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‘Four Mothers’ Review: James McArdle Delights in a Toasty-Warm Irish Mother-Son Comedy

Guy Lodge Film Critic That the mother-son film movie remains, for some reason, the least-covered quadrant when it comes to parent-child relationships on screen may say something about patriarchal bias in the industry — though the best examples say plenty themselves about how men are raised and made. A modestly framed domestic comedy with surprising reserves of wisdom and sadness, Darren Thornton‘s thoroughly disarming sophomore feature “Four Mothers” earns itself a place in the mother-son pantheon only a few minutes in, as mild-mannered writer Edward (James McArdle) helps his disabled mother Alma (Fionnula Flanagan) select and put on an outfit for the day, drily hamming up the routine to distract from the pain of her dependency.
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‘Down Low’ Review: Gay Heartthrob Lukas Gage Gives Zachary Quinto One Hell of a Happy Ending
Peter Debruge Chief Film Critic If they ever make a sequel to “The Celluloid Closet” — the landmark doc about the history of LGBT representation on screen — Lukas Gage should warrant at least two mentions. First, there’s the scene from the first season of “White Lotus” where Jake Lacy barges into the resort manager’s office, only to find Gage getting his salad tossed (a history-making moment for gay TV fans). And now there’s “Down Low,” an over-the-top, bottom-trawling comedy that wants to be for the gay community what “The Hangover” was to the mainstream — which is to say, wildly irreverent and incredibly wrong. Starring openly gay “Heroes” villain Zachary Quinto as Gary, a recently divorced, richie-rich zaddy hoping for a happy ending, “Down Low” doesn’t quite understand its own title — code within the Black and Latino community for men who consider themselves straight while having sex with other men — but that’s OK. “Down Low” is still light-years ahead of mainstream movies (including last year’s “Bros”) as debuting feature director Rightor Doyle delivers what an entire contingent of queer audiences have been asking for all their lives: namely, a comedy that’s as raunchy and inappropriate as the jokes they make between themselves. While nowhere near as extreme (or enjoyable) as 2009’s “I Love You Phillip Morris,” it’s still a rare enough occurrence to earn a dedicated following.
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‘Bottoms’ Review: Emma Seligman’s Wild Ride of a High School Comedy Is a Gonzo Gay ‘Fight Club’ Meets ‘Heathers’
Owen Gleiberman Chief Film Critic In “Bottoms,” a high-school comedy that is brazenly gonzo, scaldingly and at times even dementedly over-the-top, and actually about something, PJ (Rachel Sennott) and Josie (Ayo Edebiri) have been best friends since the first grade, but in their senior year at Rock Ridge High they’re at the end of their tether. They’re losers, they’re lonely, they’re lesbians — and in their eyes, that puts them beneath the bottom of the food chain. So they do what anyone in their position might do. They decide to start a fight club! It’s modeled (sort of) on the one in “Fight Club,” though the movie isn’t particularly interested in that film, where the characters staged bare-knuckle brawls out of a kind of self-serious macho romantic doomsday nihilism. In “Bottoms,” PJ and Josie, in the time-honored tradition of teen-movie protagonists out to lose their virginity, are just looking for a way to sleep with the cheerleaders they have crushes on. They build the club around a scurrilous and rather ridiculous lie: that they’ve both spent time in “juvie.” Sitting around in the gym, with a handful of the “normal” girls they’ve roped into joining the club, all of them share stories about the men they’ve had to fend off (stalkers, pervy stepfathers, you name it). And when they get to the fight-club part, letting out their aggression, the jabs are shockingly violent. We laugh, but we also think: What’s going on here?
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‘Queen of the Deuce’ Director on Paying Homage to Chelly Wilson, the Feminist Who Built a Porn Empire
Tara Karajica In Valerie Kontakos’ fourth feature, “The Queen of the Deuce,” the New York native, Athens-based director and NYU Tisch School of the Arts alumna, gives an alternate take on cultural history as seen through the eyes of Chelly Wilson, queen of the porno industry in 1970s New York and unconventional feminist, against the backdrop of the rise of feminism, the sexual revolution and gay pride. The film plays in the International Competition at the Thessaloniki Documentary Film Festival. Kontakos says she knew Wilson through her mother, whose brother was a producer of Greek films who, in the ‘60s and ‘70s, would provide Wilson with Greek family films for her Sunday programs. “When I turned 15 or 16, I said to [my mother]: ‘Now that I can work part time, I am going to get myself a job because I want to start making my own money and I want to be independent.’ And, because when she went to New York, my uncle had asked her to go see Chelly to see what kind of operation she was running, they had become friends. So, I guess my mom told her that I was interested in working. She was then still showing Greek films on Sundays. So, I worked selling tickets there at the box office on Sundays, when they showed the Greek films, and the rest of the week they would show porn.”
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