Beauty vs Beast: Transylvania Time Warped

Hello and Happy Monday, Jason from MNPP here with this week's much antici........pated edition of "Beauty vs Beast" -- since it's Pride Month I'm going to be glancing back at some of my favorite LGBT movies for the next four weeks! How merry and gay it will be. Today we're finding our sexy yet somewhat boring selves stalled on the side of the road on a dark and stormy night with just a strange castle astride a mountaintop ahead seen as refuge, and hey, they seem to be having some sort of a party inside...

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PREVIOUSLY Twas Aladdin's time for the spotlight last go-round, and our animated hero soundly trounced the villanous Jafar (speaking of sneering homosexuals) with a fine upstanding and heterosexual 62% of your vote. Said Ryan T:

"This is TOUGH. Aladdin was like my Disney crush for THE LONGEST TIME but Jafar was like VILLAIN GOALS. In the end I went with Aladdin, because I just can't say no to those big brown eyes."

Review: When They See Us

By Spencer Coile

Ava DuVernay, notable for her righteous films like Selma and 13, is unafraid of holding a mirror up to a culture that has condemned the subjects of her work. Her Netflix limited series, When They See Us is a piece of television that is rooted in the history and the humanity of its subjects. Following a contentious court battle, five boys (all either Black or Hispanic) were convicted of a crime they did not commit.

Accounts of the Central Park Five have been speculated and picked apart for decades, including necessary think-pieces, documentaries, and protests. After all, they were exonerated of all their crimes in 2002. When They See Us presents the timeline of this case; interrogation to court to their eventual release. These are all facts that a simple Wikipedia search would produce. What makes DuVernay’s work so astonishing, though, is the way she imbues this narrative -- one that is deeply embedded in our public consciousness - with traces of anger, and above all else, grace.

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Review: "Rocketman" blasts off

This review was originally published in Nathaniel's column at Towleroad

Pop stardom is a notoriously fickle thing. For every “legacy” artist out there, there are thousands of one-hit wonders, and hundreds of sort-of famous B listers. One imagines that anyone in the center of the hurricane of New Fame imagines it will last forever. If you find yourself engineering your own biopic in your golden years, congratulations, it did. Which brings us to Reginald Dwight… better known as Elton John.

In the first frames of Rocketman, Elton John (Taron Egerton) strolls into focus, cheekily dressed as a horned devil to confront his own demons in a therapy session framing device...

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Would you rather?

Sharing our fav Instagram posts semi-weekly via a little game we like to call Would you rather

... lift weights with Laura Dern?
... get piggy with Zachary Quinto?
... celebrate Pride at Disneyland Paris with Rossy de Palma?
... cave swim with Rebel Wilson?
... stroll by a Yalitza Aparicio mural with Yalitza herself?
... stuff your face at Applebees with Gabrielle Union?
... commute to work with Glenn Close?
... work without sleep with director Ari Aster?
... eat lots of ice cream with Nina West?

Pictures are after the jump to help you decide...

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Review: Octavia Spencer lets loose with "Ma"

by Sean Donovan

In an age where critics praise a generation of thoughtful, innovative, and dazzlingly styled horror films, a deceptively basic package like Ma --unconcerned with winning good reviews, elevating the genre, or acquiring a fancy boutique label like A24 -- is uniquely refreshing. Ma’s jump scares are familiar, its plotting is predictably iffy, its logic and emotional contexts for its supporting characters even more so- but goddamn it, it’s fun.

The ‘fun’ comes from feeding off the joy of Octavia Spencer inhabiting domestic horror-thriller, Hand That Rocks the Cradle realness. No longer is Spencer smiling on a gilded stage, frozen while Peter Farrelly and Nick Vallelonga accept prizes for socially regressive trash to which she’s somehow attached. Octavia’s back baby, and this time she’s got hell to raise and teens to terrify....

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