillip S.R. Allison ... Director (as Phillip Allison)
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Storyline

Set in New York's gay "bear" scene and taking a cue from the popular HBO franchise "Sex and the City," BearCity follows a tight-knit pack of friends experiencing comical mishaps, emotionally sweet yet lusty romantic encounters and a cast of colorful, diverse characters as they gear up for a big party weekend. Written by Lawrence Ferber

Plot Summary | Add Synopsis

Taglines:

Romance can be hairy

Genres:

Comedy | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site | UK Official Site

Country:

USA

Language:

English

Release Date:

11 June 2010 (USA) See more »

Also Known As:

Bear City See more »

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Box Office

Opening Weekend USA:

$5,980, 24 October 2010, Limited Release

Gross USA:

$5,980, 24 October 2010
See more on IMDbPro »

Company Credits

Production Co:

BearCity Limits See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
See full technical specs »
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Did You Know?

Trivia

The DVD includes two Easter eggs: a deleted scene and an interview shot during production. See more »

Goofs

In the bowling scene when Tyler is attempting to pick up the split, as the ball goes down the alley the scene is first in slow motion and then in regular motion. As the ball reaches the pins and the film changes from slow to regular, the ball jumps back a couple of feet. See more »

Quotes

Roger: If I think I'm an asshole, I imagine the feeling is mutual.
Tyler: When are you going to stop caring about what other people think?
Roger: Kid, what other people think is all I see.
Tyler: Then close your eyes for once.
See more »

Crazy Credits

Just before the closing credits are complete, we can see one more scene. See more »

Connections

References Star Trek (1966) See more »

Soundtracks

Where The Music Takes You
(Mendy's MTA Strike Mix)
Written by Ari Gold, JoJoHo and Sean Petersen
Performed by Ari Gold featuring Sasha Allen
Courtesy of Gold18 Records, Inc.
See more »

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User Reviews

 
Sweet, Flawed, Charming - Could Have Been So Much Better
2 April 2011 | by wrickettsSee all my reviews

Cute with the typical amateurish qualities that make gay films of this nature either charming or painful, depending upon your sensibilities. The acting is earnest but decidedly nonprofessional. The only standout is Gregory Gunter, whose character (Michael) is utterly compelling and which Gunter plays with pathos and humor but not self-pity. Gerald McCulloch as Roger is large unwatchable, though it's hard to tell whether it's because his character is such a d***head or because the actor's own ego kept popping through. (If you watch his endless interview after in the DVD highlights, you'll see what I mean.) It's tough to make a film centered around bar culture without making it seem petty, vulgar, soul-crushing, and at least occasionally self-destructive; and it's an open question whether the directors nudged a bit to highlight those aspects or whether they were simply recording cinéma vérité. With all the sweetness that comes through in the struggles of the film's couples (complete with serious and often over-the-top drama), the film's central mystery remains what Tyler (Joe Conti) could possibly see in Roger, a smarmy, shallow, ego-bloated scene queen who not once but half a dozen times snubs Tyler to his face because Tyler isn't bear enough or muscley enough (or something enough) for the superficial, middle-class-white-boys-with-gym-memberships crowd by which Roger judges himself and his actions. Or, to put it another way, you may never understand why Tyler falls for and pursues Roger (to the extent of giving himself a makeover –a move that likely guarantees the doom of any relationship) and you'll certainly find yourself asking whether he has a shred of self-esteem in his body. The fact that Roger isn't what anyone could reasonably call a bear only adds to the confusion. Personally, I'd have gone for a little less Jennifer Anniston-esque comedy and paid a little more attention to the serious and genuinely dramatic (as opposed to simply flamboyant) issues that the film skates over like thin ice before turning safely back to shore: self-esteem issues among big men and the difficulty of cultivating and maintaining a positive body image in a gay "culture" ruled by gym Nazis and diet maniacs; the painful issue that's raised in the Michael-Carlos couple when Michael considers getting lap-band surgery (is he going to wind up so thin that Carlos won't be attracted to him anymore?); the double "coming out" required of non-bears who are attracted to men who are hairy and/or fat and/or older than they are and who face ridicule for their desires; and the uneasy co-existence of working-class bears and their middle- to upper-class counterparts who wear similar drag and occupy the same physical spaces in which "bear culture" is practiced but who, arguably, are essentially antagonists. _Bear City_ seems to intend to be a coup against the slavish cultural propaganda promulgated by so many "gay" indie films, but it's more of a bitch slap than the good hard sock in the jaw that's needed. Still, the film deserves credit for its beau geste and for starting a conversation within a medium that tends to pretend it doesn't understand the question.


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