Only When I Laugh (1981)

Georgia (Marsha Mason) is a successful Broadway actress who is alcoholic and has bad relationships with men. The film opens with her successful 90 day rehabilitation at an expensive Long Island rehab clinic and her return to Manhattan and to her two best friends. They are Jimmy (James Coco), a gay actor who drowns his sorrows in food, and Toby Landau (Joan Hackett), a beautiful bitter socialite whose main achievements are the rich men who have fallen in love with her. When we first meet Georgia, she is a voice in the dark behind the opening credits talking to her psychiatrist. ''The funny thing,'' Georgia says, ''is that I don't particularly like drinking, but I like bars. I like the people you meet in bars. I don't like the taste of liquor, but when I drink I'm very funny. At least, that's what people tell me later.''

A number of crises are waiting for Georgia when she leaves the clinic. Her teenage daughter Polly (Kristy McNichol), whom she neglected as a child, wants to move back in, though they still have to repair their relationship. Polly has the kind of wisdom given to teenagers in farces. Former boyfriend David (David Dukes), a writer and heel, has just penned a new drama that he wants her to star in--a fictionalized version of their often-combative relationship. Off-screen there is also Georgia's ex-husband, who has remarried. Basically, the story is about a vain alcoholic Broadway actress who tries to stay sober while dealing with the problems of her teenage daughter and her friends, and a gay actor relegated to small roles in third-rate shows.

This drama by Neil Simon is not one of his typical comedies, though there are moments of humor in this moving and uplifting film. Using 15 lines from ''The Gingerbread Lady,'' his 1970 Broadway failure, Simon has written an upbeat, often funny and occasionally harrowing story about an alcoholic. It's one of his best, and it's been treated with care by Glenn Jordan, a television director whose first theatrical film this is. All the main actors are outstanding and earned many award nominations. Marsha Mason is excellent, and the film is impressive and unforgettable. David Shire composed the original music.

The Talented Mr. Ripley (1999)

Tom Ripley (Matt Damon) is a young man struggling to make a living in NYC in the 1950s. While working at a party playing the piano, he is approached by wealthy Herbert Greenleaf (James Rebhorn), who believes him to be a school friend of his son, Dickie. Greenleaf asks Ripley to travel to Italy to persuade Dickie to return to the US. Ripley agrees, even though he did not go to Princeton and has never met Dickie. He is offered $1,000 to carry out this job. In Italy Ripley meets Dickie Greenleaf (Jude Law) and his girlfriend Marge Sherwood (Gwyneth Paltrow), and quickly ingratiates himself into their lives. Over time Dickie begins to resent Ripley's presence and growing dependence, especially after he learns that Ripley has been lying about their days together at Princeton. Ripley's feelings are complicated by his desire to maintain the wealthy lifestyle Greenleaf has afforded him, and by his growing sexual obsession with his new friend.

As a gesture to Ripley, Greenleaf agrees to travel with him on a short holiday to Sanremo. The two hire a small boat and go sailing. They begin arguing while on board, with Dickie rejecting and mocking Ripley. Enraged, Ripley attacks Dickie, smashing him with an oar that kills him. Ripley then sinks the boat with Dickie's body on board to conceal his crime. When the hotel concierge mistakes Ripley for Greenleaf, Ripley realizes he can assume Greenleaf's identity. He takes on Dickie's signature and passport, and begins living off his allowance, while at the same time carefully providing communications to Marge to make her believe that Dickie has deserted her. "I feel like I've been handed a new life," he says. Greenleaf's old friend Freddie Miles (Philip Seymour Hoffman) visits Ripley at what he supposes to be Greenleaf's apartment in Rome. He is immediately suspicious of Ripley. When Miles discovers Ripley's scam, Ripley murders him and dumps the body.

Ripley's life becomes a cat and mouse game with the Italian police and Greenleaf's friends. He must alternate between Dickie Greenleaf and Tom Ripley. His predicament is complicated by Meredith Logue (Cate Blanchett), a wealthy heiress he met while traveling to Italy, who believes Ripley to be Dickie. Ripley eventually resumes his own identity, forges a suicide note in Greenleaf's name, and moves to Venice. Soon Marge, Herbert Greenleaf, and private detective Alvin MacCarron (Philip Baker Hall) confront Ripley. Marge suspects Ripley of involvement in Dickie's death, and Ripley plans to murder her. He is interrupted when Marge's friend, Peter Smith-Kingsley (Jack Davenport), enters the apartment.

Near the end of the film, private detective MacCarron reveals that Mr. Greenleaf has decided to give Ripley a portion of Dickie's income with the understanding that certain details about his son's past not be revealed to the Italian police. Ripley goes on a cruise with Smith-Kingsley, his new gay lover, only to discover that Meredith Logue is also on board. Logue knows Ripley only as Dickie Greenleaf, and Ripley realizes it will be impossible to keep Smith-Kingsley from discovering that he has been passing himself off as Greenleaf, since Peter and Meredith know each other. He cannot solve this dilemma by murdering Logue, because she is traveling with a large family who will notice her disappearance. The movie concludes with a sobbing Ripley killing Smith-Kingsley to protect his secret, and returning to his cabin alone.

This psychological thriller features outstanding acting by the entire cast. It was filmed mainly in Italy with famous landmarks in the cities of Rome and Venice being used as a backdrop for the narrative. The musical score by Gabriel Yared is evocative and moving. Anthony Minghella wrote the screenplay, adapted from the acclaimed 1955 novel by Patricia Highsmith. Anthony Minghella directed.

The Dresser (1983)

Set in 1940 England during the blitz, Sir (Albert Finney) is the aging star and manager of a Shakespearean stage company, leading his troupe of women and men too old or damaged to fight. All the young actors are in uniform, hospital, or dead. Sir gets by with the help of his dresser Norman (Tom Courtenay) a fussy, loyal, very English "nancy-boy" man behind the man, maintaining a desperate hold on his good humour even as his life is coming apart in shreds as Sir disintegrates. Norman deals with the egomaniacal old ham in the early stages of senility. The show must go on, despite bombing raids, Sir's collapse, and other difficulties. Sir and Norman act like an old married couple. While Norman is evidently gay, he is not the only one. The often talked about but never seen Mr. Davenport-Scott is the other, and the reason for his disappearance seems to be he was detained by the police for homosexual activity, a criminal offense in England at the time.

The film details a close and touching relationship as the dresser remains in the background while enabling the once great actor to continue his work. Mainly this is the story of two men, one an artist who is used to taking what he needs from those around him, and the other who gives his life over to that man. Though we see other people, the film is really a duet between Sir and Norman, his personal assistant, who gets him into costume and into shape to go onstage each night. Sir is on his last legs and Norman is his cheerleader, his parent, and whipping boy. Finney captures the proud insecurity of this aging ham, whose career has never quite matched his expectations but who convinces himself each night that a performance in the provinces is as important as playing London's West End. As far as the complaints that Finney chews the scenery a bit, just remember that he's playing an aging, egotistical scene-chewing actor. It's not a happy film, but it is a great backstage tale.

This film is an adaptation of the West End London and Broadway hit by Ronald Harwood. He based the play on his experiences as dresser to distinguished English Shakespearean actor-manager Sir Donald Wolfit, who is the "Sir" in the play. "The Dresser" was first presented on March 6, 1980, at The Royal Exchange Theatre. The movie features well-timed direction, a sturdy plot, and very good acting. James Horner composed the original music, Ronald Harwood wrote the screenplay, and Peter Yates directed.

Alive & Kicking (1997)

Tonio (Jason Flemyng) is an arrogant narcissistic dancer with an artistic temperament who has lost his mentor, best friend, and lover to AIDS. He is a shameless flirt who stalks about like the young Rudolf Nureyev. Tonio has AIDS, but refuses to take drugs to fight the disease lest they interfere with his dancing. The story is set in 1995 London, so makes no mention of the new protease inhibitors that have rendered thousands of AIDS patients asymptomatic. A fatalist, Tonio has decided to keep on dancing for as long as he can, too proud to let his HIV-positive status interfere with either his career or his love life. Tonio is an obnoxious queen at times. But most of the time he is a man who lives by dancing. Although he denies it, he escapes through dance.

One night at a disco, Tonio meets Jack (Antony Sher), a stocky, balding older psychotherapist with a large AIDS clientele. These two opposite personalities begin a wary courtship that eventually lands them in bed. In the stormy love affair that develops, Jack, who is HIV-negative, proves as needy and vulnerable as Tonio. A heavy drinker who has absorbed too much of his dying patients' rage, he is prone to throwing nasty drunken tantrums, angry over the deaths of so many of his patients. The heart of the movie is an exploration of the relationship between these two volatile, complicated, self-absorbed individuals. Their love story is set against the identity crisis of Tonio's mostly gay dance company, whose cranky founder, Luna (Dorothy Tutin), seems to be suffering from Alzheimer's disease. A running subplot that follows Tonio's friendship with a lesbian dancer named Millie (Diane Parish) feels tacked on, and a scene where they try sex is quite silly. You don't believe for a second that people as aware as these two would fool themselves into attempting such a childish experiment.

"Alive & Kicking" is the first screenplay by noted playwright Martin Sherman ("Bent") and the second feature to be directed by Nancy Meckler, whose debut film "Sister My Sister" won critical acclaim around the world. It has its weak and even embarrassing moments, but the performances of Jason Flemyng and Anthony Sher are excellent, and the entire cast is great. Peter Salem composed the original music.

If You Only Knew (1999)

Gen-X loser Parker Concorde (Jonathan Schaech) is a shy, aspiring writer who works as a telephone psychic by day and lives a lonely existence by night. When his apartment burns down he must find a new one. At first he stays at the home of his womanizing buddy Jack (James LeGros), who lives by the credo that "New York is a dessert tray of beautiful women." Then Parker meets beautiful Samantha, (Alison Eastwood), who is looking for a roommate for her fabulous loft in the Village. Samantha is a painter who dreams of studying in Paris and has a habit of getting involved with the wrong men. When they bump into each other in a Manhattan flower shop, it's love at first sight for Parker. Samantha has an affordable room available, and she likes having male roommates--but only if they're gay. Desperate, Parker decides to take the plunge, and passes himself off as a gay friend of a friend. An inevitable comedy of errors ensues, as Parker desperately tries to keep Samantha from learning his two secrets: he's not gay, and he's in love with her. But his romantic plans are frustrated when she keeps setting him up with her other gay friends.

This sweet romantic comedy features appealing and compelling characters. It's cute, lighthearted, entertaining, clean, and funny, with heart and a good story. Viewers comments are uniformly very good. One example: "This happens to be one of my favorite movies! I've seen it many times, and every time I love it even more. For the most part I think that this has happened to all of us. You try to be someone you're not to get something that you could have easily had if you were yourself. But each person has their own opinions and I love this movie, and recommend everyone to watch it." Bill Meyers composed the original music, Gary Goldstein wrote the screenplay, and David Snedeker directed.

Oi! Warning (1999)

Janosch (Sascha Backhaus) has problems at school and despises the lifestyle of his bourgeois mother. He runs away from home to his friend Koma (Simon Goerts), whom he had met at a holiday camp. Koma is an Oi! skinhead (punk-skinhead) who has little political motivations, preferring a lifestyle of partying and binge drinking, and enjoys skinhead and punk rock music. Janosch is struggling with his sexual identity, attracted to Koma, who doesn't seem to notice. Koma and his girlfriend Sandra (Sandra Borgmann) are expecting twins soon, but Koma invites Janosch to stay in their nursery for the time being. Before long, Janosch has cut off his hair and immersed himself in skinhead culture, but he finds little outlet for his homoerotic desires. Sandra wants Koma to change his ways. She blows up his secret hideaway with dynamite, but this only angers Koma, who blames this on the punks he had a fight with previously.

Sandra decides to find Janosch a girlfriend, specifically Blanca (Britta Dirks). However, while she takes a strong liking to him, he is not attracted to her. Janosch becomes aware of a group of self-styled "modern primitives" who modify their bodies with tattoos and piercings and encourage free sexual expression. He gets to know a few of them and becomes physically involved with Zottel (Jens Veith), a punk who earns a living with small circus acts at wealthy people's parties. The two fall in love. However, the skins regard the primitives as their enemies, and Koma is not at all happy with Janosch's new friends or the open acknowledgement of his homosexuality. Janosch's happiness ends when Koma attacks Zottel and kills him. In a fit of fury, Janosch grabs a brick and slays Koma.

This movie is the directorial debut of the Reding twin brothers and took about five years to film, mostly due to financial constraints. It is shot in black and white, underscoring the film's gritty feel. The film won the German Camera Award and an emerging talent award at the L.A. Outfest. Tom Ammermann composed the original music, and Ben Reding and Dominic Reding wrote the screenplay. In German with English subtitles.

Bully (2001)

Bobby Kent (Nick Stahl) is not a nice guy. He often beats up his best friend Marty Puccio (Brad Renfro), abuses Marty's girlfriend Lisa Connelly (Rachel Miner), and he rapes Lisa's friend Ali Willis (Bijou Phillips). There isn't a lot to do in the suburban Florida town where Bobby and his friends live. They play violent shoot-em-up video games, work at the Pizza Hut, go surfing at the beach, and cruise in their hot rods. But mostly, Bobby and his friends have lots of sex. The film is drenched in graphic shots of barely legal naked teenagers. Sexual identity is an undercurrent in Bobby's story: he watches gay porn while he rapes Ali, and he forces Marty to dance with him at a gay club. Some of the other teenagers think that Bobby and Marty are a couple.

Marty is fed up with his best friend's twisted ways and Lisa couldn't agree more, so they plan to murder Bobby with a group of willing and unwilling accomplices. In the midst of their plotting, they find themselves contemplating the possible aftermath of the crime. They decide to kill Bobby because he's a bully who has hurt and angered them, and also because they're bored and desensitized to violence. After much drug use and a failed attempt at murder, they hire a supposed hitman (Leo Fitzpatrick), but as the story progresses it becomes apparent that he is just a tough-talking teenager. Initially, some in the group dismiss the plan as a lark, but eventually, they all come to the realization that they will go through with it, particularly when they lure Bobby out to a nearby swamp where he is attacked with knives. Marty slits his throat. The hitman beats Bobby's head in with a bat, then forces Derek (Daniel Franzese) to help him throw the body in the swamp. Several days later they are all arrested by the police. At the end of the film, subtitles show the prison sentences that the teenagers received.

This dramatic thriller is based on actual events, the true story of Bobby Kent, a bossy Florida teenager who was beaten to death by a group of his peers in 1993. The screenplay was written by David McKenna and Roger Pullis, who adapted Jim Schutze's 1998 book "Bully: A True Story of High School Revenge". The soundtrack features many songs. Director Larry Clark takes a hard look at the lives of some confused American teenagers.

Bound (1996)

Corky (Gina Gershon) is a lesbian who just got out of prison after having served 5 years for what she calls "redistribution of wealth", or stealing. She was betrayed by her female partner and therefore has a severe lack of trust in those around her. Corky takes a job as a painter and plumber in a Chicago condo building and soon meets sexy Violet (Jennifer Tilly), who's the girlfriend of Caesar (Joe Pantoliano), a money launderer for the Mafia. The couple live in the condo right next to the one where Corky works. The attraction between Corky and Violet is immediate, and it isn't long before Violet seduces her. Later, Violet overhears Caesar and his Mafia buddies beating and torturing Shelly (Barry Kivel), a man who has been skimming money from the business. Corky knows trouble when she sees it, but that doesn't stop her from giving in to Violet's manipulations. After Shelly is shot and killed by Johnnie Marzonne (Christopher Meloni), the son of Mafia boss Gino Marzonne (Richard C. Sarafian), Caesar returns to the apartment with a bag of bloody money.

Soon Violet makes the suggestion to her new lover that they steal two million dollars of the Mafia's money, allowing Caesar to take the fall for its loss. What a deal--two million dollars, plus Violet. How could anyone say no to that? Of course, nothing goes according to the plan as all hell breaks lose with Caesar doing just the opposite of what the two ladies had expected. Then there's the question if Corky will once again be betrayed by the woman she cares about. Anything can happen before the ending is reached as betrayal, torture, and murder become the norm. Caesar finds out and is about to kill Corky, but Violet arrives and pulls a gun on Caesar. He tells Violet that he knows she will not shoot him, and she replies, "Caesar, you don't know shit", then kills him. In the end Violet drives off hand-in-hand with Corky.

This provocative neo-noir crime thriller offers a grab bag of genres: gangster movie, comedy, sexy romance, and crime caper. It's scary, funny, sexy, suspenseful, with plenty of action, and is not for the squeamish. The script is sharp and fresh with many twists in it. There are a few violent scenes, and some people might find the lesbian sex scene offensive. Described as explicit and steamy, it is actually tasteful, discreet and realistic. Don Davis composed the music score. The film was written and directed by the Wachowski Brothers, Andy and Larry Wachowski.

Another Country (1984)

Guy Bennett (Rupert Everett) and Tommy Judd (Colin Firth) are two handsome young men attending an English boarding school during the 1930's. Bennett is openly gay, while Judd is a Marxist. Bennett falls in love with James Harcourt (Cary Elwes) and the pair embark on a homosexual affair, but do not conceal their mutual affection. The hypocrisy of the other boys attending the school, many of whom are also having affairs, eventually drives the couple to extreme measures. Judd meanwhile, finds that as a Marxist, his beliefs are in direct opposition to the role he is offered as school prefect.

One day a teacher walks in on Martineau (Philip Dupuy) and a boy from another house engaged in mutual masturbation. Martineau subsequently kills himself because of the shame of having been found in a homosexual embrace, and chaos erupts as teachers and the senior students try their hardest to keep the scandal away from parents and the rest of the outside world. The gay scandal however gives the army-obsessed house captain Fowler (Tristan Oliver), who dislikes both Bennett and Judd, a welcome reason to scheme against Bennett to keep him from becoming a "god"-- a school name for the elite pupils of the school. Fowler is able to intercept a love letter from Bennett to James Harcourt. Bennett agrees to be punished so as not to compromise Harcourt.

Meanwhile, Judd is reluctant to become a prefect, since he feels that he cannot endorse a "system of oppression" such as this, and has a memorable, bitter speech about how the boys oppressed by the system grow up to be the fathers who maintain it. He eventually agrees to become a prefect in order to prevent the hateful Fowler from becoming Head of House. This never comes about, however, because Donald Devenish (Rupert Wainwright) agrees to stay at school and become a prefect if he is nominated to become a god instead of Bennett. Devastated at the loss of his cherished dream of becoming a god Bennett comes to realize that the British class system strongly relies on outward appearance and that to be openly gay is a severe hindrance to a career as a diplomat. The epilogue of the movie states that he emigrated to Russia later in his life, after having been a spy for the Soviet Union. Judd dies fighting in the Spanish Civil War.

Part coming-of-age film, part social commentary, this award-winning drama is loosely based on the life of Guy Burgess of the Burgess/McLain "Cambridge spies" incidents. The ending seems abrupt, and questions remain unanswered with nothing resolved. But it was suitable for its intended theatrical medium, and is one of the factors that ensures the film's endurance. It poses thoughtful inquiries that still deserve contemplation. Michael Storey composed the original music, Julian Mitchell wrote the screenplay from his own stage play, and Marek Kanievska directed.

The Mexican (2001)

Jerry Welbach (Brad Pitt), a part-time thief trying to go straight, is given two ultimatums. His mob boss Bernie Nayman (Bob Balaban) wants him to travel to Mexico to get a priceless antique pistol called "The Mexican", and deliver it to a mysterious buyer. The other ultimatum comes from his feisty girlfriend Samantha Barzel (Julia Roberts), who wants him to end his association with the mob. As collateral to make sure he comes through with the goods, Samantha en route to Las Vegas is kidnapped by burly guard/assassin Leroy (James Gandolfini) who isn't quite what he seems. Samantha eventually discovers that Leroy is a homosexual after catching him staring at a man. Jerry figures that being alive, although in trouble with his girlfriend is the better alternative so he heads south of the border. Finding the pistol is easy but getting it home is a whole other matter. The pistol supposedly carries a curse--a curse Jerry believes, especially when Samantha is held hostage by gay hit man Leroy to ensure the safe return of the pistol. Jerry soon has his hands full with bandits, bloodshed, and a grizzly hound dog that vanishes and reappears with amusing regularity.

Jerry is kidnapped and winds up in the presence of local mobster Arnold Margolese (Gene Hackman). Margolese explains that he wants the pistol so he can return it to its rightful owner, the descendant of the gunsmith. Jerry agrees to return the pistol to the aging descendant, and is taken back to his hotel room. Bernie, however, is already there, demanding the pistol in exchange for Samantha. When it is discovered that she is in the trunk of Jerry's car, he explains she is the only one who knows its location. Bernie opens the trunk, revealing a very irate Samantha wielding the cursed pistol. After a brief standoff, Samantha fires the pistol, causing a small gold wedding ring to fall out. Bernie stands still for a moment, apparently unharmed, but then reveals a bullet hole in his neck that kills him. Jerry then takes the ring, proposes to Samantha, and the two begin their trip back to the United States.

This is an unusual mixture of romantic comedy, thriller, and road movie. There are many moments to lighten the fast-paced journey of the film--the multiple flashbacks to the story behind the pistols are quite entertaining, and the quirky characters chasing Jerry and Sam definitely add something to an eclectic mix of personalities. The plot takes a few strange twists and livens things up with a few sideline stories and characters and some great acting from Pitt. Alan Silvestri composed the original music, J. H. Wyman wrote the screenplay, and Gore Verbinski directed.