If you’re anything like me and your main reasons for watching “Bruised” were to see Halle Berry fight and make out with girls, you won’t be disappointed. But you might walk away wishing it had stuck to just those two things.
Irene gazes upon the profile of Clare’s face. Feeling heat, Clare looks up. Irene sharply inhales, blushes, and looks away. And every single time, I finally understood why white lesbians love Carol so much.
This is a movie that aims to capture the perspective of children without forgetting the emotional intelligence so many of them carry.
This 1990 film has everything: Robert Downey Jr making a salad, Eric Idle in a leopard-print robe, a vaguely European lesbian character named Susan, murder, three nuns, and so much smooth jazz!!!!
The spell of the title is not metaphorical. Reyhan cast a love spell as a teen and is convinced its latent effects are what brings Eren back to her.
Lauren Hadaway has made a sports movie, a queer romance, a thriller, and, ultimately, a character study.
Kash has created the ideal commentary on trans representation by abandoning that project altogether.
The various plots of Leading Ladies — with their backstabbing, cheating, and litigious consequences — would fit right in on The L Word. And yet they couldn’t feel more different.
Flesh is just another binary.
Instead of subtle sabotage and psychological spiraling, Birds of Paradise is more like these rival lesbian ballet dancers slapping, tackling, wrestling, clawing at, and punching each other in the face. Until! They get assigned to their dorm room! AND THERE’S ONLY ONE BED!
“For some of us, that will always be our relationship to gender. I’m a woman. I’m trans. I’m non-binary. All those words feel right for me. But I’m still naked walking down that dark alley a little unsure of who I’m meant to be.”
Pray Away is, at best, picking at a scab — and, at worst, poking a dirty finger into a gaping wound.
“As queer youth, part of the journey to find and honor our queer lineage is to take the pieces left to us and fill in the gaps with joy.”
Part origin story, part conclusion, the final film smashes together its timelines and serves up two distinct films at once that, despite their aesthetic and tonal differences, are inextricably bound.
If women bone cracking the skulls of men to a Janis Joplin soundtrack with pints upon pints of gory jello blood to spare is your idea of summer weekend fun, there are worse ways to spend your two hours.
Fear Street Part Two riffs on the original Friday The 13th movie with its summer camp setting, and we trade in the 90s nostalgia of the first Fear Street for late-70s nostalgia.
This movie isn’t reinventing the slasher, but it does expand the definition of who gets to be a final girl. It lets queerness sit inside of horror without being the source of said horror.
The strength of LFG lies in the way it crystallizes the emotional toll of the UWNT’s gender discrimination lawsuit. Its insight into the moments that we didn’t see are the most compelling.
There’s all-out bigotry, and there’s all-out triumph. At the center of the wave of anti-trans sports bills are trans kids who just want to play.
I can see how some viewers might be turned off by a character’s queerness being turned into a plot twist, but I can assure you it’s not intended as a punchline.