Movie Review (LUZ)

LUZ (2020) seemingly starts out as a men’s prison movie but naturally evolves into a heart-felt romance between two Latinx men. The story opens with Ruben (the dreamy-eyed, high-cheek-boned Ernesto Reyes) beginning a three year prison sentence for causing a car accident while drunk. This resulted in the death of his passenger, the main “girl” (a very attractive male-to-female trans person) of his ruthless and dangerous Mafiosa cousin Julio (Rega Lupo). Ruben is clearly repentant for his crime, praying frequently in prison. He and his assigned cellmate Carlos (Jesse Tayeh) start off on rough footing but soon develop a friendship.

Filmed in Oregon, with a pleasant soundtrack added in, LUZ was written and directed by Jon Garcia. He clearly wanted to create something that challenges and transcends the cultural constrictions of traditional Latinx machismo and its subsequent homophobia. The character of Carlos’ mother, Benilda (Alma Gloria Garcia, who actually is the mother of Jesse Tayeh), masterfully portrays the female half of the movie’s moral center. Ruben is the male half of this center. Her brief historical explanation about the origins of “machismo” arising from the interfacing of the Spanish conquistadores and “the natives” (of what is now Mexico, most likely) is informative and moving. Her level-headed, caring presence supports and validates the growing love between her son and Ruben. I found myself wondering if Ms. Garcia was even acting or simply being herself on screen. She comes across as so genuine.

The acting in the movie ranged from competent to excellent, and felt in places like people were simply being themselves. In addition to the wonderful Alma Gloria Garcia, Ernesto Reyes as the extremely handsome and compellingly sensitive Ruben also stands out for me. His radiant screen presence melted my heart. I hope his acting career takes off if it hasn’t already done so.

The narrative remains cohesive while managing to go in exploratory, introspective directions. A psychedelic mushroom trip in the woods for the two leading men and a supporting character further deepens us viewers’ sense of Ruben’s textured emotional life. It also offers a bit of much-needed lightness, including pleasant pondering of nature, in the screenplay’s otherwise serious tone throughout.

I was moved to tears a handful of times while watching this refreshingly tender film about love between two physically strong, courageous men who embark on a journey of intimacy and creating a blended, chosen family. I came away from watching LUZ feeling reminded and affirmed that, if we truly allow it to, love conquers so much, perhaps even all.


Jamil Dehlavi’s SEVEN LUCKY GODS (2013) is anything but feel good. Rather, it is a slice of life film about survival, loneliness, lack of justice in the world, and other themes I imagine viewers will glean for themselves.

Filled with rage and anguish over his war-torn childhood and desolate adolescence in Kosovo, Mehmet (Nik Xhelilaj) has come illegally to London, England to survive and seek revenge. The Albanian Muslim uses his dark good looks, sexual allure, and calculated charm to obtain money, food, and shelter from others. He eases (more like worms) his way into the lives of three particular individuals. Two of these characters I found to be truly sympathetic, a physician named Marilyn (Kate Maravan) and one of her long-term patients, Meg (Alison Peebles), a lonely elderly woman with MS. Everyone else, specifically three other supporting characters along with Mehmet, are largely motivated in life by more selfish interests.

In fairness to Mehmet, as the screenplay unfolds, we the audience eventually find out about his horrific past and see him as more than just a grifter with sociopathic tendencies. He is a product of post-colonial oppression and cultural upheaval after the collapse of the Soviet Union, in his case persecution for being Muslim. It is no wonder he seeks retribution. There are many raging men like Mehmet in the world and this profile of an anti-hero of sorts helps to bring such suffering, harsh individuals more into public consciousness. Like it or not, this movie needed to be made.

The acting is excellent by everyone. Christopher Villiers believably plays Adrian, a stuffy English bureaucrat with personal secrets to keep from the public. Some interactions between he and Mehmet had me cringing inside. I felt a mix of sympathy and disgust for both of them. This did not make for easy watching, but was psychologically intriguing.

I was particularly moved and impressed by a reaction shot of Kate Maravan’s face in one scene. It is rare that I ever see cameras linger for a while on someone’s visage while he/she/they slowly express deep emotion. This lack of such a technique is particularly the case in mainstream American films, which so often rely on action scenes, colorful or high tech. settings, and special effects more than on intimate character development and interactions to move the story along. Non-U.S.-based filmmakers seem better at emphasizing the latter two elements, such as this well-made British production is.

SEVEN LUCKY GODS is brutal in places, at times downright cynical more than I personally am, but thought-provoking. Hence, this movie is a worthwhile watch for when you are in the right headspace to handle some realistic emotional abrasiveness. Good self care after seeing this will be important, including hugging a loved one.

Mini Movie Review (JUNGLE CRUISE)

JUNGLE CRUISE (2021), a silly Disney movie based on one of its amusement park rides, is often barely watchable. The three central characters are fun, however. Lovely and talented Emily Blunt pulls off being the story’s moral center (for what that’s worth, but somebody usually needs to fill that role) and, frequently, the leader. Jack Whitehead, who is new to me, is amusing and endearing as he evolves from hothouse flower, gay British dandy to someone with more grit and fortitude by the end. And Dwayne Johnson is simply a hunk of guilty pleasure for me. He’s the predictable testosterone for the show but kept in his place by the other two, particularly Ms. Blunt’s character. He and Emily have a playful chemistry throughout. Blunt and Whitehead especially demonstrate good comic timing and reactions.

I can’t remember the names of any of the dramatis personae, because the superficialness of them all renders such details irrelevant, forgettable. And I could have cared less about the cliché plot (an expedition into the jungle for some ancient, magical panacea), slapstick style action sequences, and ridiculous CGI. These special effects often felt like attempts to resurrect scenes from the PIRATES OF THE CARIBBEAN movies. Nothing is original here. But, the enjoyable dynamics of the core triad and the occasional screen frame of actual, unadulterated (by CGI) lush vegetation redeem this absurdly high budget trashy movie into being periodically watchable. And I did like seeing Dwayne Johnson dressed in a fuchsia-magenta suit and hat at the very end. Cute, like many other moments in the movie, cute.

Adios, Adam Rippon

Adios, Adam Rippon. I had fun following you with your pretty face and pretentiously fun camera closeups. But, the recent reel of yourself prattling on about the difficulties of being rich and deciding not to have children because you don’t want to have to explain to them why they have three nannies while so many children don’t, well, that went beyond the pale of tolerable ignorance and insensitivity for me. One person posted this comment to you: “Rude.” That about summed it up.

Now, I can have more space on my Facebook and Instagram feeds and in my brain to fill with something better or nothing at all, which amounts to the same: better. Ah, the power of choice to unfollow with a single finger tap. 👇

Movie Review (SUMMER OF 85)

SUMMER OF 85 (2020) is a poignant, often joyful French coming of age, gay summer romance film. French filmmakers seem to especially know how to make good movies about teenage love and angst. This one is set in Normandy in 1985, over most of the summer.

The pretty and talented Felix Lefebvre plays Alexis/Alex, a sixteen-year-old fascinated with death. (Such fascination is a recurring theme, I’ve observed, in a good share of French and other European movies.) While capsized in a small sailing boat during a thunderstorm, he is rescued by eighteen-year-old David (Benjamin Voisin). The older boy eventually seduces the younger, who falls passionately in love with David. The narrative weaves between flashbacks and less than two months later, with darling Alex proceeding to write about his intense time with the more wild, free-wheeling David. Both of the young men are sexy and adorable, with Alex being especially adorable of the two. He comes across as vibrantly youthful yet also a thoughtful old soul, making him unique, interesting, and compelling.

I cried in a few places and laughed in others, feeling satisfied and complete with the movie’s resolution. I would rate it as a distant second in quality to the far more panoramically filmed and sensual, but similarly themed gay summer romance CALL ME BY YOUR NAME (2017), which also takes place in the 1980s.

The soundtrack was delightful, with The Cure’s classic, plaintive song “In Between Days” particularly standing out for me.

I was just under one year older than David’s character when this little screen gem takes place. This lent an extra layer of sentimentality for me while watching SUMMER OF 85. Other gay, early Gen X‘ers will also particularly enjoy this sweet and thoughtful film, though I think the piece manages to be relevant for today and a wider audience.

This is a crisply done, emotionally moving, engrossing movie about love in its different forms— romantic, familial, friendship, and love of life.

Radically Accepting Letting Go of My Grass Lawn

It’s interesting, this having so much grass lawn around my house within a neighborhood of homes with grass lawns. Even the one word term “lawn” is largely assumed to mean “plot of grass.” But, there is room for “lawn” to mean a plot of land filled with other vegetation besides grass. Someday, lawns across the U.S.A. are surely going to be far less grassy and more, well, filled with some other kinds of vegetation. I understand that this has already been gradually happening in some places. Climate change will render this inevitable everywhere across America and other regions.

I am only now embracing “radical acceptance” of the long-term un-sustainability of my front and back yards of lawn. The grass is dying and dead (or looks that way) in whole patches, small and large, while just hanging on over the rest of the ground. We’re in a drought this year, like so much (if not all?) of the U.S. is. But, we’re in a long arc of climate change over any single year.

I feel fortunate to have bought a home with a lot of grass lawn, a dream I long held like so many people have and still do. However, it’s a collective cultural attachment– certainly in my generation and older– this hankering for grass lawns as part of one’s “dream house.” I know; I’ve been a direct participant in this attachment.

What I find myself doing of late is thinking about other possibilities, namely the reality that, someday, my front and back grass lawns will no longer exist. I may have long moved away or died when this is the case, I realize. But, in the meantime, I am beginning to radically accept that maintaining some picture perfect green lawn is, well, not worth my time, money, and focus. (Actually, it never really has been for me.) It feels like a Sisyphean task, and one that goes so much against the natural environment I live in. I feel for all the people around me who work so hard to maintain their grass lawns. I also wonder how this is yet another way I’m somehow different than my neighbors with their ongoing lawns, but that is for another writing.

It’s time I open up to exploring the option of growing plants native to my area, not simply because it’s the right thing to do but, also, because it will be easier and more rewarding to engage in than fighting to maintain the health of such water-demanding vegetation as grass. Either that or eventually re-seeding with a whole other kind of grass that does not need much water and is likely *native* to long-dry parts of the U.S.

I have read that grass lawns are inevitably going to be a thing of the past. I accept this. In the mean-time, in addition to the effects from drought and hotter weather, I will likely soon be more constrained from maintaining my half living lawn via an inevitable watering restriction (or “water ban” as it’s dramatically called here) by my city government. It will continue to wither, leaving room for other possibilities. Such go the cycles of life, which, more and more, I simply accept.


DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is a fun romp. The concept of multiple parallel universes isn’t new. But, I’m enjoying how it’s being creatively played with more in movies and TV shows, including in this recent Marvel Cinematic Universe installment. Benedict Cumberbatch as Dr. Strange and Elizabeth Olsen as an anguished, out of control Wanda the Scarlet Witch effectively carry this often goofy thrill ride of a show as they travel and battle their way through universes.

The over-the-top storyline and imagery had me laughing at times, though not in a disdainful way. For example, Dr. Strange magically astral travels, or whatever it is, into a decaying dead version of himself from another parallel universe (one of an infinite number of such universes). Inhabiting and reanimating this corpse, he “dream walks” into a universe holding the mysterious mountain location where the grand finale will happen. Along the way, he harnesses several screeching damned souls to assist him. Mr. Cumberbatch skillfully balances a tongue in cheek tone with sincerity throughout this CGI cinema circus. I wondered how often he burst out laughing while delivering his lines.

As a great counterbalance to Dr. Strange, Elizabeth Olsen as the Scarlet Witch conveys pathos and anger beautifully. One cannot help but feel for her as she goes about wreaking havoc in an effort to unite with the two children of one of her counterpart selves from another ‘verse. Such high stakes drama to become all powerful simply to secure close connection with a few others and stave off grief and loneliness. And this all fueled from Wanda having to kill her true love in order to save the world (in 2019’s AVENGERS: ENDGAME). I think I’d be out of my right/wise mind too. Very tragic. I was glad to see Elizabeth Olsen finally have a chance to show her acting chops in this movie series.

The ensemble cast bears a brief mention here. I was moved to see the return of assorted characters from other MCU storylines, such as Patrick Stewart reprising his role of Dr. Xavier of the X-Men and Hayley Atwell as Agent Carter transformed here into the shield wielding superheroine Captain Carter. With the wonders and flexibility of parallel universes, even deceased people can show up still alive somewhere and appease us fans who’ve been missing seeing certain folks up on screen.

I’m well aware that comic book superhero movies aren’t for everyone, but for those of us who enjoy them, this production is surprisingly good. The story is easy to follow, full of colorful, fantastical beings, settings, and action sequences, and good old-fashioned thrilling with its imaginative mix of humor and excitement.

On The Mindful Use of Social Media

Ah, the seductiveness and pullulations of social media. Over on Instagram, I selectively follow few public figures, most of them politicians I respect but also a few actors. I follow two “influencers” (though one may not even identify that way) who I happen to actually know. The few actors and actresses I follow don’t use their accounts to heavily promote their own image. This self image promoting gets less interesting the older I get. It is enough that I take peeks at “suggested” profiles of pretty young men, often sleekly gym pumped, who have tens of thousands, or hundreds of thousands, of followers. They don’t need me within their mass audience and I don’t need their pictures filling my feed and brain. The peeks I take of these aggressively promoted strangers are the psychological equivalent of eating candy or ice cream, tasty fun but best done in moderation. It’s like when I used to pick up a tabloid while waiting in the check-out line at the supermarket.

There is a set of choices behind how we each engage in social media. The more conscious and mindful they are made the better. I choose to fill my feed with a good variety, such as photos of nature, useful political and scientific information, updates from my friends, art, humor, and, yes, a beautiful sexy man here and there. It’s been an evolution for me, this what I intend to be a more mindful use of what I follow and post on Facebook and Instagram. We’re all on our own adventure with how to best navigate this interesting jungle called social media. May we each grow from it— including adding to the betterment of the community— along the way.


I finally watched FLOWER DRUM SONG (1961) on dvd. I felt inspired to sing and dance right along with some of the songs in the first half to two thirds of the film; it was that fun and dynamic. I appreciated the brief bit of queer gender bending by Filipino actor Patrick Adiarte, who plays the adorable teenaged younger brother (Wang San) of the leading man Wang Ta (James Shigeta). This seemed very daring for a big Hollywood production in 1961.

There were some moments of cringe-worthy datedness that inevitably flawed the film. But, the sets were lushly colorful, the score lovely, and the dancing crisp and joyful.

Nancy Kwan, who deservedly has top billing, was fabulously beautiful in every way, playing an Americanized young Chinese night club singer and dancer. She seemed to have the most fun in the movie, with her single song (“I Enjoy Being a Girl”) and dance number in front of three full length mirrors being the biggest highlight of the show, and there were a handful of highlights. She was also terrific in a dance scene more towards the end of the movie, where she does something particularly creative with folding fans over her breasts. I thought, “You go, girl!” I could relate to her in these particular moments of fabulosity. Celebrating oneself is good to do.

I found leading man James Shigeta dashing and charismatic. I did not believe in his romantic choice, however, which came across as undeveloped and pat. For me, there was a seemingly better fit between he and another woman in the story which went nowhere, sadly. I would have liked some better closure for her character.

I watched all five or so of the “extras” commentary segments, which were informative and interesting. However, people interviewed in them repeatedly, inaccurately referred to the movie’s “all Asian” cast. Well, all Asian except for a pretty important supporting member, Juanita Hall, who was African American but playing a Chinese woman. She was wonderful, but I can only imagine her being cast contributed to the controversy about the non-Chinese casting choices, which mainly centered on having Japanese actors play some of the parts. The commentators did not discuss this controversy, other than in a sweeping, positive way, emphasizing how the movie was such a great opportunity for Asian performers, which it was, yes, but limiting and still not enough, of course, to sufficiently help erode racism in Hollywood, let alone America. Understandably, Chinese, Japanese, and Black people do not appreciate being conflated or seen as interchangeable. In the voiceover movie commentary, Nancy Kwan, herself half Chinese and half British, did not discuss this issue either and she glossed over Ms. Hall’s being cast as a Chinese person.

In 2002, there was a very much updated Broadway revival of this Rodgers and Hammerstein musical, written by the Tony winning, Chinese American playwright David Henry Hwang. I wonder if a video recording of it exists to view? I take some comfort in knowing that this production was revamped for the early 21st century, with an intention, I imagine, of being reclaimed by the very community the show is meant to represent.