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50 Shades of Gay Sex Comedy

2016-3-10 15:34| 发布者: 阳光小编| 查看: 616| 评论: 0|原作者: Web|来自: Boysky.com


The word gay originally meant happy. That’s still one of its meanings in Me Him Her, a sex comedy celebrating the overlap of friendship, love, gender. But in the new horror comedy You’re Killing Me, gay means sarcasm and carnage.

Me Him Her is the directing debut feature of straight screenwriter Max Landis (Chronicle) who explores the unlimited social and sexual options of privileged youth. Straight-acting movie star Brendan (Luke Bracey) asks his college-years best friend Cory (Dustin Milligan) to help him come out. Acting as wing man at a gay bar, Cory meets sexy lesbian Gabbi (Emily Meade) and helps Brendan hook-up with his first true boyfriend.

Yet in You’re Killing Me, by gay director Jim Hansen (best known for the web series The Chloe Tapes), video performer George (Jeffery Self) and his clique of gay friends are intrigued by hot psychopath Joe (Matthew McKelligon) who targets and kills-off clique members and his own parents. Call it a camp version of Ten Little Indians, but replace that politically incorrect ethnic label “Indians” with a shady gay epithet.

Here’s the problem: The straight filmmaker has made the life- and gay-affirming movie (Me Him Her) while the gay filmmaker has made the gay-victimizing movie (You’re Killing Me).

Sure, Hansen tries throwing major shade (his web series The Chloe Tapes, starring Drew Droege, finds limited wit in satirizing indie actress Chloe Sevigny as a drag persona) but this feature film’s casual reliance on murder (hate crimes) laughs at the notion of gay humanity. Hansen’s plot recalls a 1999 Donnie Russo porn film advertised as Kiss Me Kill Me Fuck Me Thrill Me (check out its “Bad Gay Porn Acting” YouTube clips) yet his attempt at being a gay Tarantino mixes-up BFF jealousy, new-trick horniness, and 50 Shades of Gay sadism.

We need some “safe words” to protect against this bitchiness and those words are found in Landis’ title Me Him Her—no commas imply compassion, spiritual transition. Landis avoids the heterosexism of Hollywood rom-coms. Brendan and Cory accept each other believably and even plaid-shirted lesbian Gabbi holds her own (“It’s weird to make love with someone with facial hair” she says) more credibly than the opportunistic gay heroine of Blue is the Warmest Color. Easing past sexual confusion, Me Him Her embraces all sexual identities.

In the Gays Gone Wild series, outrageous behavior was cheerful, a sign of liberation, but You’re Killing Me takes a wrong turn. Hansen’s shallow view of Joe (“He’s not scary, he’s gorgeous”) crosses a line from John Waters’ flouting of social norms to the celebration of sheer, stupid violence. McKelligon as Killer Joe combines Chelsea Boy and Fuck Boy stereotypes as if Hansen cannot make up his mind whether Joe should be fucked or killed.

This confusion peaks when James Cerne, as straight guy Teddy, parades his perfectly gymmed broad shoulders and cakey buns, then is repeatedly stabbed by Joe. The way You’re Killing Me makes fun of parricide, matricide, and all-out community destroying homicide, is like using laughter to hide some self-hate issues.

Two gay comedies couldn’t be more different. Me Him Her and You’re Killing Me are also serious proof that we find our allies where we can.

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