Category Archives: GLBT Film


“Squirrels” Three Amos Lassen Three young artists live together in New York City— amiddle-eastern American performance artist (Robbie Gottlieb), a talented gayfilmmaker (Dino Petrera) and a trans opera singer (Catiriana Reyes).
The performanceartist gives a heartbreaking live performance, describing memories of when hewas younger, shortly after 9/11 happened. He reminisces about his childhood andgives intimate details on how his life has been impacted by others’ prejudiceand judgment. After the performance, a boy asks him out for coffee, but he isturned down.
The filmmaker is gay and out of the closet. He tries to hide hisinterest but likes his roommate more than as a friend and quickly becomesjealous of any of his fans or new romantic interests. Meanwhile, the operasinger also spends time as a DJ and tries to earn money  any way she can.
Although the three friends getalong great and enjoy each other’s company, living in a tiny studio apartmentis not easy and their mornings are fairly tedious and difficult. They save up,cut down on day-to-day pleasures and even resort to stealing to be given achance at fame and a new, glamorous life. They work hard to survive each daybut risk losing everything in the hustle and bustle of The Big Apple.

“JADED”— Love in San Francisco

“JADED” Love in San Francisco Amos Lassen “Jaded” is a new web series that gives us  an entertaining look at the contemporary dating scene in San Francisco through the eyes of one 30-something year old man who looks for love in all the wrong places. J. D. Scalzo  is the only the creator and plays the role of the hapless Jackson who faces a daily struggle with the fact that there are no rules, anymore.
As he hops from one bed to another Jackson always hopes that the one he is with hoping this one could be Mr. Right but he is own worst enemy for some of the choices he makes because he is too wrapped up in his “own convoluted constant self-examination.”
Scalzo is perfect as Jackson, but then again the story lines are probably takenfrom his own life. Despite what he gets into, he manages to make sure that weare always on his side.
One ofthe best new LGBT web series this year, with excellent The production values areexcellent and I can’t wait to see what else is coming from the series.

“Christmas Queens Sing-Along Concert Special”

A Revry Exclusive Star-Studded Drag Christmas Special Dec. 14th Catch some Ho Ho Ho’s and many Merry Mary’s in the Revry Exclusive “Christmas
Queens Sing-Along Concert Special” now for FREE on Revry at: Trailer:

Enjoy your favorite drag stars in this combination of live performances, interviews, music videos and backstage moments from various stops along the sold-out 2016 world tour. Featuring music from the first two holiday albums, the special was filmed live in London and Los Angeles and stars Alaska Thunderfuck, Ginger Minj, Ivy Winters, Jackie Beat, Jiggly Caliente, Katya, Manila Luzon, Phi Phi O’Hara and Sharon Needles, and features Michelle Visage.
“What better way to celebrate the holidays than watching Drag queens sing, dance, and make merry. Thank you Revry for sharing our season’s greetings with the world!” – Alaska Thunderfuck “”It’s the most wonderful time of the year! What better way to celebrate than donning your gayest apparel and decking the halls with some of dragdom’s merriest Marys?! Christmas Queens is our own little Christmas party that we have been fortunate enough to share with the world. We’re just like any other family. We drink, we eat, we argue, we laugh and we love spending time together. Between movies, tv, music, fashion and touring its so hard for us to find the time to get together, but once a year, no matter what, we don our gayest apparel, sing some songs and just have a good time. That’s what Christmas Queens has become … our little family’s Christmas Party. And now we get to share the festivities with the rest of the world! “ – Ginger Minj
Beyond the special, three albums of “Christmas Queens” is now available everywhere. The third album includes many “Christmas Queens” alumni as well as new additions, including: Alaska Thunderfuck, Bob The Drag Queen, Ginger Minj, Ivy Winters, Jackie Beat, Jiggly Caliente, Jinkx Monsoon, Katya, Manila Luzon, Michelle Visage, Peppermint, Phi Phi O’Hara, Sharon Needles, Sherry Vine and Thorgy Thor. Both prior “Christmas Queens” albums reached #1 spots on iTunes and #2 on Billboard Comedy Album Charts in 2015 and 2016, respectively. The “Christmas Queens” albums are a co-production between PEG Records and Killingsworth Recording Company.

“COLETTE”— A Story of Female Liberation

“Colette” A Story of Female Liberation Amos Lassen The film “Colette” that is based on the real life of the celebrated French author, is a story of female liberation.  During the Belle Epoque period in Paris at the turn of the 20th Century in society men were openly promiscuous and wives were expected to demurely look the other way. Colette, however,  had liaisons of her own and they were with women and she entered into them with her husband’s consent.
The movie starts with young Colette (Keira Knightley) still living at her home in the country now in with her fretful mother (Fiona Shaw) and war-hero father (Robert Pugh) in poverty.  She is courted surreptitiously by Henry Gauthier-Villars, aka  “Willy,” (Dominic West), a family friend, and even though he is just 20 years old and Colette has no dowry they end up married and moving to Paris. Willy was a popular author and critic whose work was provided by a  “factory” of writers that he mercilessly exploited.   Always living a lavish lifestyle way above his means, he was constantly broke, and one occasion he even forced, Colette to become part of his workforce.   He initially rejected her first novel as being too insipid but then demanded it a bit more spice.
This was the first of the Claudine books and was a huge success making Willy very rich and even more notorious. Refusing to share any of the success with Colette,  he did however buy her a beautiful cottage in the country, but purely as a means to ‘imprison’ her so that she could write another bestseller to be published under his name.  Although there were times like this when Willy bullied Collette, their relationship was never straight forward. There was a deep bond between the two of them,  and she never left him when she discovered his infidelities, although she did almost want to kill him when she discovered that he was also sleeping with her own lover Georgie Raoul-Duval (Eleanor Tomlinson).
It was Colette’s insistence that her name go on the latest book as co-author and this was the beginning of the end of her relationship with Willy.  Now in a relationship with the cross-dressing Mathilde de Morny, or Missy (Denise Gough) with whom she took up a career on the stage with and she finally got to publish her first novel under her own name.  Wash Westmorelanddirected the film that handled Colette’s same-sex relationships with clearunderstanding and sympathy and with no l sensationalism. Knightley gives an extraordinarily mature performance which could be her career best.  Her‘Colette’ was fiercely determined, independent, extremely relatable  and ajoy to watch.  She was matched beautifully by a boisterous performance byWest as her husband.  French novelist and feminist icon Colette, nee Sidonie-Gabrielle Colette, has been fodder for abiographical film for some time. She was an institution at the time of herdeath in 1954, and her life was filled with enough glamor, struggle, andscandal to warrant the drama of this celebrity biopic. The film indulges insuch theatricality while delivering an acutely told story of the writer thatrelishes the messy details and ambivalences of her life.
Following Colette’s  formative years, from the mid-1890s until 1910, the film tracks her development from a penniless country girl to her rise to literary fame.  The film’s script is witty and basically focuses on the dynamismof Willy and Colette’s marriage, especially on their back-and-forths. Colette doesn’t stay under Willy’s shadow for long. Herpush for independence is encouraged by her affair with noblewoman and artistMathilde de Morny (Denise Gough), who goes by Missy and scandalizes France withher masculine dress and choice of male pronouns. Her romance with Colette is seenbut not in detail and the film regrettably makes Missy little more than amouthpiece for a modern perspective on Colette. The film is much too focused on Colette’sidiosyncrasies and personal struggles to cast her as a renegade who shook upthe status quo.  Westmoreland’s biopic brings more than a touch of camp to its dramatization of an unbelievabletrue story. It is a fun and that is all that it needs to be.


“Anthem of a Teenage Prophet” Foreseeing Amos Lassen “Anthem” is the story of Luke (Charles Monaghan) a teenager whoforesees the death of his new best friend Stan (Alex MacNicoll), the mostpopular guy in school. When this feeling becomes reality, Luke must deal with beingcalled “The Prophet of Death” and regarded as a freak by the entiretown. As if that is not enough, he’s fallen in love with Faith (Peyton List)who just happens to be Stan’s girl and he’s on the outs with his childhood bestfriend Fang (Grayson Gabriel). The premonitions just keep coming as ifadolescence is not enough to deal with. “Anthem” balances the teenageexperience of confusion, anxiety and rage with exceptional moments of clarity,self- discovery and human connection and explores the need to belong, theisolation of youth and the powerful mixture of fear truth and noise that isinside us all.

Based on the award-winning novel by Joanne Proulx, Anthem of a Teenage Prophet is a coming-of-age story with a twist that nails the timeless feeling of adolescence. Hormonal and funny, exhilarating and wise, Anthem intimately examines and amplifies the powerful mixtape of angst, hope, music, and noise that plays inside every teenager’s head.  

Set in  1997 in Stokum, Michigan on theshores of Lake Erie, we meet Luke Hunter who appears to be is a typicalsmall-town teenager. ˙He smokes weed, skateboards, listens to hip hop andsecretly lusting after his best friend’s girl.   Luke is tornbetween his stoner friends, including his childhood best friend Fang, and hisnew best friend Stan, the popular guy who has everything Luke doesn’t includingthe hottest girl in town. 
  Luke’s two worlds come together one night when Stan gets high with Luke and his other friends. Luke has a disturbing premonition that Stan will be hit by a car and killed. Everyone laughs at this until the next morning, when Stan dies just as Luke predicted.
Luke then isolates himself, keeping everyone including his parents, Fang, and even Faith—at arm’s length, and tells no one that the premonitions keep coming.  
The media moves on to an exposé of gay men cruising in a local park and while this is unrelated,  Luke and Faith grow closer, while Fang pulls further away and accuses Luke of moving in on his dead friend’s girl. Luke angrily denies this while not understanding what’s really going on with Fang. Luke and Faith are falling in love until Faith accidentally calls him “Stan” at the school dance and this confirms his worst fears that the only reason that Faith is  with him is to keep Stan’s memory alive. As Luke if filled self-doubt, he foresees Fang’s death.  Luke enlists Faith’s help and drags Fang out to a massive stone cliff on the outskirts of town that for a young Fang represented the ultimate conquest. Faith nervously watches as Fang and Luke scale the enormous rock face.  As they drive home, Fang reveals the secret that caused him to retreat: he is gay. He is, in fact, one of the men caught cruising in the park and is about to be publicly outed. With his friendship with Luke restored, Fang is able to face his worst fear— that life will end when the story breaks. Luke realizes that his visions are not the curse he believed them to be, but a life-affirming gift, that allowed him to save Fang’s life.  Director Robin Hays says that his film with death in a way that really celebrates life. It isnot easy being a teenager. It is quite a difficult journey and many have ahard time coping and figuring things out. There is drama throughout the film aswell as emotional crises but it is, in effect, a comedy, albeit one that dealswith a difficult subject in a way a lot of films don’t.

“ELECTRIC LOVE”— Four Couples

“Electric Love” Four Couples Amos Lassen Aaron Fradkinlooks at how four coupes in Los Angeles navigate the dating scene via apps likeTinder and Grinder, where the options are plenty, but aren’t always the bestmaterial.  Music video director Adam, (Zachary Mooren)spends his free time swiping left and right, trying to find the right girl… orat least a girl for right now. After connecting with Emma (Mia Serafino),an up-and-coming photographer, the two meet up and discover there’s animmediate connection. As they spend more and more time together, we meet  their friends and roommates as they come inand out of the story. Adam’s best friend Greg (Matt Bush) delivers pizza while cruising Grinderand his roommate, Dave (ByrneOwens) spends his time video talking to his long-distancegirlfriend (Sharon Pierre-Louis).
Fradkin cowrotethe film with Victoria Fratzand they both have a great sense of dialogue. Mooren and Serafino have terrificchemistry and they could have easily carried the entire film. They aresupported by a charming cast. 
People who are dating/rendezvousing in the modern technological age have lots of tools at their disposal: Tinder, Bumble, Grindr, and those are only three of the apps talked about at length in popular culture. The majority of the story is focused on Emma and Adam and how they find each other after a series of dates gone wrong. They spend a night together and quickly begin a relationship. Over the next few weeks, they have to find ways to make their blossoming courtship work as long as life, work, jealousies, and longtime friendships don’t get in their way. Through their various connections with roommates, friends, and former Tinder dates, we experience different types of people and relationships throughout the story.
This is a sweet romantic comedy with witty dialogue and awkwardsituations that come out of dates-gone-wrong and even some dates-gone-right. Assome of these people struggle through their insecurities, whether they stemfrom an unrequited ‘I love you’ or irrational jealousies because of a boyfriendand his platonic female friend, we are brought  into and become interested in theirinterconnected lives.
“ElectricLove” is an extremely relatable film.

“BOY ERASED”— The Horror of Gay Conversion Therapy

“Boy Erased” The Horror of Gay Conversion Therapy Amos Lassen When “Boy Erased” begins, weget the idea that Arkansas teenager Jared Eamons (Lucas Hedges) hasa great life. We see Jared being shepherded by his Christian mother, Nancy(Nicole Kidman), to a gay conversion organization and it becomes clear that thewhat we saw in in the home movies is no longer the case. Instead of workingtheir differences, Jared and his family are on a path to denying them and thecloset door swings shut.
Jared is the delight of his mother and Baptist preacher father, Marshall (Russell Crowe), until, he’s forced to grapple with his same-sex longings in the worst of ways. Henry (Joe Alwyn) who is Jared’s crush sexually assaults him at college. Then Henry calls Nancy and effectively outs Jared. Because Marshall wields the most power in the family, and has the biggest reputation to uphold, the path forward for his son is clear: change or be disowned. There are other choices, of course,and the film follows Jared’s protracted awakening to the fact that his sexualidentity is not an abomination. He acts as witness and journalist, observingthe often absurd ways that the conversion facility, run by the self-assuredVictor Sykes (director Joel Edgerton), attempts to meet its impossible goal oferadicating queerness.
We see a very particular kind of stupidity and sadism under the guise of levelheaded certainty. We can laugh at this until the perpetrators set their sights on us, a state of affairs epitomized by the counselor (Flea) whose overcompensating machismo is laughable, right up to the point he gets Jared alone in a bathroom, blocking the door and yells “faggot” at him. It’s as if the counselors want their charges to underestimate them. Here, ridiculously twisted logic and sanity-upending exercises come into play. Jared’sfellow converts-to-be include Jon (Xavier Dolan), who’s masochistically inthrall to the program, and Gary (Troye Sivan), a repeat offender who gets offon telling Sykes and his colleagues his stories.  It’s a lot of fun watching a movie star likeKidman playing the small-town—though finally not small-minded—parent that everygay child wishes they had. Together, the characters function like a Greekchorus, along with Kidman’s Nancy, whose eye-rolls increase with the conversionprogram.
More serious notes are sounded with thecharacter of Cameron (Britton Sear), a portly, quiet boy who’s made an exampleof with a mock funeral at which his own family members attempt to beat the gayout of him. He also, at a late stage, acts as Jared’s protector. Jared himselfis lost in the spectacle of godly devotion taken to injurious extremes is Jaredhimself, who becomes more emblematic as the melodrama reaches its peak.Hedgesis excellent as the tortured teen but he is also too much of a cipher for hisstory to really hit with the force that it should. Hereluctantly agrees to but is not prepared for the program that will try to makehim a “Boy Erased.”
Edgerton makes his feature film directing debut and also adapted “Boy Erased”,Garrard Conley’s memoir, and produces and co-stars as the Refuge Program head,Victor Sykes. His focus, though, is on Jared and the turmoil, confusion, angerand bewilderment he goes through because of his parents’ betrayal to their son.

The adaptation is a sanitized look at “conversion therapy,” a method that tearsdown any individuality (like sexual preference) and replaces it withpolitically correct thoughts and behavior. The problem is, it does not workand, as Edgerton shows, it causes far more harm, socially and emotionally, thanit helps.
We see the experience through Jared’s eyes as he is forced to submit to the“re-education,” which includes constant surveillance and everything but actualphysical abuse. Hedges proves to be a capable young actor and holds the film’sfocus, conveying the confusion, feeling of betrayal and anger at both theRefuge Program and his parents. The other inmates and jailors we meet are twodimensional, with one exception, Troye Sivan as a savvy inmate who counselsJared on survival. Conversion therapy is far different from organizations likeAA that help people with real addiction problems. I have never consideredsexual gender preference a pressing social issue and the inmates of thoseconversion therapy programs probably agree. In the film’s opening, we learnJared is the son of Baptist minister Marshall Eamons and lives a comfortablelife in a loving home.  When he asks if he can go to a party at the lake,his beaming parents send him off with his girlfriend but Jared stifles hersexual advances, quietly breaking off their relationship as he heads tocollege.  Fellow student and runner Henry takes him under his wing, butwhen Jared invites Henry back to his dorm, Henry comes on to him.  Aconfused Jared is raped, Henry breaking down in shame, begging for forgivenessafterwards.

When confronted, Jared initially denies everything, but in revealing he knowswho made the call, he eventually admits his attraction to men.  Hisparents are stunned.  The pastor calls in religious elders who recommendLove in Action.  Family physician Dr. Muldoon (Cherry Jones) gently triesto tell him he’s perfectly normal, but Jared says he wants to change.
The rules at Love in Action (a prudish dress code, sobriety, no cell phone orjournals, even supervised bathroom visits to prevent masturbation) immediatelyrub Jared the wrong way. Center head Victor Sykes  initially seems to say the right things, butthe first exercise he gives Jared’s group is to link family members to a listof sins including alcoholism, homosexuality, drug addiction and gang membership. Nothing that happens within Love inAction’s walls may be discussed with anyone, including the parents who arepaying for its treatment.  Homosexuality may be against her religiousbeliefs, but Nancy, who is sharing a hotel room with her son during histherapy, begins to pick up bad vibes.  Eventually Jared shares hisexercise binder with her.  She’s initially amused, telling him of her drugdealing gang past, but when Jared reaches his breaking point, Nancy’s there tosupport him, denouncing Sykes as a fraud and apologizing to her son for havinggone along with the plan, her mother’s love stronger than her Baptist beliefs.Now they must both face the pastor.

“SEPTO”— Coming from Revry

“SEPTO” A Revry Original Series: Premieres Brazilian LGBTQ Multi-Award Winning SEPTO Amos Lassen On December 7th, the Brazilian Multi-Award winning LGBTQ series SEPTO premieres as a Revry Original Series on the first LGBTQ streaming network.  SEPTO dives deep in this dreamy Brazilian coastal drama where a young promising Olympian finds herself, independence and love.    Coming from the most discriminated area in the northeast ofBrazil,  Creator / Star, Alice Carvalho was honored to represent hercommunity by winning multiple festivals in Buenos Aires, Rio de Janeiroand the Trofeu Cultura RN.   SEPTO then went on to represent Brazil infestivals internationally including Asia, Germany and the United States. It became the first audiovisual production from the northeast of Brazilto receive prominence in Hollywood by receiving an award at theinternational Out Web Fest in Hollywood.
“Hollywood is the center of the audiovisual industry it is where any creator dreams to be. The name itself, “Hollywood”, attributes to any work a kind of title without price, almost like a stamp of quality. “From the region we came from, it is not common to dream so high,” says Carvalho.  “In addition to the discrimination of race, gender and sexual orientation, we also face daily a kind of xenophobia against the culture produced in the northeast of the country. How to dream so high living so far in a country so full of discrimination and having only two reais in the pocket?  This release of SEPTO on Revry is the reflection of approval in a global seal.  As a whole, it legitimizes and boosts Brazil’s anti-homophobia speech as well as reaffirms the importance and quality of Latin American shows such as ours.” Revry’s CEO, Damian Pelliccione shares “We were so thrilled to champion Alice’s wonderful series and bring a global spotlight to her creative voice.  She is innovative and daring, not only in her work, but in her life – she is a great success story and deserves to be known and tell the stories that so many can relate to, but are rarely seen – especially from where she comes from.” SEPTO is available only on
A Revry Original Series  Premiere – Dec. 7th  What happens when you realize your dreams are no longer your own? Promising triathlete, Jessica has trained her entire life and finally has a shot at the Olympics. When she meets Lua, the mysterious and confident surf instructor, Jessica realizes just how trapped she feels by her own life and her controlling father. Explore this store of love, ambition and drama in the newest Revry Original, SEPTO. About Creator / Star: Alice Carvalho Alice Carvalho is a 90’s kid, an actress, screenwriter and playwright.  She is currently studying Visual Arts at the Federal University of Rio Grande do Norte, in the Northeast region of Brazil.  In the theater, Alice was in “BRUTAL”, “ABOUT LOVE”, on tour through the country from 2014-2015 with her stand up comedy number  and premiered “INKUBUS” – a play she starred in and wrote that won her the Artist of the Year Award in the Troféu Cultura RN, 2017.   As a writer in 2015, she launched the book “ABOUT LOVE – And some chronicles…” and in 2018 she launched her second book, “The Empowered Princess”, both made for children/teenagers. Alice conceived, scriptedand starred in “SEPTO”, which was the winner of “Best Webseries – People’s Choice”award in Buenos Aires Webfest 2017, “Best Drama Cast” in Rio Webfest 2017,“Audiovisual Highlight” in the Troféu Cultura RN. It was nominated in 4categories at the Asia Web Awards 2017 and in 3 at Seoul Webfest 2017.  In2018, it was chosen to represent Brazil at festivals in Germany (Die Serialeand Wendie Webfest) and in the United States (Streamy Awards 2018 and Out WebFest), becoming the first audiovisual project from the northeast of Brazil(most discriminated area of the country) to receive prominence in Hollywood.

“BOHEMIAN RHAPSODY”— Long Live [the] Queen


Long Live [the] Queen

Amos Lassen

“Bohemian Rhapsody” is baroque and evocative thanks almost entirely to Rami Malek’s phenomenal performance. He may not look  like Freddie Mercury but when you see him move, you can almost believe that he is Freddie. The plot itself is formulaic rockstar biopic and that is ironic considering the scenes in which members of the band rail against following record-industry routine. It’s an enjoyable journey, though, with the performance scenes being particular highlights. Freddie’s sexuality plays a big role here. Yet a lot of Freddie Mercury’s story goes untold here, but we do get the broad strokes.  Rami Malek nails Freddie Mercury’s trademark overbite, elegantly feral stage delivery and posh accent.

The movie rushes through his first encounters of what would eventually become Queen. Guitarist Brian May and drummer Roger Taylor (Gwilym Lee and Ben Hardy) helped produce the movie, and because John Deacon (Joe Mazzello) didn’t, the latter gets considerably less screen time.

The early scenes of creative collaboration and show-business rise are thrilling and there is a wonderful scene  with a fictional record exec (Mike Myers) who doesn’t want to release the band’s “Bohemian Rhapsody” masterpiece. The film juxtaposes the band’s touring success with graphic excerpts from negative reviews of the song. 

The tale’s most fractured area involves Freddie’s mercurial sex life. It shows his relationship with early girlfriend Mary Austin (Lucy Boynton) at the expense of his eventual gay identity. Mary was very important to Freddie  (she inherited most of his estate), but this overly sanitized film  relies on the kind of demonic depiction of gay subculture we became used to seeing not so long ago essentially blaming his eventual AIDS diagnosis  on his unhealthy moral choices. 

A lot is crammed into the period leading up to Queen’s genuinely triumphant turn at Live Aid, in 1985. That gig, beautifully restaged here, is depicted as a strained reunion, although the band never actually broke up.

“Bohemian Rhapsody” is a reductive cinematic portrayal of a legendary pop-cultural figure. The film is a flashy yet a shallow overview of Queen Freddie Mercury’s life from his days working as a luggage handler at Heathrow Airport, while living at home in London with his conservative immigrant Parsi parents (Ace Bhatti and Meneka Das), to famously stealing the show on stage at Live Aid, a massive concert organized as a fundraiser for famine relief in Africa in 1985. And while the film’s conclusion is an impressively intricate and deeply moving recreation of the band’s iconic performance at Live Aid, the scenes leading up to the show are ultimately plagued by a sense of each narrative and artistic choice being the safest one available.

Queen’s meteoric rise to prominence is cross-cut throughout the film with the development of Mercury’s relationship with Mary Austin who goes from being his would-be bride to his close friend following the revelation of his homosexuality. And the film is at its most engaging when capturing how Mercury and his bandmates conceived some of their biggest hits in the studio. The playing out of the relative strengths and weaknesses of each of Queen’s members in relation to one another provides both narrative tension and a fascinating portrayal of artistic collaboration.

Mercury’s descent into a life of drugs, booze, and sexual excess is later depicted as the catalyst of Queen’s demise in the years prior to the Live Aid performance. The film seems almost embarrassed to include on-screen evidence of Mercury’s sexuality, as if eager to subtextually corroborate the stereotype of tragic queerness leading to tragic promiscuity leading to an inevitably tragic death. Suggestions of his homosexual desire are pushed into a single wistful glance at a rugged truck driver slinking into a public restroom and lavish representations of drug-fueled parties that are otherwise meant to demonstrate just how deeply into depravity Mercury  had sunk. The news of his AIDS diagnosis is practically the only indication the audience gets that Mercury even had a sex life at all.

And while “Bohemian Rhapsody” does succeed in mapping out the most important touchstones of Mercury’s all-too-short life, it does so at the expense of many opportunities for depth of feeling. The minor characters are drawn two-dimensionally at best and are rushed through scenes simply to provide a sense of forward momentum rather than to add any particular nuance or inflection to the core narrative.

As the eventually insidious Paul Prenter (Allen Leech) Mercury’s personal manager during much of his career, who later sold incriminating personal information about the singer to the press, goes into a rage about the limitations of queer existence almost moving in the single scene in which he’s actually given space to perform, rather than to react.

The film mistakenly believes that simply moving through an overview of Mercury’s life will allow it to arrive at something approaching intimacy.

“JUST ME”— A House Call

“Just Me”

A House Call

Amos Lassen

When Police Officer Connor (Carl Laughin) is doing house to house calls he is shocked to find Scott (Philip Olivier).  Something lets us know that the two have shared some intimate past, but before they can broach it, they are joined at the front door by a woman (Chauntelle Cowler). She lets it slip that she is Scott’s fiance and they are going to get married in the coming weeks.  She invites Connor to join the Stag Party which he politely refuses saying that his S & M gear probably wouldn’t be well accepted.  Scott became very interested in this.

On the night of the stag party in a local Liverpool pub, Scott is bored with his straight friends and leaves them and wanders off to the local gay club where a leather night is happening.  He sees Conner and at first is very reluctant to unwind, and when he finally does, he has a night he will not forget in many ways.

The short film focuses on Scott’s conflicted sexuality. Philip Olivier turns in a finely nuanced performance as bisexual Scott. He is no stranger to the LGBT community having once was in a Mr. Gay U.K. competition and has shed all his clothes more than once to grace the cover of gay magazines.

There is a very convincing chemistry between Olivier and Loughlin and this makes this film so watchable and enjoyable.