“Based on a true love story,” as well as the award-winning 2008 doc of the same name, the appeal of the somewhat manipulative “Song Sung Blue” (Focus) expands beyond the world of Neil Diamond fans into the realms of substance abuse recovery, tribute bands, and blended families.
These days, it seems like everyone is still talking about the steamy gay sex scenes in Jacob Tierney’s HBO Max series “Heated Rivalry.” However, even Shane (Hudson Williams) and Ilya (Connor Storrie) would blush at the sight of sexual activities in “Pillion” (A24), the feature-length directorial debut from Harry Lighton.
Olivia Colman already has one Oscar (and two nominations) to her name. There’s a good reason for that. Colman is one of our greatest actors. Even in an imperfect movie such as “Jimpa” (Kino Lorber), her radiance illuminates the screen.
On the day that this review is being written, Paris-based filmmaker Ugo Bienvenu received thrilling news. His movie, “Arco” (Neon), was nominated in the best Animated Feature Film category for the 98th Academy Awards, to be broadcast on March 15. Not a bad achievement for Bienvenu’s debut feature-length film.
There were probably some people watching the 83rd Golden Globes on Jan. 11, who found themselves stunned when Leonardo DiCaprio’s name was not called out as the envelope was opened for the Best Performance by a Male Actor in a Motion Picture – Musical or Comedy.
As OutSFL’s film critic, I watch a lot of movies. These are the ones that made 2025 memorable.
A directorial and writing debut every bit as potent as Eva Victor’s “Sorry, Baby,” writer/director Charlie Polinger’s “The Plague” (IFC) is also just as hard to shake. Which makes it required viewing.
On our screens in 2025, there was no shortage of women overcoming seemingly insurmountable odds. Linda (Rose Byrne) in “If I Had Legs I’d Kick You,” Agnes (Jessie Buckley) in “Hamnet,” and Willa (Chase Infiniti) in “One Battle After Another,” are just a few examples. Agnes (non-binary Eva Victor) in “Sorry, Baby” (A24), is another.
Since its world premiere in 1891, Norwegian playwright Henrik Ibsen’s tragedy “Hedda Gabler” has been adapted for the big screen more than a dozen times in multiple languages. In the extremely queer “Hedda” (MGM/Amazon), filmmaker Nia DaCosta (2021’s “Candyman” and the forthcoming “28 Years Later: The Bone Temple”) transplants the action from Norway to England, and from the late-19th century to the mid-20th century with riveting results.
It’s fitting, isn’t it, that Osgood Perkins, son of the late bisexual actor Anthony Perkins, should make a name for himself in the realm of cinematic horror.
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