Week 10

Brokeback Mountain (2005)

Genre: Western-romantic-drama

Ang Lee’s Brokeback Mountain still remains an absolutely groundbreaking film, not just for its fantastic story and detailed visuals, but how it introduced LGBTQ+ themes into mainstream cinema. Before Brokeback, gay themes were scarce, even shunned in Hollywood, but Lee’s film, propelled by A-listers Heath Ledger and Jake Gyllenhaal found extreme box office and critical success amid conservative controversy. It even garnered a Best Picture nod at the 2006 Oscars, though it infamously lost to Crash, most probably due to Brokeback Mountain‘s expression of often explicit gay love. The film portrays a pair of 1960s cowboys, Jack Twist and Ennis Del Mar (portrayed by Jake Gyllenhaal and Heath Ledger, respectively), as they begin a taboo relationship while working a summer job herding sheep together. The characters themselves are truly refreshing, and their characterization completely avoids gay stereotypes which were common in early 2000s’ media. Both Jack and Ennis are “manly” men, working to the bone in western garb to return a small profit. The men begin a rocky relationship throughout the years, behind the backs of their families. At home, both Ennis and Jack are the quintessential American Western fathers, with their wives taking care of the kids whilst the both make a living while continuing to go out of their way to meet up with each other. Jack and Ennis’ get-togethers consist of “hunting trips,” on Brokeback Mountain, where the two first met and made love. What Ennis and Jack share is soft and tender, contrasting with their rougher personalities. The love Jack and Ennis have for their wives is much different, being difficult and filled with obligations, yet when Ennis and Jack are together, those obligations melt away, however, they are still held by society’s tight grip, and thus are ashamed of their relationship. Even when their marriages fall apart, Ennis refuses Jack’s offer for the two to live together, afraid to completely lose his children and be subject to the strict judgement of the 1970s. After Ennis’ refusal, the two go on one final trip together, wherein Ennis and Jack fight, and the pair then lose contact with one another as a result. Months later, tragedy strikes and Ennis is left feeling emptier than ever, but is invited by Jack’s mother, now aware of the true nature of Ennis and Jack’s relationship, to take Jack’s shirt that he wore in Ennis and his last fight. Years later, it’s shown that Ennis still hangs onto Jack’s shirt like a prized possession, and that Ennis pins all of the postcards he received from Jack onto his wall, showing that his love for Jack has not waned. Brokeback Mountain is revolutionary in the way it portrayed gay love as tender, and this love-against-all-odds story can even touch the most bitter of homophobes. Before the movie’s release, many of the advertisements would portray Ennis and Jack’s relationship with their wives, tricking the audience into believing that what they were seeing was another heterosexual romantic period drama, yet Brokeback Mountain goes so much beyond that by also focusing on the struggles that LGBTQ+ people face and how normalized homophobia has become. Overall, this film is fantastic and though I shed major tears during it, it’s definitely something special and a must-watch for everyone.

Final Rating: 9.2/10

Week 9 

But I’m a Cheerleader (1999) 

Genre: Romantic Comedy

Honestly, no matter how many films I’ve seen, there’s nothing as unique as But I’m a Cheerleader. From its quirky visuals to its surprisingly poignant story underlined with sharp satire, But I’m a Cheerleader is truly a diamond among often cliched and even downright offensive LGBTQ+ movies. Though panned by mainstream critics, this film is one that can truly only be appreciated by the LGBTQ+ community due to its messages of hope and self-expression targeted to late-90s LGBTQ+ youth. The reason this movie is so effective at relating to its intended audience is because its written and directed by a lesbian, Jamie Babbit, and produced by her then-girlfriend, Andrea Sperling. Even today, most movies with LGBTQ+ themes are spearheaded by straight people, thus depictions of LGBTQ+ people and their relationships can often be cliched or downright problematic (see Blue is the Warmest Color). But I’m a Cheerleader serves as a refresher from the mainstream, allowing LGBTQ+ audiences to truly relate to the struggles that protagonist Megan goes through in conversion therapy. But I’m a Cheerleader is also incredibly brave for its time, mocking homophobia instead of exploiting it, and the best example of this is casting the gay icon RuPaul as Mike, a staff member at True Directions conversion therapy. When Mike’s character was first introduced, I was absolutely howling with laughter that THE RuPaul was taking Megan to True Directions. Of course, this film isn’t all about comedy, as conversion therapy and homophobia is still an incredibly sensitive topic in the LGBTQ+ community today. Not only does But I’m a Cheerleader combat homophobia through extreme satire, but by presenting a tender relationship between Megan and Graham (played by Russian Doll‘s Natasha Lyonne and lesbian legend Clea Duvall, respectively). Graham is a smug, masculine lesbian, whilst Megan is quite the opposite, being a shy, femme lesbian. While their characters both help introduce the audience to lesbian archetypes, their characters run so much deeper than these common clichés. Their relationship is so natural though the two are opposites, however, both deal with opposite struggles. Megan deals with accepting herself and her identity while Graham, confident in her orientation, is afraid to defy her father in favor of Megan. The two work through this together, and finally overcome their conflicts for one another. This is symbolized through Megan’s absolutely adorable declaration of love near the end of the film. I often come back to that scene when I’m feeling blue, and it truly helps me feel better.  

The themes of But I’m a Cheerleader are best complimented through Edward Scissorhands-esque visuals, with the traditional colors of bright pink and blue representing gender norms. All of the occupants of the True Directions program are assigned either pink or blue based on their gender, thus one may believe that the gay relationships portrayed in the film will fall along gender norm lines. However, But I’m a Cheerleader breaks down these stereotypes, reminding the audience that there’s no “masculine” or “feminine” roles in a gay relationship, there’s just two people of the same sex, each occupying a place in the relationship not on the basis of sex.  

But I’m a Cheerleader was the first film I saw depicting a WLW relationship, and it stuck by me as I was struggling with my own bisexual identity. It’s a personal favorite of mine and a great film to watch when you’re feeling down. 

Final Rating: 8.5/10 

Week 8

Over the Garden Wall (2014)

Genre: Animated dark fantasy-adventure

Yes, I’m aware this was technically a miniseries, but I watched all 10 episodes in about 90 minutes on HBO Max, thus I’m counting it as a movie. Coincidentally, this is also my fourth week in a row reviewing an Elijah Wood project. Anyways, Over the Garden Wall is the perfect autumn viewing experience, with quirky animation complimented by a tasteful color palate. I’m no artist, but I’m overall impressed by the color and shading work in the series, as it truly adds to the multi-layered mystery that brothers Wirt and Greg attempt to unravel to find their way home. Though Over the Garden Wall was broadcasted on Cartoon Network and subsequently made for children, even as an adult, the series is incredibly unnerving, even in its comedic parts. There’s just this undertone of darkness which haunts Wirt and Greg’s journey through the Unknown, and it seems, no matter how friendly the friends they make might seem, trust is still uneasy, both for Wirt and the audience. Over the Garden Wall reads like a fairy tale, with two young boys on a twisted adventure, yet there’s still something wrong. Something the audience is unable to truly grasp until the final episode, wherein the puzzle is shakily put together, only with one final question remaining.

The miniseries would be incredibly bleak without Greg and Wirt’s dynamic, with Wirt being the awkward preteen older brother, and Greg as the curious little one. Greg’s innocence and curiosity serves not only as characterization material, but as a plot driver and comic relief. Greg and Wirt’s devotion to one another drives the plot along, as Wirt tries to protect Greg in every way he can, though not without frustration. The introduction of the bird Beatrice interrupts this bond, as Wirt, naturally untrustworthy, disapproves of her and Greg’s friendship, thus changing the character dynamics.

Over the Garden Wall is bolstered by a star-studded cast including Elijah Wood (Wirt), Christopher Lloyd (The Woodsman), John Cleese (Adelaide and Quincy Endicott), and Tim Curry (Auntie Whispers). All actors truly show off their incredible voice acting talents, with Elijah Wood taking center stage with his dynamic portrayal of the awkward Wirt.

One of my absolute favorite scenes within the series has to be when Wirt and Greg board a riverboat filled with anthropomorphic frogs, all joyously dancing and enjoying their cruise on the rivers of the Unknown. It’s such a simple and quaint scene that makes one forget to darkness of Wirt and Greg’s situation, and the dangers present in the Unknown. It’s a scene that entices you to join in, and blankets you with this childlike nostalgia that only an adult audience would feel. There’s truly a lot of love put into this production, and from the way Over the Garden Wall makes you feel, it truly shows.

Overall, Over the Garden Wall is a piece I’ll revisit every fall, not just for its autumn visuals and themes, but for it’s complicated feelings. There’s something so profound about Wirt and Greg’s journey that I find it difficult to put into words, thus I encourage you to watch it for yourself.

Final Rating: 10/10

Week 7

The Lord of the Rings: The Return of the King (2003)

Genre: Epic-Fantasy

The final movie of a series can either make or break the saga, but The Return of the King goes way beyond faithfully completing Tolkien’s epic trilogy, and satisfies audiences while remaining true to Tolkien’s themes and vision in this penultimate film. There’s a reason The Return of the King swept the 2004 Oscars, winning in all categories in which it was nominated, including Best Picture and Best Director, for a total of 11 Oscars, among numerous other film awards.

Unlike The Two Towers, The Return of the King doesn’t start where the previous film left off, and instead throws the audience into the midst of a flashback depicting how Gollum acquired the ring. Not only does it remind the audience of the origins and dangers of the ring, but also presents the beginning of Frodo’s own conflict with the ring as he, Sam, and Gollum approach Mordor. The beginning also sees Merry and Pippin reunite with Gandalf, Aragorn, Gimli, and Legolas, bringing the majority of the fellowship together once more as the battle with Sauron nears. After this reunion, Sauron’s power is explored through Pippin’s close encounter with the figure, revealing Sauron’s intentions to attack Gondor, but also his ability to contort Pippin’s mind through fear. After this incident, Pippin is split from Merry and taken by Gandalf to Minas Tirth in order to warn Denethor, the steward of Gondor, of Sauron’s impending attack. Merry and Pippin’s split truly shakes up the dynamics of the remaining group, but also helps Merry and Pippin develop as individual characters, giving them a stoic character development that Tolkien describes in the novels. Similarly, Pippin and Merry’s heroic split can be compared to Sam and Frodo’s, wherein Gollum takes advantage of Frodo’s fragile mental state to remove Sam from the equation, and engineers a fight between the two which causes Sam to leave his beloved. Gollum then leads the weak Frodo into a trap which he hopes will cause Frodo’s death and the eventual return of the ring to himself. However, Sam comes back, unwilling to abandon his dear friend, and is heartbroken to discover Frodo’s “death.” Before he can properly mourn Frodo, orcs come and take Frodo’s body, and Sam soon discovers Frodo is just in a state of paralysis, and goes on a rescue mission. Armed with Frodo’s sword and guarding the ring (which he cleverly removed from Frodo’s body) Sam marches into the Orc fortress alone to successfully rescue Frodo, in both a shining moment of Sam’s heroism and Sean Astin’s acting chops.

The story continues, with Aragorn, Gimli, and Legolas recruiting an undead army, and Faramir falling wounded in battle, driving Denethor, overcome with loneliness, to attempted murder-suicide, the latter of which is successful. Of course, there’s also an epic battle occurring outside the walls of Minas Tirth too, and the Riders of Rohan, accompanied by a disguised Eowyn and Merry, join forces with Gondor in order to weaken Sauron’s army for the good of Middle-earth.

As Frodo and Sam approach Mt. Doom, and perhaps certain death, war still rages throughout Middle-earth, yet a war rages within Frodo as well. The closer the pair get to Mt. Doom, the more desperate the ring becomes, attempting to leech out Frodo’s humanity piece by piece, yet what the ring doesn’t know is that the biggest part of Frodo’s humanity is Sam. A hobbit whom he arguably loves, and this love is best shown within Frodo and Sam’s struggles in The Return of the King. At points Sam even volunteers to carry the ring, aware of its power over the psyche, but Sam does not desire the ring. Sam does not allow the ring to have any power over him because Frodo’s power over Sam, and their relationship, is much more powerful than any ring. Sam stays with Frodo, and even gives Frodo the last of his food and water, and even when starving and dehydrated, Sam carries Frodo up Mt. Doom. Their bond keeps them alive, and the chemistry between Elijah Wood and Sean Astin is what makes the relationship we see on screen so remarkably unique. Usually in fantasy movies, the protagonists are rough, emotionless men, yet the portrayals of Frodo and Sam reinforce the complexity of both characters, as well as the delicacy and beauty of their relationship. Frodo and Sam cry together, laugh together, and fight together, which is why their relationship is so sensitive and deep, for they’ve witnessed horrors with one another, just like Tolkien and his batman did in the First World War.

The war rages on, and just before Sam and Frodo reach Mount Doom, Sauron spots the pair, but luckily, Aragorn, the remaining members of the fellowship, and a large army march on the Black Gate to distract Sauron. It’s a mission almost as suicidal as Sam and Frodo’s, but all are willing to lay their lives on the line for not just Middle-earth, but their friends, Sam and Frodo. The distraction was successful, allowing for Sam and Frodo to enter the heart of the volcano, but not without a visit from Gollum, who was at first fended off by Sam as the two entered. Just as Frodo was about to throw the ring into the lava, he becomes overtaken by it, putting it on and turning invisible, wherein he was attacked by Gollum, and the two go over the edge, with Sam watching in horror. Gollum and the ring fall, leaving a shaken Frodo clinging for his life, thankfully saved by Sam. The two escape and the volcano explodes. They spend what they believe to be their final moments on a rock on the mountainside, as lava flows around them, talking to one another about how much they mean to each other. Thankfully, Frodo and Sam are rescued and reunited with the rest of the fellowship, who all witness Aragorn’s crowning of King of Gondor and marriage to Arwen.

Years later, Frodo is still shaken from his adventure, and decides to move to the Undying Lands with Bilbo, Gandalf, and the rest of the Elves, leaving Sam behind. This is the final “big” scene of the film, and it’s an incredibly emotional one, with Frodo saying goodbye to Sam, Merry, Pippin, and The Shire for one final adventure.

I also have to say, the facial expressions and movements Elijah Wood makes when Frodo is finally overtaken by the ring really remind me of Alexandre Cabanel’s 1868 ‘Fallen Angel’ painting. Though I’m unsure if the allusion is intentional, it truly marks the ring’s establishment of complete dominance over Frodo, which is only broken by Gollum extreme lust for the ring itself. Thus the two can be considered “Fallen Angels” in their own right, but Gollum a bit more literally. (Pictures below for reference)

Overall, The Return of the King is peak cinema, with fantastic performances, loyal screenwriting, and incredible special effects. But most importantly, the film brings Tolkien’s vision to life, and is truly able to visually complete the trilogy. The emphasis on teamwork and friendship in The Return of the King complete Tolkien’s message and turn Sam and Frodo’s relationship in the books into something never-before seen on screen. I would have to say The Return of the King isn’t just a great film, but one of the best films of all time.

Final Rating: 10/10

Week 6

The Lord of the Rings: The Two Towers

Genre: Epic-Fantasy

Yes, I know, my passion blog theme is reviewing a movie from each genre every week, but please, just let me review the movies based on my favorite book series. Anyways, The Two Towers begins right where Fellowship left off, in the midst of utter hopelessness and chaos. With all four hobbits and Gandalf missing, the remaining group has to overcome their differences in order to reunite with the other members of the Fellowship. Two stories are told throughout the movie, Sam and Frodo’s, and the struggles as the rest of the Fellowship must unite the rest of Middle-Earth against Sauron and Saruman. This dual storytelling method helps make Tolkien’s mythology much clearer, and provides a more distinct background of Middle-earth’s politics, thus reinforcing the overall theme of unity throughout. The overall structure of The Two Towers movie is incredibly logical, and fits right into the entire film series, unlike the book, which often transitions abruptly from conflict to conflict, the movie adaption seems to have a better flow through the series. Whilst Tolkien’s The Two Towers provides little resolve at the ending, Jackson’s is structured perfectly for a more general, cinema-going audience.

Another aspect I truly enjoyed about the film adaption was the solidification of Aragorn and Arwen’s romance, which became a center-point throughout the film. In the novel, however, there isn’t so much as a focus on that, perhaps due to Tolkien’s incredibly religious background, as well as Aragorn’s portrayal as almost a kingly or Christ figure in many aspects. Arwen is made a more central character throughout the film series, and I’m glad how the screenwriting expanded and developed Arwen’s character whilst still fitting with Tolkien’s vast mythology. Merry and Pippin’s characters are also developed in The Two Towers, as the two shift from comic relief characters to true members of the Fellowship, heroes if you must.

I also really loved how the shifting dynamic between Sam and Frodo is shown, especially with the edition of Gollum, who serves as a warning of what Frodo could become if he leans too closely into the power of the ring. Sam seemingly notices this at first, and becomes wary, yet protective of Frodo. However, Sam is often frustrated when Frodo becomes closer to Gollum, but not out of jealousy, but of fear. Fear that his beloved Frodo would shrink into the rabid mess that is Gollum.

Gollum truly takes center stage in this story, and is played magnificently by Andy Serkis, a pioneer in motion-capture acting. In my opinion, Serkis should’ve won an Oscar for his portrayal of Gollum in both The Two Towers and The Return of the King, but alas, motion capture performances are still not eligible for Oscar consideration. Serkis truly puts his entire soul into this part, capturing the slimy, yet sad villain which such expert perfection. His body movements are truly what sold the part, and truly turned Tolkien’s character into an absolute monster. Serkis is simply just incredible, and his work with this new medium truly revolutionized acting in general.

Overall, The Two Towers is an incredibly satisfying adaption, and serves as an excellent bridge in the film series. One of the highlights of the film has to be the Battle of Helm’s Deep, which is one of the most excellent and iconic battle scenes in film history. The Two Towers is a massive cinematic achievement all around, and of course, a must watch.

Final Rating: 9.5/10