Critically maligned when it was first unleashed on the world and was bashed for years by fans, “Freddy’s Revenge” is a movie that caught the fan base by surprise. With the advent of the internet, fans have been able to appreciate the sequel to one of the most influential horror movies as a classic in its own right. It’s a sentiment that’s managed to spread along the entire horror community as more queer horror fans have found “Freddy’s Revenge,” allowing Freddy Krueger to reach a part of society that reached beyond dreams and in to the sub-conscious in to ideas about self acceptance and repressed sexuality.
Danny Wolf’s documentary series is something of a contradiction in that it’s a series about cult movies that were or continue to be unappreciated. And yet, every movie that’s covered all has rabid fan bases. Some of them even have conventions and social gatherings celebrating them. While the “Time Warp” movie series doesn’t re-invent the wheel, if you’re in the mood to celebrate some fun cult films and just lose yourself in mainly American cult classics, then Volume 3 is right up your alley.
The nineties had a weird trend where studios took classic films and attempted to rework them in to contemporary trash films. Pamela Anderson starred in a “Casablanca” remake with “Barb Wire,” Vanilla Ice tried for his own “Rebel Without a Cause” remake with “Cool as Ice,” and oddly enough Paul Verhoeven aims for a remake of “All About Eve” with the cult Joe Esterhas anomaly known as “Showgirls.” Simultaneously lambasted and praised for being so unabashedly stupid and sleazy, Verhoeven attempts to hide a narrative better suited Skinemax than world wide release in theaters beneath thin art house veneers that fool no one.
When I was a kid growing up in the Bronx, everyone knew who Walter Mercado was. When he was on Telemundo we would all remain in complete awe and silence as he dominated the screen with an almost supernatural presence. Filled with charisma, theatrical enthusiasm, and flamboyance, Mercado gave the latinx community astrological readings that were almost always steeped in hope, optimism, and spirit. Along the way he broke barriers becoming a worldwide sensation as a guru who defied gender, sexual, and style barriers everywhere he went.
Long before America accepted the Luchadore as a part of modern wrestling, Lucha Libre has been an immense force of the wrestling world. It’s broken so many barriers and allowed the culture to seep through, even integrating what’s known as the “Exótico.” Cassandro is a kind of luchadore who mixes the art form of drag along with the art form of professional wrestling. Often times Cassandro is no different than Gorgeous George or Ric Flair, but he’s different in the way he embraces his homosexuality so openly and absolutely without apology.
Danish film master Carl Theodor Dreyer’s “Michael” is a very good LGBTQ drama that tackles a lot of the sexual politics of the period and the often unrequited loves between queer individuals. The entire taboo nature is explored very subtly with Dreyer’s fascinating narrative. Here, “Michael” dissects the relationship between a master artist and his apprentice and how their love for one another fueled their love for art as well as their misguided affections for a young woman.
Mostly unknown for years and years, Reinhold Schünzel’s musical comedy is a very good musical comedy that would set the template for the LGBTQ iconic movie and musical “Victor/Victoria.” Although known as “Viktor und Viktoria,” director Schünzel creates a funny, adorable, and entertaining musical that mixes cross dressing and heavy queer overtones. It otherwise salvages the pretty clumsy finale that doesn’t resolve much when all is said and done.
Often times when you’ve been indoctrinated to conform to what is perceived as societal norms, the emotions between two people can be mixed and misguided. Leontine Sagan’s romance drama is a brilliant tale of unrequited love between two women and the confusion of identity amidst such an archaic institution. There’s nothing really discreet when it comes to what happens behind the walls of the boarding school as the girls within have essentially adapted to turning to one another for comfort.