The Dead or Alive trilogy has to represent the most prolonged man-sex gag in all of cinema.
Most impressive is its sympathetic portrayal of a shunned community in all its self-contained, lip-biting game-face pride.
Love Me Tonight still stands as a definitive musical.
Still recovering from Ellen Burstyn’s Sara Goldfarb?
Kino’s smashing transfer anchors Mamoulian’s dreamy and precociously sexual masterpiece.
The Boys Life series has always been a little about wish fulfillment.
Feels ever so faintly like the final project showcase put together by the students in a senior year queer filmmaking course.
Gaye makes political consciousness feel as intimate as a night in his boudoir.
Gertrud is so peculiar as to appear almost otherworldly.
Control was every bit the hit machine that Thriller was.
The relative straightforwardness of a Captain Kronos: Vampire Hunter is a welcome throwback.
The film is quintessentially British in that it takes all the eroticism out of the vampire myth.
The artist’s sophomore effort upped the ante by plugging listeners into the diverse pop mixtape playing inside her mind.
The album is suffused with the spirited energy of a man who’s finally gotten something off of his chest.
After the success of Halloween, all a slasher pic producer needed to concoct a new franchise was to pick a holiday and go from there.
Naughty indeed.
If the series has taught us anything, it’s that underneath the padding, Santa is one hot piece of ass.
The house of Jaxx is a carnival labyrinth of smoke, mirrors, and liquid insanity.
No album, movie, or book should ever have to live up to the expectations attached to the label “biggest selling of all time.”
It’s Lifetime. It’s camp. It’s seriously confused, and it should speak directly to drag queens in straight relationships everywhere.