Please Baby Please

Well, I don't know... I really don't know. Some filmscare are like that, they try to force too much for being different and in some points, it is artificial and meaningless. First of all I have to start with what I like ; colours in the movie! It is so cool dark but at the same time so brilliant. There are too many conversations and no connection between them. Some of them ok but again forced for me. What kind of LGBT movie is this? I don't know. Thanks God I didn't watch this movie in a film festival or theater because it is boring for me. I didn't finish yet last 30 min but I have some doubts about the end. Probably it will not give anything to me. Final words ; ok but do not expect too high. Average and almost semi amateur. Demi Moore was ok. Love to see stars like that as a supporter in movies.

Legitimate b-series for style, with quite a budget de iure. Yes, there's wordiness and queer pride but also vaudeville kitsch, indeed, with a hodgepodge of hackneyed opinions revolving around phallocentric opposition and gender strife but with the depth normally found in a reality show. You have to enjoy Riseborough in serious plots, like that TV episode of Black Mirror, it's very good, without doing what was asked for this role, overacting; Is it a coincidence that the second scene of the play begins when the conversation is halfway done?: "I want to hit, hit, hit someone until I knock their teeth out...", but under what premise would Susan have started to elaborate on all of that ( except for a room with syringes or a sniffing table and music by Marylin Manson taking into account that in the first scene we witnessed the street murder by punks but it felt so dramatic as if in a variation of Michael Jackson's "Bad" music video. To 10-F's neighbor Maureen, doesn't that feel like a bit of plot embellishment, Demi Moore's entrance, teen-level co-talk, same thing when Suzane and Ida discuss how to get respect for a woman or men gang members "find you later, don't you find me"?' LOL. I don't feel Artur's sexual conflict with Teddy is very realistic, maybe it's the dialogues or the work in its cohesion. I left the second star for the video at the end to two paintings.

I absolutely adore this movie. It is so thoroughly, delightfully queer in every sense of the word. It so perfectly blends the cinematic influences it's drawing from (obviously Anger and Fassbinder, but also cult camp classics like "Absolutely Beginners" and "Crimes of Passion") while also being utterly singular. Andre Riseborough has been getting a lot of the attention for this movie, and she's great in it, but Harry Melling is absolutely killing it in this film. He so inhabits Arthur's internal struggles with his masculinity and sexuality in a way that feels startlingly authentic. The final dance sequence is my favorite moment from a movie this year, and maybe in the past few years. Absolute queer joy personified. This movie is "not for everyone," but what percentage of cinema really is "for" anyone?

Amanda Kramer's (Ladyworld) new film takes place in 1950s Manhattan - maybe not our version of that time and place, but a neon world of music and dance - where Arthur (Harry Melling) and Suze (Andrea Riseborough) - he's a clarinetist, she's a housewife - witness a murder committed by a gang of rough trade greasers in leather known as the Young Gents. That act of violence sparks previously unknown emotions and feelings of sexuality in both of them. "Everyone wants to be Stanley Kowalski," Suze says at one point. This movie lives up to that promise, creating a world where the gang movies of the 1950s are real-life, complete with more fashion and queer content than any movie of that era would dare (well, sometimes in subtext). A film festival referred to this movie as "A Streetcar Named Desire by way of John Waters." That's a high mark to rise to but this movie goes for it. Kenneth Anger might be pleased to see that his influence continues, while certainly jealous of the budget. And oh wow - Demi Moore in a pantsuit, animal print coat and silver high heels, living in a blue fantasy world apartment as a kept woman? Watch this and prepare to swoon.

This film was a failed, poorly executed, pretentious and amateur attempt at being different and avant-garde á la Kenneth Anger/David Lynch/John Waters/West Side Story with the elements of the queer culture and woke politics. PROS: The underrated-yet-top-notch and stellar performances of Andrea Riseborough, Karl Glusman, Cole Escola and Ryan Simpkins. The beautifully appealing and well-designed visuals/art direction and costumes/makeup. The haunting-yet-elegant original musical score. CONS: The overhyped and unconvincingly awful performances of Harry Melling and Demi Moore due to miscasting. The painfully obvious and downright abysmal dialogue. The very tedious, redundant and chaotic nature of the entire plot, storyline and screenplay. The anachronistic and nonsensical elements of 1980's-style harshly bright neon lights and dramatic dry ice smoke in a 1950's setting. The film itself being reduced to an annoying and boring college lecture of a gender studies course with an even painfully obvious agenda of wokeism and degeneracy of far-leftist dogmas. The poor play of lighting and darkness throughout the entire film. The rather nonexistent and confusing message of the story. All of these cons as mentioned above just rob all the thrills, humor, fun, credibility, excitement, adventure, spirit and entertainment of it which makes it less interesting and memorable to watch. Overall, this film was very subpar and will be easily be forgotten as it will only appeal to a certain niche which will apparently become an obscure cult classic. It was all pretty image, but no true substance. Get woke, go broke! Even Shiva Baby and But I'm a Cheerleader as LGBTQ+ cult classics, fared a lot better, had interesting storylines, had dramatic and convincing plots and overall, were perfectly executed than this film. Just my two cents, coming from a non-binary/gender-fluid person like myself.

I can't imagine I'll be more aggravated by another performance this year than I was by Andrea Riseborough's in this movie. I'll never complain about a movie trying to give us something we haven't seen before, so credit where credit is due. But this film is a misfire from top to bottom. Set in a hyper-artificial world that reads like a love child between John Waters and David Lynch, the film is full of anger, frustration, and sadness about being forced into social norms that don't fit. I like the concept on paper, but this movie is intolerable. Nobody felt like a real character, nothing happening felt like it had any urgency, everything felt exaggerated and arbitrary. Riseborough is the worst offender -- why deliver a line like a normal human being when you can instead grimace and mug and throw yourself on the floor for no conceivable reason. But nobody comes out of this movie unscathed. The only scenes that featured characters having actual conversations of any substance sounded like gender identity podcasts. It was like this movie was trying from the outset to be a cult classic, not understanding that cult classics can't be manufactured. I very much disliked it. Grade: D.