The tone for the indie, queer coming-of-age “Mouse” (IFC), written by Kelly O’Sullivan (and co-directed by O’Sullivan and Alex Thompson), is set in the first seconds when the words “North Little Rock, Arkansas 2002” appear onscreen. With apologies to the natives and residents of the 25th state, it’s almost a warning to the audience that there might be some scenes or dialogue that could be considered unsuitable for some viewers.
Can you believe that it’s been 25 years since the movie “Hedwig and the Angry Inch” was released in theaters? Based on the stage musical by queer collaborators John Cameron Mitchell and Stephen Trask, “Hedwig…” began its life off-Broadway in the late 90s, eventually making its multiple Tony Award-winning Broadway debut in 2014. To commemorate the movie’s anniversary, Mitchell has embarked on a celebratory screening tour, sure to delight fans of the movie, as well as enchant all newcomers. John graciously made time for an interview to talk about the movie and screening event.
If you’ve been following the news about the acclaimed queer movie “La Bola Negra” (Netflix) since it began winning multiple awards at film festivals (including Cannes), then you might get the sense that the hype machinery is running at full speed. However, in this case, “La Bola Negra,” co-directed by queer filmmaking couple Javier Calvo and Javier Ambrossi (aka Los Javis), and co-written with gay playwright Alberto Conejero, lives up to the buildup.
In a year of questionable remakes and reimaginings, such as Emerald Fennell’s “Wuthering Heights” and Maggie Gyllenhaal’s “The Bride,” it’s not unreasonable to ask whether we needed another “Sense and Sensibility” (Focus). The answer is a reluctant yes. Why reluctant? Because, as classic “love conquers all” stories go, Jane Austen’s 215-year-old novel, on which the movie is based, is still a painful reminder of class issues, as well as the conceit that, in some cases, women remain at the mercy of men.
Even if you already deplore the bilious and overly-permed Mark Zuckerberg, writer/director Aaron Sorkin’s “The Social Reckoning” (Sony/Columbia), a sort of sequel to David Fincher’s “The Social Network” (for which Sorkin wrote the screenplay), will likely provide you with additional reasons to loathe the ironically socially obdurate multi-billionaire.
Anne Hathaway is one busy actor. In 2026 alone, Hathaway has been a presence at your local multiplex five times. Since April, she has appeared in the movies “Mother Mary,” “The Devil Wears Prada 2,” “The Odyssey,” “The End of Oak Street,” and now, “Verity” (Amazon/MGM). Based on the novel by inexplicably popular writer Colleen Hoover, “Verity” doesn’t do straight people any favors.
It shouldn’t come as a surprise that documentary filmmaker Lance Oppenheim’s feature film directorial debut “Primetime” (A24) is as grainy and dimly lit as it is. The visual effects are befitting the gritty and gloomy subject matter: a dramatized look at the Dateline NBC reality show To Catch a Predator, a hidden camera program in which adult men were confronted and then arrested for arranging sexual encounters with underage people.
Young British filmmaker George Jaques has assembled one of the best queer casts for his second full-length feature “Sunny Dancer” (Quiver). It’s a movie that, despite also prominently featuring the music of Scissor Sisters, is not in the least bit queer.
Did you think the 20 years that flew by between the release of “The Devil Wears Prada” and “The Devil Wears Prada 2” were significant? That pales in comparison to the 28 (!) years that have passed since “Practical Magic” hit theaters in 1998 and the cleverly titled sequel, “Practical Magic 2” (WB), opened in 2026.
Patrick Bresnan’s New College of Florida documentary “First They Came For My College” (Harry Hanbury Productions/Otis Lucas Productions) opens with a SCOTUS Justice William O. Douglas quote about the negative impact of the restriction of free thought and free speech and closes with a reminder of the attacks on institutions of higher learning since Trump’s reelection.
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