Sucker for "Sucker Punch"

Oh, darlings -- I know this is old news to most of the Internet-savvy film buffs out there, and I admit to my neglect when it boiled down to blogging about this upcoming movie. When I first caught a glimpse of the surreal cinematic qualities of Sucker Punch, coupled with its ensemble cast of hot, feisty femmes, I realized:

I wish I had two bodies, because one is not enough to contain the amount of gay currently flooding my system.

Serious, I have been pissing rainbows since I saw the first trailer. Frickin' hot girls who kick ass in an action-fantasy flick is more than enough, but to have them battle Nazis, dragons, robots, and samurai soldiers on top of that?

Director Zach Snyder has described the film as, quote: "Alice in Wonderland with machine guns."

*Mindgasm*

I have not anticipated a film this heavily since Bitch Slap hit theatres. And you all know how backflipping mental I was getting over that one, especially with Zoë Bell in their cast.

I might just exceed that level of intensity over this one. Did I mention it's being released in 3D? Did I also mention it will be released around the time of my birthday in 2011?

Oh sweet glory, I will turn 25 with perma-drool on my chin.

Without further disturbing images of yours truly, I give you the trailers for Sucker Punch:

Sucker Punch: Trailer 1

Sucker Punch: Trailer 2

WANT.

(+2)

Sucker for Sucker Punch, indeed.

Inside Out Film Festival: Shift Two

As promised toward the tail end of last night's post, here is the rundown of the Inside Out Film Festival chez Buddies in Bad Times on May 24th. Toronto is a blur of creative, innovative queer filmmakers, writers, actors, and other glitterati at the moment and donning the official volunteer t-shirt at these screenings is quite the trip. I've had the distinct privilege of viewing a stellar cross-section of classic queer cinema and the two films from Monday night fit firmly in this category.

So, let's get started, shall we?

The Watermelon Woman (1996)

The Watermelon Woman marked Cheryl Dunye's first feature debut on the film festival circuit of the late 90s even while it ignited fierce political debates on American soil for its queer content and government-aided funding. Dunye's film crosses the boundaries between traditional movie and documentary-influenced techniques thus creating a disorienting, delightful blur between the concepts of truth and fiction. The Watermelon Woman charts Cheryl's research of an unnamed, uncredited black actress from the golden era of 1930s Hollywood, a woman who adopted "mammy" roles under the title "The Watermelon Woman." As Cheryl delves further into the details of the actress's life and sexual identity, the hopeful filmmaker's life grows complicated after she falls for a rich, white girl (Guinivere Turner) which in turn stresses her relationship with best friend, Tamara.

Dunye occupies a vital place in LGBT film -- she is one of the few queer filmmakers to portray the lives of black, queer women and to explore interracial relationships and the threat of racism present in queer communities across North America. Despite the loaded issues she incorporates into her scripts, Dunye is able to find subtle humour and offers a loving, insider's critique of lesbian culture.

Viewers at the Buddies in Bad Times screening were treated to a private Q&A session with Cheryl Dunye herself once the film finished. She was engaging, intelligent, and sharp with her observations on her place in queer cinema and her message was one of encouragement to all the queers with cameras in the audience. Her overarching theme was one of action -- in the digital age, kids with cameras can chart their own experiences or create artistic visions on a thin dime. Rather than reserving her place with the glitterati, she wanted to inspire others to enter the medium and launch new debates of their own. Dunye also held her Canadian premiere of her new film, The Owls (2010), at the Isabel Bader Theatre later that evening. I would have loved to catch it, but there was another flick waiting for me at Buddies....

20 centímetros (2005)

Inside Out revisted their 2006 Closing Gala film, 20 centímetros, the vivid, colourful, and stunning gem from filmmaker Ramón Salazar. The Inside Out Festival Guide describes the film's cinematic appeal as a fusion of "Spanish camp, Hollywood musicals and neo-realism in a Technicolor wrapping" -- I can imagine no clearer description of such a wild and delightful film as this.

20 centímetros charts the life of Marieta (Mónica Cervera), a narcoleptic pre-op trans woman who works the streets of Madrid as a prostitute to earn the cash she needs for her operation. While she dreams of a stable future and the promise of a reliable income, Marieta's narcoleptic slips prevent her from holding down traditional work. Instead, her blackouts cast her into a world of elaborate, brightly-choreographed numbers set to the classics performed by Queen, Madonna, Dusty Springfiled, and Ani DiFranco among others.

After collapsing at a local market one morning, Marieta meets Raul (Pablo Puyol), a fruit stocker also known as El reponedor with "an ass like a perfect peach." Their first connection ignites into an intense physical relationship in which Raul celebrates those same 20 centimetres Marieta is so anxious to leave behind.

In the end, Marieta must decide what she desires most: a chance at love with a gentle, gorgeous man, or the chance to become the woman she dreams of.

Though the plot might sound dark and ominous at first glance, Salazar injects his film with energetic flamboyance and a hopping soundtrack for fans with a taste for musical movies and theatre flare. Even the skeptics will find the film both charming and colourful, a perfect wrap-up to an exciting long weekend.

***

So there -- another volunteer shift down and more fun to follow. Oh, and P.S. -- I know I missed the beloved Tunes for Tuesdays segment this week. Trust me, I will more than make up for that gaffe next Tuesday. Stay tuned because there is something very, very special in the works.

'Til then, bonne nuit.

Inside Out Film Festival: Shift One

One shift down, two more in the works -- the 2010 Inside Out Film Festival is in full swing and I am thrilled to be a part of it. Queers across the GTA are staking out downtown theatres featuring a rich, diverse collection of films dedicated to the many facets of queer life.

I have a favourites list unfurling before me and so little time to watch 'em all.

Regardless, I managed to sneak in two films while volunteering this afternoon, so one can never complain.

I was stationed over at Buddies in Bad Times for a start time of 2:15 PM. Two general observations about the start of the afternoon:

1) Buddies has played a central role for me when it comes to the Toronto queer scene. It was the first queer-centric space I had ever visited outside of campus grounds (2005); it was the first Toronto queer club I attended back in February 2010; and now, it is the first place I volunteered at for a LGBT event.

2) I am still such a child when faced with large groups of queer people. Serious, I get into that euphoric, giggle-filled head space when I realize I am in the sexual majority for once AND when I can look at all the pretty girls I want without self-conscious over-analyzing. KYAAA!

The experience was brilliant from start to finish. The Inside Out staff is relaxed and great to talk with; the other volunteers are tons of fun and filled with confidence; and the patrons are polite, enthusiastic, and encouraging. I actually had a gentleman patron thank ME for volunteering. I wonder if everyone else gets the same buzz I do with these gatherings which then expresses itself as increased levels of joviality and support.

That, and a stunning collection of films never hurts.

***

Miz Moffatt's First Film Selection:

The Celluloid Closet (1995)

The Celluloid Closet is a classic documentary profiling the presence of gay and lesbian characters in Hollywood and their changing characters throughout the twentieth-century. Based on the original book and lecture series by Vito Russo, the film discusses the evolution of queer characters from the so-called "sissy" men of the 1920s and 1930s to the censorship of Hollywood films under the Hays Code and finally to the coded characters and cruel stereotypes developing up to the 1990s. The documentary is peppered with personal interviews from screenwriters and actors involved with prominent queer films, all discussions that sparkled in their wry dissection of subversive moments in classic films.

I've been eager to catch this documentary and was excited when I was waved in for the screening. Based on the interview sections, I have mad respect for the likes of Susan Saradon (who advocated for richer depictions of lesbian relationships in some of her most prominent roles) and for Gore Vidal (who is both sharp and subversive as well as being generally hilarious).

What could make this screening even more fantastic than it was? .... Oh, how about having Rob Epstein and Jeffrey Friedman, the directors/writers of the film version of The Celluloid Closet, there to discuss their careers and the history of LGBT cinema? I kept awesome company this afternoon, what can I say?

The Parents (Les Parents) (2009)

Les Parents is a documentary not meant for the weak of heart -- the film depicts the lives of Alain and Richard, a couple who take in ailing older women as an alternative to traditional seniors' homes in Dordogne, France. Despite the isolation and the homophobia experienced in the village, the men continue to provide for their residents and offer a kindness that no longer exists in the families of these women. Life takes a turn for the worse when Alain's AIDS-related complications forces the couple to make the difficult decision to close their home business in an effort to care for their own health.

I was sucked into the quiet heartbreak of this film. There were moments when the youthful energy of both men resurfaced, offering a brief glimpse into the spark that brought them together in the first place. It's hard to process the stressors weighing on Alain and Richard -- and knowing the film is true makes it that much more unbearable.

***

At this moment, I wish I had more free time to dedicate to the Inside Out Film Festival. Three shifts is not enough at all. Alas, the work schedule and the commute from the suburbs does not permit volunteering during the week. I will have to draw out as much fun and energetic potential as I can in these last two shifts and I will have to re-dedicate efforts to snag more screen time with some other films.

More to follow this long weekend, folks.

Consider Me 'Whip'ped

Yes, the Internetz are ablaze with initial reactions to the highly-anticipated Whip It! film-- and here I am, adding my voice to the rabid choir of praise.

But serious, did I have any choice in the matter?

Feminism and pure fun mix for an energetic flick dedicated to the women of Austin's derby circuit (and heck, it's a dedication to the the strength of any and all women coming-of-age in this twenty-first century North American scene). I could hear snippets of conversation as I left the theatre and the general consensus was, "I NEED TO BUY ROLLER SKATES NOW, WHY ARE WE NOT AT THE STORE YET?!"

Methinks derby teams across the continent are about to experience an overflow of sassy, young things wanting to "become [their] own hero," if you'll let me pilfer/paraphrase from the movie.

Serious, though -- there were a number of elements I hadn't foreseen despite the fact I've been following the press on Whip It! quite closely for the past few months:

• Alia Shawkat as best friend, Pash: Serious. Why is this girl not getting more press for the film? She was fantastic, just a delight from the moment she appeared on the screen. She managed to strike this amazing balance between the spontaneous and the level-headed as she tried to encourage Bliss (played by Ellen Page) in her pursuit of all things derby. I'm a tad unnerved that Ms. Shawkat is the same age as my brother, though... I'm feeling older by the day, I tell you....

 Ellen Page and Alia Shawkit

• The core father-daughter relationship that runs throughout the film: Folks weren't lying when they said the parents (played by Marcia Gay Harden and Daniel Stern) are scene stealers. And, perhaps it's the fact that I watched this movie with my Dad that this particular plot line is hitting closer to home. I mean, watching a father fight for his daughter's happiness gets me all choked up no matter what the context, really. And Daniel Stern carried himself well. 
• Eve and Ari Graynor.... together.... in a hot tub....ALONE...: Why can I not find pictures of this one on the Internet? It is a travesty to all the women reading this. And to me. ESPECIALLY to me, people.

Eve and Ari Graynor

• ZOE BELL DID NOT GET NEARLY ENOUGH SCREEN TIME -- though, she did a damn fine job with what she was given. I promise I'll get over this obsession. Just not now. And probably not for a few more years after that.

Are you a gay gal?

Do you like your women tough, DIY, and full of spunky feminist ideology?

Have you SEEN the stills from this film?

All I can say is: DO IT. Shell out that cash and watch Whip It! on the big screen.

Serious, why are you still reading this post, GONOWGOWATCHWHIPITNOW!

Waiting for "Whip It!" Wednesday

Drew Barrymore, Ellen Page, and Kristen Wiig as derby darlings in Whip It

Fact: Tough girls on roller skates are HOT. Not just hot, but HAHT, even. 

Trust me, it's proven by science.

And what could be better than an all-girl, roller derby throwdown film headed by Canadian cutie (and potential baby dyke...?), Ellen Page?

Nothing. 

Nothing is better.

I never thought I would utter these words, but.... Drew Barrymore, you are an utter and epic genius.

It's true, lovely readers -- Whip It marks Ms. Barrymore's directorial debut and what a start it will be. I mean, what other film could cater so blatantly to an audience of gay girls, am I right? I certainly hope I am since I will be front and centre in the theatre on its opening weekend, mark my words.

In a bid for her own independence, the teen misfit, Bliss Cavendar (Ellen Page), sheds the stifling expectations of her mother (Marcia Gay Harden) and the Texas beauty-queen circuit and reinvents herself after joining an all-girl roller derby team, the Hurl Scouts. Under the guidance of Smashley Simpson (Barrymore) and Malice in Wonderland (Kristen Wiig), the young Bliss learns to assert herself and even take on her derby nemesis, Iron Maven (Julia Lewis) of the Holy Rollers.

*EXCITEMENT ABOUNDS*

Another interesting tidbit: Whip It is based on yet another debut -- writer Shauna Cross published her original YA novel, Derby Girl, at roughly the same time she was given the greenlight to develop a feature film script. Quite an exciting experience for a first-time writer, I must admit. 

And what was that last piece of information I was supposed to mention? Hmmm.... now, what could it be.... our Canadian gal, Ellen Page, is skating with... oh, darn, who was it again?

OH! That's right -- she's been paired with none other than:

ZOE BELL as BLOODY HOLLY.

*Mind explodes*

Oh, to be the woman decorating Ms. Bell's bottom with an intense, rather convincing derby bruise.

I am simply bubbling over with anticipation. 

And you better believe I'll be writing a detailed review of this film once I see it. What a mid-week treat it was to discover these stills. *CHEERS*

X-Men Origins: Wolverine

I have a confession to make -- sci fi is my drug of choice. I embrace my inner nerd and encourage her further development on a regular basis. 

Space exploration? So there.

Time travel? Yes, please.

Mutants with superhuman capabilities and an exercise regimen that delivers KILLER results for movie fans of all sexual preferences to drool over? .... Well, you had me at "mutants," really.

I checked out X-Men Origins: Wolverine on May 16th (aka. Moffatt's 23rd birthday, thank you very much) and I admit.... it was a bit of a sausage fest. I found the sheer volume of shirtless Hugh Jackman shots to be hilarious after a while, but, I mean, the man worked hard for those muscles, so I guess someone ought to show 'em off. So, why do I even bother to mention this film on a blog that is SO clearly of the lady-lovin' persuasion?

Because of THIS WOMAN right here:

Lynn Collins as Kayla Silverfox. I mean, think of her name -- SilverFOX. How could I avoid posting about her dark-haired radiance, her tactile mind control abilities, and her sheer ass-kickery? 

I could not.

If those traits alone were not stellar enough for this young blog-ette to post about, perhaps Ms. Silverfox's passport would qualify. Yes, she proves to be another elusive figure within the Hollywood landscape -- she is a born and bred Canadian character. 

YES. IT IS TRUE. DO NOT READJUST YOUR COMPUTER SCREEN.

Canadian characters rule the roost (or, in this case, the Canadian Rockies and the American military) throughout this film. Logan? Check. Victor Creed? Check. And Kayla Silverfox? CHECKCHECKCHECK.

Alright, so the characters tend to lean heavily on stereotypical portrayals of life in Canada -- Logan retreats to the Canadian Rockies to channel his inner lumberjack and falls in love with an earthy, small town school teacher. Dense forests surround them. Log cabins house them. And the only sign of civilization is a pack of school children running from a one room school house somewhere in the mountains.

It's untamed. 

It's all-consuming wilderness. 

It's the Great White North at its most Northern, really.

But, wow -- WOW. I wish I could find a photo of the infamous white nightgown scene. I know Kayla Silverfox was describing a tale from Native lore about a spirit tricked into losing his lover, the Moon, forever, but.... if I was being straddled by a woman like her in a nightgown like that, well. WELL. I don't think I could have recited any part of that tale to you afterward. 

Oh, X-Men franchise -- you have treated us so well:

• Famke Janssen as Jean Grey
• Halle Berry as Storm
• Anna Paquin as Rogue
• Rebecca Romijin as Mystique
• Ellen Page as the second Kitty Pryde

And now Lynn Collins as the one representing Canadian gal?

Thank you. Thank you x 100.