Dallas Voice (Dallas, Tex.), Vol. 22, No. 33, Ed. 1 Friday, December 30, 2005 Page: 28 of 60
sixty pages : ill. 14 x 12View a full description of this newspaper.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
GOLDEN GI.OBFA AWARD NOMINEE U
BEST ACTOR • CILLIAN MURPHY
»
a NEIL JORDAN film
BREAKFAST PLUTO
WRITTEN BT NEIL jOROAN AND PATRICK McCABE • DIREQED BY NEIL JORDAN
®
- WWW SONYCIASSICS COM
SONY PICTURES CLASSICS ’
<: *M)< TOCtfTKK iMH2 im 02006 VJttl nC'lURKS UHTtmVK
ANGELIKA FILM CENTER ANGELIKA FILM CENTER CALLTHEATBE f0R
PLANO 5321 E. Mockingbird Ln. sumt-.lik and
W&^#0,2*“ g&ttgT sound information.
Now Playing
Pointing: People
a * ** a
^ y/ylUi'C ^ v ^ v
Community
Churcfi
To
Sunday, January 1
“The Appearance of the Child”
214-320-0043
9353 Garland Road
MATTHEW 2: 1-12
By Rev. Dr. James Walker
PASTOR WHITE ROCK COMMUNITY CHURCH
Dallas, TX 75218
www.WhitcRockChurch.org
SUN WORSHIP 10:45AM
WIID EVENING BIBLE STUDY 7:30PM
THE PRODUCERS
pftffisQ] EEBL^
© 2005 UNIVERSAL STUDIOS
jm GOLDEN GLOBE" NOMINATIONS
4 BEST PICTURE!
'
NOW PLAYING
CINEMARK
CEDAR HILL
Beft Lino *3 Hwv 5^
1972) 665-2222 Q-Code 349 *
CINEMARK
CINEMARK 17
Wefco Chapel © LBJ
(972) 665-2222 Q-Code 207#
CINEMARK
CINEMARK AT LEGACY
I-75 & Legacy Dnve
f972> 665-2222 Q-Code 251#
LOEWS
CITYPLACE
Central Exp & Haskell A.
(800) FANDANGO (793i
AMC
GLEN LAKES 8
Central & Walnut Hit!
{214)459-9990
AMC
GRAPEVINE MILLS 30
3150 Graoevine Mills Pkwy
(972) 724-8000
CINEMARK
HOLLYWOOD USA
LBJ 9 N.W. Hwy.
(972) 665-2222 Q-Code 38#
LOEWS
KEYSTONE
Spring Valley & N. Centrr
(800L FANDANGO (79 :,
tXtQ
MESQUITE 30
I-635 & Hwy. 80
(972) 724-8000
CINEMARK
ROCKWALL
I-30 0 Horizon
(972) 665-2222 Q Code #352
AMC
STONEBRIAR 24
Hwy. 121 N 9 Preston
(972) 724-S000
CINEMARK
TINSELTOWN GRAPEVINE
Hwy. 114© Wm. D. Tate
(972) 665-2222 Q-Code 206#
CINEMARK
TINSELTOWN PLANO
Toilway © Parker Rd.
(972) 665-2222 Q-Code 231#
AMC
VALLEY VIEW 16
chick i» .*•!*. cm crouts iw cm »yn sxmj *nii*w:ow am> showi**-,
Preston Rd. & LBJ (1-635:
(972) 724-8000
[ SPECiAl £HUKf.M?W”S *0 Oft COUPON ACCErFtT
iife+st screen__
Movies 2005 — best and worst
With Hoffman and Huffman, it’s a queer year, but film critic
Steve Warren isn’t bending over backward for ‘Brokeback Mountain’
By Steve Warren Contributing Film Critic
The end of 2005 brought two love stories
to the screen that departed from the usual
“boy meets girl” formula. In the public
favorite, “King Kong,” girl meets 25-
foot gorilla. And there was no girl
at all in the central romance
of “Brokeback
Mountain,” which the
critics embraced (it was
named year’s best pic-
ture by critics’ groups in
New York, Los Angeles,
San Francisco, Dallas-Fort
Worth and Boston. It also
received seven Golden
Globes nominations, more than
any other film, with the Academy
Awards likely to match that total).
Twelve years ago
“Philadelphia” raised the same
questions about what the public
was ready for. A movie about a gay
man with AIDS seemed risky, but
Tom Hanks and Denzel
Washington added a degree of box-
office insurance. Heath Ledger and
Jake Gyllenhaal aren’t at the same
level, but they appeal to a younger,
raised-on-MTV audience, with many who don’t
see being gay as a big deal. “Philadelphia”
grossed more than $77 million in the U.S. and
won two Oscars.
Any way you look at, it it’s going to be a
queer awards season. In addition to
“Brokeback’s” chances in the picture, director,
adapted screenplay, supporting actress, cine-
matography and original song categories, Heath
Ledger’s main competition for best actor is Philip
Seymour Hoffman as the gay title character in
“Capote.” Dark horses in that category include
Cillian Murphy’s cross-dressing hero in
“Breakfast on Pluto” and Pierce Brosnan’s pos-
sible bisexual in “The Matador.” The best
actress front-runner is Felicity Huffman as trans-
sexual Bree in “Transamerica,” and all these
films could turn up in other categories as well.
“The Producers,” a long shot in several cate-
gories, is a buddy movie about two straight guys
(one of them played by gay Nathan Lane) who
love each other. Gary Beach and Roger Bart play
very gay supporting characters.
Gay directors weighed in this year. Rob
Marshall (“Chicago”) had “Memoirs of a
Geisha,” a high-camp melodrama with Gong Li
in an over-the-top performance that’s earned
some Oscar buzz. Thomas Bezucha (“Big
Eden") made “The Family Stone,” which fea-
tured a sympathetic interracial gay couple (Ty
Giordano, Brian White) at the family gathering.
Don Roos (“The Opposite of Sex”) mixed gay
and straight characters and plots into “Happy
Endings,” a good film that deserved a wider
audience. The less said about Gus Van Sant’s
“Last Days” the better.
While it was still common to get cheap laughs
in comedies (“The Producers,” “Cheaper by
the Dozen 2”) with scenes where straight men
are found in what appear to be compromising
positions, it was more common to find characters
who happen to be gay or lesbian integrated into
the fabric of the story (“Kiss Kiss Bang Bang,”
“The Upside of Anger”), just as we are in real
life. Bisexuality was downplayed but not ignored
in “Domino.” Let’s try to forget the three-way in
“Where the Truth Lies.”
In the queer film arena, noble efforts from
several filmmakers made it beyond the festival
circuit to some art houses. Two comebacks were
the big story: Nicole Conn (“Claire of the
Moon”) turned from lesbian fiction to lesbian
reality to film a crisis in her own family and
made the year’s best documentary, “Little
Man”; Gregg Araki (“The Living End”) grew up
and, without abandoning his punk aesthetic,
adapted someone else’s novel into a better film,
“Mysterious Skin,” than any of his original
scripts (and some of them were quite good).
Queer filmmakers often say their harshest
critics are from the queer press. That started back
in the day when we were the only ones who cared
enough to review their work. And if it continues,
it’s because we want their films to be the best. It’s
also because when a good gay film (and we can
include “Brokeback” in that category, even
though neither the director nor the stars are gay)
comes along, liberal straight critics fall all over
themselves elevating it to greatness.
I suppose I’m working up my defense for not
selecting “Brokeback Mountain” as the year’s
best picture. I simply didn’t think it was the best
when I searched my subjective heart during a
frantic early-December period when I was
watching two or three two-hour-plus epics a day
(every studio thinks it will help their chances if
critics see their films last).
If I listed the pictures I was glad to see made,
“Brokeback Mountain” would be at the top. If I
had to recommend one film this year for gay men
to see, I might hesitate, but I’d pick “Brokeback
Mountain.” But because gay is only part of who
I am (OK, maybe the best part), or because the
gay gene makes me sensitive to other people’s
situations, there were .four other films that
impressed me more.
28 I dallasvoice.com I 12.30.05
Upcoming Pages
Here’s what’s next.
Search Inside
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Newspaper.
Vercher, Dennis. Dallas Voice (Dallas, Tex.), Vol. 22, No. 33, Ed. 1 Friday, December 30, 2005, newspaper, December 30, 2005; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth616424/m1/28/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting UNT Libraries Special Collections.