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Cher, Babs, Liza among Razzie noms

Oscar bounty predictable but divas will battle for ‘worst supporting actress’

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The Oscar hopefuls were announced today but the Golden Rasberry Awards (“the Razzies”) had a far more interesting batch of nominees this year.

In perhaps the gayest group of nominees of any award ever, Cher, Liza Minnelli and Barbra Streisand are all up for the Worst Supporting Actress Razzie for “Burlesque,” “Sex and the City 2” and “Little Fockers” respectively. The former and latter were ravaged by critics. “Sex’s” most ignominious moment was Liza’s cover of “Single Ladies.” “Sex” also got a Worst Picture nomination. Ironically, all three ladies have Best Actress Oscars. Streisand also won one for writing “Evergreen.”

They’ll “compete” with Jessica Alba and Nicola Peltz for the Razzie. Liza already has a Razzie ā€” she won Worst Actress in 1988 for “Arthur 2” and “Rent-a-Cop.” Streisand was nominated in the lead category in 1981 for “All Night Long.”

Things were far more boring and predictable on the Oscar front. “Black Swan” and “The Kids Are All Right” are up for Best Picture and Annette Bening is up for Best Actress for playing a lesbian in “Kids.” Sperm donor Mark Ruffalo is up for Best Supporting Actor for “Kids.”

That reminds me ā€” what was up with the gay (male) porn/lesbian sex scene in “Kids”? I’m no expert on lesbian sex, but I didn’t get it at all.

The Oscars are Feb. 27. The Razzies are the day before.

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Jolie delivers diva perfection as ā€˜Mariaā€™

A fascinating film addressing matters of life and death

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Angelina Jolie stars in ā€˜Maria.ā€™ (Photo courtesy of Netflix)

In todayā€™s world, itā€™s difficult to imagine that an opera singer could achieve the kind of international fame and popularity enjoyed by modern musical artists like Lady Gaga or Taylor Swift, yet that is exactly what Maria Callas did.

Possessed of a singular, inimitable, and often controversial vocal talent, she rose to the height of her profession and became a world-class artist, performing on international stages and moving within a circle that included the wealthiest, most influential and powerful people of her era. Her private life, which included a long-running affair with mega-rich Greek shipping magnate Aristotle Onassis and a reputation for temperament that matched or exceeded expectation for a diva of her stature, was the stuff of gossip columns, and her stature as an artist was such that any scandals that might have arisen there had little impact on her reputation for the millions of fans who adored her.

Even now, nearly 50 years after her untimely death (she was only 53) in 1977, her name is still spoken with reverence among those who belong to the still-potent ā€œcult of personalityā€ that made her an object of near-worship, and even if youā€™re not an opera fan, a listen to any of the magnificent recordings she left as her legacy is enough to help you understand why. Not only did the woman have a gift for singing, she had a way of inhabiting the music she sang so completely that it seemed to belong solely to her, as if it came fully formed into the world through her own being, no matter how many other great vocalists had sung it before.

Yet the Callas we meet in Pablo Larrainā€™s ā€œMaria,ā€ a speculative biographical fantasia about the final week in the divaā€™s tumultuous life that premiered in competition for the prestigious ā€œGolden Lionā€ award at the 2024 Venice film festival and drops on Netflix Dec. 13 following a limited theatrical release, is but a comparative shadow of that once-renowned formidable persona. Her health failing, her voice diminished, and her mind drifting between morose contemplation of her decline and drug-addled delusions of returning to her former glory, she holds a reclusive and tenuous dominion over her Paris apartment, engaged in a power struggle with her overprotective house servants and stubbornly ignoring doctorā€™s orders by pushing herself to regain the transcendent voice that had brought her success, fame, and a personal power that had helped her endure the traumas of a childhood in the Axis-occupied Greece of World War II.

Thatā€™s just on the surface, however. As rendered by Angelina Jolie in a career-topping performance, the Callas of ā€œMariaā€ feels fully worthy of the still-imperious demeanor she wields against the world. Far from surrendering to the tragic downward spiral into which she has become entangled, she shines from within with a courageous ā€“ which is not the same thing as ā€œfearlessā€ ā€“ sense of self that infuses her seemingly desperate efforts to reclaim her former glory (for herself, at least, if not for public approval) and makes her story a tale of self-actualization rather than the tragic ā€œdance with deathā€ it might appear to be through a surface perspective.

After all, in Larrainā€™s vision (and the exquisitely nuanced screenplay by Steven Knight), Callas is seeking not to recapture her fame and fortune ā€“ those are hers for life, already ā€“ but to reclaim her voice. As plainly shown by the life told in bold strokes via the flashbacks interwoven throughout the film, music has been the means for Callas to overcome the oppression of men and assert personal power over her own life. From the fascist soldiers to whom she was “pimped out” in her youth by her mother to the coarse-but-doting plutocrats that have attempted to ā€œpossessā€ her in adulthood, she has maintained agency over them all through the gift of her vocal talent. Now, with full knowledge and acceptance that the final chapter of her life is being written, she has chosen to hold the pen firmly in her hand, asserting ownership over her own life by composing the end of its narrative for herself. Itā€™s an unconventional path that she chooses, but how many truly great spirits ever settle for being conventional?

Whether or not she was ultimately victorious in this goal ā€“ either in her real life or in Larrainā€™s imagined rendering of it ā€“ might be something viewers have to decide for themselves. Itā€™s hardly the point, however; what ā€œMariaā€ conveys, more than any definitive truth about its legendary subject, is a suggestion that what matters is the fight, not the winning of it, and that perhaps the ā€œwinā€ is in the fight itself. Beyond that, it finds a metaphor in the divaā€™s willing descent into hallucinatory fantasy for engaging in a direct relationship with that part of our own nature that feels divine ā€“ one which manifests itself in our lives through many forms, be it a character in a centuries-old opera, an imagined collaboration with the long-dead composer who created it, or a fresh-faced TV interviewer (who may or not be real) with a knack for asking the questions you donā€™t want to answer.

The element that has sparked the most buzz about Larrainā€™s film, of course, is the work of its star. Jolie, who trained to sing opera for seven months in preparation for the role (though she lip-syncs to recordings of the real Callas in flashbacks of the divaā€™s career highlights, it is her own voice we hear when she sings in the ā€œpresent-dayā€ scenes), doubtless brings some of her own experience to the table as a successful woman whose artistic triumphs always seem less important in the public eye than her personal relationships with men.

If so, it works beyond expectation, resulting in an old-school Hollywood star turn that dazzles us with its commitment to finding a human truth behind the veneer of glamour and moves us with the raw, unfiltered emotion she masterfully underplays throughout. Oscar talk is cheap, this early in ā€œAwards Season,ā€ but look for this performance to be a hot contender for a nod, and perhaps even a win.

Yet even if sheā€™s the main attraction, ā€œMariaā€ boasts plenty of excellence all around, from a superb supporting cast to the luminous cinematography of Edward Lachman, which bathes the movieā€™s sumptuous interiors in a palette of stained-glass colors to conjure the bittersweet nostalgia for a beautiful world as it slips away into oblivion. Knightā€™s intelligent script, crafted with the literary eloquence of a play, explores multiple facets of the divaā€™s life, while using it as a springboard into a meditation on loss, letting go, and embracing our own mortality even as we strive to touch the immortal. Finally, though, itā€™s Larrainā€™s direction that ties it all together, crafting a visually gorgeous, palpably intimate film that nevertheless delves deeply into some of the grandest aspects of our existence.

For opera lovers, of course, itā€™s a must-see. For the rest of us, itā€™s still a fascinating and deeply affecting film, addressing matters of life and death as vast as the ones that drove the timeless musical masterworks in which Callas made her name.

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Unconventional 2024 holiday films mostly not for families

Erotica thrillers, ā€˜Nosferatu,ā€™ and the explicit ā€˜Queerā€™ among entries

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Harris Dickinson and Nicole Kidman embark on a dangerous affair in ā€˜Babygirl.ā€™ (Image courtesy of A24)

As soon as Thanksgiving is behind us, itā€™s time to look forward to another crop of holiday movies, and this year offers some excellent ones ā€“ though most of them seem to have very little to do with the season itself. Unfortunately, after the last year or so, when the number of queer-themed and queer-inclusive holiday films seemed to be increasing, this yearā€™s selection is notably short on queer representation. Of course, with a couple of exceptions, theyā€™re also notably short on seasonal cheer, too. Nevertheless, there are several promising gems headed to theaters over the next month, all of which should be of interest to any movie fan, queer or not, and the Blade is ready to break them down for you.

WICKED (Now in theaters) Our first preview also serves as a mini-review, since it jumped the holiday queue for an early release, but thatā€™s OK, because it turns out we needed it more than we knew. The first installment of director John M. Chuā€™s much-anticipated two-part adaptation of the Broadway phenomenon, in turn based on the eponymous book by queer author Gregory Maguireā€™s book of the same name, stars Cynthia Erivo and Ariana Grande as the two iconic witches of Frank Baumā€™s classic ā€œWizard of Ozā€ (Elphaba, the formerly anonymous ā€œWicked Witch of the Westā€ as named by Maguire in his novel, and Glinda, the ā€œGood Witch of the North,ā€ respectively), and, without hyperbole, truly surpasses all expectation. Expanding the stage versionā€™s Disney-ish whimsy (reinforced by its catchy song score from ā€œPocahontasā€ composer Stephen Schwartz) by incorporating elements from Maguireā€™s novel to bring additional gravitas (and timely relevance) to the family-friendly fun while showcasing the amazing, no-expense-spared artistry of the filmā€™s visual design. Played out on elaborate real-life sets by a uniformly superb cast ā€“ which also features out gay ā€œBridgertonā€ heartthrob Jonathan Bailey, Oscar-winner Michelle Yeoh, veteran screen eccentric Jeff Goldblum, ā€œGame of Thronesā€ star Peter Dinklage, and queer ā€œSNLā€ stalwart Bowen Yang, among many other talented performers ā€“ it is that rare stage-to-screen transition that not only captures the appeal of the show that inspired it, but enhances its magic by embracing a purely cinematic expression in doing so. Add the sweet irony that can be found in the post-election success of a musical fantasy about a marginalized woman being persecuted for daring to speak truth to an authoritarian power (who also happens to be an incompetent charlatan), and you have a film that is easily the movie of the year and then some. Something tells us that Baum would be proud of what his clever little satire of American ā€œexceptionalismā€ has come to inspire more than a century later. If you havenā€™t seen it already, what are you waiting for? Get on your broom and head straight to the next available showing at your local multiplex.

GLADIATOR II (Now in theaters) Also crashing into the arena ahead of the holidays is Ridley Scottā€™s sequel to his Oscar-winning original ā€œGladiatorā€ from 2000, which won Oscars for Best Picture and Best Actor (Russell Crowe) among multiple other honors. The queer appeal here lies mostly in the hunkiness of its stars ā€“ allies and queer-fan-favorite heartthrobs Paul Mescal and Pedro Pascal, who join Denzel Washington as the big-name-triumvirate that drives the film ā€“ but that doesnā€™t mean thereā€™s not plenty of big-budget sword-and-sandal excitement to entertain anybody with an appetite for such things; and letā€™s face it, as cheesy as they are, who doesnā€™t love a movie about barely dressed muscle men swinging swords at each other in the midst of Roman depravity? Revered queer British thespian Derek Jacobi reprises his role from the original film, among a cast that also includes Joseph Quinn, Fred Hechinger, Lior Raz, and Connie Nielsen.

QUEER (now in limited theaters, wide release 12/13) From Italian filmmaker Luca Guadagnino ā€“ the man responsible for ā€œCall Me By Your Nameā€ and this yearā€™s earlier bi-triangle tennis romance ā€œChallengersā€ ā€“ comes this eagerly anticipated adaptation of a semi-autobiographical novella by queer ā€œbeat generationā€ icon William S. Burroughs, set in 1950, in which an American expatriate (Daniel Craig in a reportedly career-topping performance) trolls the local bars looking for connection and becomes enamored with a former soldier (Drew Starkey) who is new in town. Already controversial (in some circles, at least) for its explicitness and its unapologetically raw perspective ā€“ an unsurprising element, considering that Burroughsā€™s legendary status as an author and personality has more to do with his countercultural radicalism than his queerness ā€“ this one is probably the standout must-see title of the season for LGBTQ audiences, or at least those not completely transfixed by ā€œWicked.ā€ And although Craig (who is no stranger to ā€œplaying gayā€) has said in a recent interview that his characterā€™s sexuality is the ā€œleast interesting thingā€ about him, weā€™ll wager that millions of queer fans will disagree. Also featuring the incomparable Lesley Manville (most recently an MVP in Ryan Murphyā€™s ā€œGrotesquerieā€), Jason Schwartzman, Henrique Zaga, and Omar Apollo.

MARIA (in theaters 11/27, Netflix 12/11) For the opera-loving crowd comes this widely touted biopic starring Angelina Jolie as legendary soprano Maria Callas, which covers the divaā€™s final days when she was living as a virtual recluse in Paris. The third and final film in Chilean filmmaker Pablo LarraĆ­n’s cinematic trilogy about the lives of important 20th century women (after 2016ā€™s ā€œJackieā€ and 2021ā€™s ā€œSpencerā€), this one competed for the Golden Lion prize at this yearā€™s Venice Film Festival, where it sparked Oscar buzz for Jolieā€™s tour-de-force turn as the operatic icon.

NIGHTBITCH (in theaters 12/6) Queer viewers can dive into their feminist allyship with this body-horror-ific drama about an artist (Amy Adams) whose role as wife and mother (to a towheaded toddler) triggers a canine-esque transformation, complete with an enhanced sense of smell, unexpected body hair, and extra nipples on her belly. A metaphoric exploration of discovering personal power and transcending cultural expectations defining womanhood around traditional roles of homemaker and mother, it will undoubtedly spark complaints from the anti-ā€wokeā€ crowd, which obviously scores points with us, every time.

THE ORDER (in theaters 12/6) Thereā€™s nothing specifically queer about this one, which stars Jude Law as a veteran FBI agent who confronts a zealous white supremacist rebel leader (Nicholas Hoult) in a ā€œwar for Americaā€™s soul,ā€ but there are obvious points of connection in its fictionalized ā€œwhat-ifā€ fantasia based on 1980s headlines about the Aryan Nation spinoff group ā€œThe Orderā€ and its campaign of robberies, bombings and murder. If youā€™re not a fan of Nazis (because no matter what they happen to call themselves, a Nazi is still a Nazi), this one is probably for you.

NICKEL BOYS (in theaters 12/13) Allyship is also the draw from this lengthy adaptation of Colson Whiteheadā€™s Pulitzer-winning bestseller, starring Aunjanue Ellis-Taylor as a hotel housekeeper whose grandson (Ethan Herisse) is unjustly incarcerated in a reformatory during the ā€œJim Crowā€ era. Directed by Peabody Award winner (and Emmy and Oscar nominee) RaMell Ross, this anti-racist drama is based on a true story.

THE ROOM NEXT DOOR (in theaters 12/20) If any upcoming movie deserves a spotlight itā€™s this one, the first English-language feature by iconic queer Spanish filmmaker Pedro AlmodĆ³var, in which a pair of former New York magazine colleagues (Tilda Swinton and Julianne Moore) reunite after many years when one of them is faced with a terminal cancer diagnosis and asks the other to help her ā€œdie with dignity.ā€ With three such transcendent artists uniting to collaborate, our confidence level is elevated enough for us to suggest that this might be the highlight of the season for lovers of pure cinema.

BETTER MAN (in theaters 12/25) If youā€™ve never heard of Robbie Williams (and youā€™re an American), you can be forgiven, since the phenomenally successful pop singer-songwriter from the UK is a relatively unknown sensation on this side of the Atlantic, but this unorthodox musical biopic from ā€œGreatest Showmanā€ director Michael Gracey looks to be an introduction youā€™ll never forget. Depicting the well-publicized ups and downs of Williamsā€™ personal life as it traces his rise to fame and beyond, it also depicts him as a chimpanzee ā€“ voiced by Williams himself and portrayed through CG motion capture by Jonno Davies ā€“ because, as the Brit-pop icon puts it, ā€œIā€™ve always felt less evolvedā€ than other people. It sounds odd, sure, but its September debut at the Telluride Film Festival was met with enthusiastic critical acclaim, and whether it works for you or not, it surely boasts the most unusual premise of any film this year that weā€™re aware of.

BABYGIRL (in theaters 12/25) Another unusual choice for Christmastime is this provocative erotic thriller from writer/director Halina Reijn, starring Nicole Kidman as a CEO who has become sexually bored with her husband (Antonio Banderas) and pursues an affair with a much-younger male intern (the incandescently beautiful Harris Dickinson), which weaves a steamy cautionary tale about the treacherous dynamics of power and sexuality within a professional setting. Another Golden Lion contender at Venice, itā€™s garnered heavy praise both for Reijnā€™s direction and Kidmanā€™s performance; so while it may not be the kind of family-friendly holiday film youā€™ll want to see with mom and dad, itā€™s definitely one worth sneaking out for on a solo excursion while the rest of the family is sleeping off that holiday meal.

NOSFERATU (in theaters 12/25) Even less appropriate for the holiday season (unless the holiday is Halloween) but eagerly awaited nonetheless, this remake of F.W. Murnauā€™s venerable silent classic ā€“ a 1922 German Expressionist masterpiece based on Bram Stokerā€™s ā€œDraculaā€ that is widely seen as the ā€œgranddaddyā€ of all vampire films ā€“ from always-buzzy filmmaker Robert Eggers (ā€œThe Witch,ā€ ā€œThe Lighthouseā€) is probably the perfect refresher after a month of cheer, festivities, sweetness, and light. Starring Bill SaarsgĆ„rd as the sinister Count Orlok, with Nicholas Hoult and Lily-Rose Depp as the couple whose lives he infiltrates and Willem Dafoe as the professor who becomes his nemesis, it brings the gothic tale ā€œinto the 21st centuryā€ (says Eggers) and emphasizes the twisted obsessions and infatuations that tie its characters together. Long-delayed and much-anticipated, this one is already a guaranteed must-see for anyone who loves the genre ā€“ so if you need a seasonal connection, you can always think of it as a holiday gift for horror fans.

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5 films about queer resistance to inspire you for the fight ahead

Lessons on activism and resilience that seem more crucial than ever

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An unlikely alliance leads to triumph in ā€˜Pride.ā€™ (Photo courtesy of PathĆ©/BBC Films)

In times of trouble, movies can offer us a chance ā€“ temporarily, at least ā€“ to escape our worries. Sometimes, though, escape is not the answer. When the political climate turns stormy, they can also be a lifeline, connecting us with our history and helping us to clarify where weā€™ve been, where we need to go, and how we might manage to get there. With that in mind, hereā€™s a list of great movies about LGBTQ activism, each with particular relevance to the cultural challenges we face as America braces itself for another round of Trumpism ā€“ because besides educating us about our past, they have the power to inspire us as we prepare to fight for our future.

Pride (2014) 

Perhaps ironically, the first title (and only non-documentary) on our list is not an American tale, but a true story from the UK, a fictionalized chronicle of Lesbians and Gays Support the Miners (LGSM) ā€“ a group of LGBTQ activists who allied with striking coal miners in Thatcher-era Britain. Directed by Matthew Warchus and written by Stephen Beresford, it balances humor and gravitas as it follows a young, still-closeted student (George MacKay) and his involvement with a group of queer activists who decide to raise money to support Welsh miners impacted by the British Mining Strike of 1984. Despite initial hostility from the miners, a coalition is forged that lends strength to both causes, ultimately leading to the incorporation of gay and lesbian rights into the official Labour Party platform. An infectiously thrilling portrayal of the transformative power of solidarity, itā€™s a film that exemplifies the importance of intersectionality and the need for diverse marginalized communities to unite and take collective action against oppression. The message? We are stronger together than we are apart. Also starring Bill Nighy, Imelda Staunton, Dominic West, and Andrew Scott, itā€™s as entertaining as it is inspiring, a ā€œfeel-goodā€ movie that also fires us up to stand firm against the forces of bigotry and repression.

The Times of Harvey Milk (1984)

No, weā€™re not dissing Gus Van Santā€™s excellent 2008 biopic ā€œMilk,ā€ featuring Sean Pennā€™s star turn in the title role and Dustin Lance Blackā€™s eloquent screenplay (both of which snagged Oscars), but for our purposes here, this documentary from director Rob Epstein ā€“ which won an Oscar itself ā€“ provides a less romanticized account of Milkā€™s life and work. The first openly gay elected official in California, he successfully fought against the discriminatory ā€œBriggs Initiativeā€ (famously championed by beauty-queen- turned-OJ-spokesmodel Anita Bryant), which sought to ban gay teachers in public schools, something that feels particularly relevant during a time when conservative American politicians are aggressively working to remove LGBTQ content from schools and erode queer representation in politics. Though his 1978 assassination alongside San Francisco Mayor George Moscone (by fellow City Supervisor and political rival Dan White) is probably a more familiar piece of history in the public imagination today, itā€™s the groundbreaking LGBTQ advocacy he spearheaded that forms the centerpiece of his enduring legacy, something that the tragedy of his martyrdom should not be allowed to overshadow. This moving, intimate documentary ā€“ which weaves archival footage and interviews into a compelling narrative about the intersections of politics and identity, reminds us of the stakes when marginalized voices go unrepresented by our legislators, and features narration from queer icon Harvey Fierstein ā€“ provides a more detailed and authentic look at the great work he accomplished during his short tenure than Van Santā€™s fictionalized historical drama.

How to Survive a Plague (2012)

If any film on our list should be considered a ā€œmust-see,ā€ itā€™s this widely acclaimed documentary from filmmaker David France, which chronicles the activism of ACT UP and TAG during the height of the AIDS epidemic. Through archival footage and testimonials, it follows the real-life activists who fought for medical treatments and government accountability in a time when their community was suffering a devastating loss, highlighting key figures like Peter Staley and Larry Kramer and providing a powerful portrait of a relentless advocacy effort that turned despair into action. With its themes of grassroots activism and equitable public health care, Franceā€™s auspicious directorial debut resonates deeply in todayā€™s world, as queer communities face challenges in access to gender-affirming care and reproductive rights; seeing the tactics used by organizations like ACT UP to hold institutions accountable, modern activists can gain valuable insights about how to conduct strategic resistance against legislative attacks and discriminatory policies in public health care.

Call Me Kuchu (2012)

Not as well-known but equally resonant as the other films on our list, this doc from directors Katherine Fairfax Wright and Malika Zouhali-Worrall follows LGBTQ activists in Uganda, a country where homosexuality is criminalized, centering around the story of David Kato ā€“ the self-proclaimed ā€œfirst gay man in Uganda.ā€After returning home from South Africa, where he ā€œdiscovered gay lifeā€ for the first time, he started a non-profit LGBTQ organizationĀ  (Sexual Minorities Uganda) to ā€œspread the word about homosexualityā€ and track instances of homophobia in his country; he went on to became a fearless advocate for queer rights, facing immense personal and legal persecution before ultimately losing his life to anti-gay violence. The film also tracks efforts by the Ugandan government to pass the Anti-Homosexuality Act, which was partially orchestrated through the influence of U.S.-based Christian conservatives at a workshop funded by the American fast-food chain Chick-fil-A, and was condemned internationally as the ā€œKill the Gays Bill,ā€ due to its inclusion of a death penalty clause. Though its focus is on an African nation, the film has clear relevance to the global struggle for queer acceptance, warning against the advancement of anti-LGBTQ ideologies by hate groups ā€œprotecting traditional valuesā€ under the guise of religion, and reminding us of how the fight for queer rights is interconnected worldwide.

Paris Is Burning (1990)

Jennie Livingstonā€™s documentary delving into New York Cityā€™s drag ball culture of the 1980s is now iconic, a celebrated queer classic that immortalizes a deeply influential social scene and illuminates the lives of Black and Latino queer individuals as they try to navigate systemic racism, homophobia, and poverty, with an emphasis on their artistry, their resilience, and the ā€œchosen familiesā€ they gather around themselves. Featuring a host of ballroom legends (Pepper LaBeija, Dorian Corey, Venus Xtravaganza, and more), it reveals stories of both triumph and tragedy while amplifying the experience of queer joy; it would later provide inspiration for Ryan Murphyā€™s groundbreaking series ā€œPoseā€ ā€“ but more importantly, this essential LGBTQ classic highlights the inequities that persist in society today, when drag culture faces legislative attacks and trans women of color continue to be disproportionately targeted by violence,

Each of these films offers essential insights on queer resistance, illuminating the ongoing struggles and triumphs of LGBTQ communities. As we face a reinvigorated attack on queer rights under a hostile administration, they offer us lessons on solidarity, activism, and resilience that suddenly seem more crucial than ever.

Watch and learn, children, because you might now be our only hope.

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