About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes, making what might otherwise be delightfully strange into something too pat and easy. Tyler Taormina’s Ham on Rye, in which high school children come of age while moseying around the San Fernando Valley in anticipation of an undefined formal event, sets the audience up for a lark. They’re all victims of Synchronic, a designer drug that literally sends young people, with their soft pineal glands, into the past—and just how far depends randomly on where they are in the present. The interactions between Bad Hair’s characters already convey the domination of white beauty standards and how the self dissipates when capitulating to them, so the extra steps taken to underline these themes only works to dilute them. As fun as Alice Júnior can be, it’s at its core a typical Brazilian kids’ movie, in the vein of on-the-nose fare about enjoying life but not doing drugs that Brazilian megastar Xuxa put out in the 1980s and ‘90s, except queered by its trans protagonist and the visual language of the times. In one, Jean Genet gets drunk with Marisa (Katia Horn), the kooky mother of one of Alice’s gay classmates, and they start being a little too honest about what they think of their own children. At the start of Darius Marder’s Sound of Metal, Ruben (Riz Ahmed), the drummer for a Swans-esque noise rock band, Blackgammon, is shown in such a state of euphoria, furiously pounding away at his drums and enraptured by the wall of sound filled out by distorted guitars and the screaming vocals of his girlfriend and bandmate, Lou (Olivia Cooke).
In a way, it can be an addictive drug all its own. Striving to smile in the face of seemingly insurmountable and never-ending obstacles, Santa and his cohorts try to strike back against their perceived oppressors (Santa refuses to pay the shipyard for breaking one of their streetlamps, José lashes out at the bank that refuses to give him a loan) and reconcile themselves with the humbling realities of their lives, most notably embodied by José‘s attempts to accept the fact that his wife is the household’s breadwinner. Our first warning that humor may have been only the sheen of a much more serious cinematic proposition, a cheeky red herring of sorts, comes in a sequence in which Eddie and Amber take the train to Dublin and happen upon a gay bar. It tells us bruised romantics that we’re all in this together, thus offering evidence that we may not be as alone as we may think.
The film has an exciting, lived-in quality that elevates what are otherwise some markedly unsteady attempts at horror. For instance, when Sandro (Leandro Faria Lelo)—who regularly has sex in the woods with a co-worker, Ricardo (Allan Jacinto Santana), after their shift at the factory—happens upon what looks like a leather bar, the place turns out to be an empty construction site where queer archetypes—the harnessed master, the puppy slave, the drag-queen hostess—are there to perform for Sandro and Sandro alone, in a mix of silent performance art and interactive pornography. Amber’s father, for one, took his own life, and ever since then she’s been charging her classmates to use her family’s caravan as a place to have sex, so she can save enough money and move to London and work for a punk zine. SUMMARY Mondays in the Sun Mondays in the Sun is a 2002 Spanish drama film directed by Fernando León de Aranoa, starring Javier Bardem, Luis Tosar and José Ángel Egido. His corpse is then tied and shoved into the orphanage’s basement pool, and when a young boy, Carlos (Fernando Tielve), arrives at the ghostly facility some time later, he seemingly signals the arrival of Franco himself. This sequence has the daring rhapsody of the prolonged prom sequence in De Palma’s Carrie. But there’s a gravitas to Dating Amber that keeps pricking us little by little until it completely takes over in the film. Dear White People contained similarly blunt, into-the-camera messaging, but that felt appropriate for a setting where students are wrapped up in college politics and subjecting their ideas to class scrutiny. Summary: One man fights for the thousands of unemployed dockyard workers now spending their Mondays in the sun. Detailed plot synopsis reviews of Mondays in the Sun (Los Lunes al Sol) A group of recently-laid-off Spanish dockworkers bide their time together in the local pub, opened and run by one of their former coworkers. With: Javier Bardem, Jose Angel Egido and Luis Tosar, Peter Bradshaw: An amiable kind of Boys from the Blackstuff ... there is a tinge of whimsy and sentimentality to the film, but Javier Bardem gives his best performance for some time, Noah review â 'a preposterous but endearingly unhinged epic', Russell Crowe wrestles angels and demons in Darren Aronofsky's $125m mashup of the ancient story of Noah, writes Mark Kermode, Honour review â Shan Khan's 'conflicted' first feature, The Double review â Richard Ayoade's dark doppelganger drama, Divergent review â lacks lustre and grit, A Story of Children and Film review â Mark Cousins's 'spine-tingling' visual essay, A player from Arosa scores a Maradona-like goal, Freestyle athlete takes us through his career, Follow NSA-related developments as controversy over leaks continues to make headlines, Spanish football player's stunning solo goal, Whitewater kayaking: 'I wanted to spend every day on the river'. And this underlying tension between Joe’s calm and patient acceptance of reality, and all its complications, and Ruben’s undying need to return to “being inside the sound” colors the rest of the film. These moments are fabulous precisely because they’re unfiltered—queer in attitude, not in wardrobe. She looks at her husband’s framed photograph and smiles, reminding us that while the fantasy of heterosexual domesticity holds many promises, in practice, it can be an exhausting hell. If Marxist dramas about the unemployed are your cup of tea, then Mondays in the Sun will surely quench your thirst. The men's lives are laid out in painful detail, from the tragic alcoholic to the life of one of the oldest men, who eventually elects to dye his hair and borrow his son's clothes in a sad effort to look younger on job interviews. This is a sleeker-looking vehicle that’s eager to be scary but not comfortable being ugly. Instead of lusting over male bodies or dancing the night away on drugs (that comes later), Eddie is instantly transfixed by a drag queen singing Brenda Lee’s “You Can Depend on Me.” He approaches her on stage as if, at last, untethered from the world. So when the slight ringing in Ruben’s ears the night before turns into a dull roar, leaving all surrounding noises muffled beyond recognition, it’s not merely his professional livelihood that’s at stake, but his mental and spiritual well-being as well. Simon Abrams, With Night of the Demon, Jacques Tourneur pits logic against the boundless mysteries of the supernatural, focusing not on the fear of the unknown and unseen, but the fear of accepting and confronting the inexplicable.
He makes for quite the presence, but his hungers ultimately lead him to oblivion.
Another compatriot, Jose (Tosar), feels cuckolded and impotent by the fact that his wife has taken a job at the cannery. Sound of Metal sees the value of stillness, particularly for addicts, but it also captures, with urgency and tenderness, just how enticing the residue of the past can be. The Grand High Witch of this version, played by Anne Hathaway, has the same sashaying arrogance, but it’s more suited for a fashion show’s runway than a child’s nightmares. Things come to a head in a showy dramatic scene roughly halfway through the film set inside a swanky hotel ballroom. The demands of heterosexuality are lethal to both straights and gays in County Kildare.
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