Black Sheep's Blu-Tuesday

There aren't a lot of high profile releases today but what is coming out makes me very excited so we will get to them after a quick run down of this week's newly announced Blu-ray releases.  Two Humphrey Bogart classics come from Warner Bros. on October 5 - THE MALTESE FALCON and THE TREASURE OF SIERRE MADRE.  A couple more classics - Jean-Pierre Jeunet's DELICATESSEN and Carol Reed's 1949 thriller, THE THIRD MAN -  find homes on September 14.  And this last one is just a rumour right now but it would appear a complete GRINDHOUSE release is finally coming - including both Quentin Tarantino's DEATH PROOF, Robert Rodriguez's PLANET TERROR and all the trailers from the original theatrical presentation.

As for this week ...

THE GIRL WITH THE DRAGON TATTOO

If you haven't jumped on the Stieg Larsson book series yet, there is no better time to pick up this fantastic film.  The second in the series, THE GIRL WHO PLAYED WITH FIRE, comes out in theatres this weekend and you don't want to be left behind.  (The Black Sheep review is coming this weekend too.)  I will warn you though; this is not an easy film to watch.  I'm slightly unclear really on how easily the book series is being devoured by so many people considering how graphic and dark the subject matter is.  That said, if you can stomach some intense violence against women, the insight you will take with you is well worth it.  Aside from being a great study in character and relationships, THE GIRL WITH THE DRAGON TATTOO (click to read full review) is an intriguing mystery that will grip you just as much as it will repulse you.  A challenge but well worth it!

A SINGLE MAN

 

This Tom Ford debut feature was sorely underrated last year during awards season.  Colin Firth was universally recognized  for his portrayal of George - a British, homosexual man dealing with the loss of his longtime lover in 1950's Los Angeles.  He earned his first Oscar nomination, took home the BAFTA and floored me for the first time in his career but there is also so much more to devour in A SINGLE MAN (click to read full review).  Julianne Moore's overlooked supporting role as a single woman is delicious.  And I have yet to tire of Abel Korzeniowski's moving and unforgettable score.  To say nothing of Dan Bishop's brilliant production design.  Ford has turned Christopher Isherwood's brilliant exploration of what it would be like to lose a lover instead of being left by one into an incredibly compelling argument for gay marriage rights without being the least bit preachy.  And in doing so in such a sensitive manner, he has crafted a  contemporary gay classic , worthy of being held up alongside Gus Van Sant's MILK and Ang Lee's BROKEBACK MOUNTAIN.  

ALSO NEW THIS WEEK: One could spend some time with BROOKLYN'S FINEST, starring Don Cheadle, but I have not heard anything fine about it.  If you're a Buster Keaton fan though, and I am, the charming and amusing, STEAMBOAT BILL JR. get the BD treatment.

Source: blu-ray.com

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Oscars Out

Last week, Black Sheep gave you a head start on your Oscar viewing with a guide to all the nominated films that are available to rent now. By now, you should have at least seen THE HURT LOCKER and INGLOURIOUS BASTERDS and DISTRICT 9. If you haven't, you need to pick it up, people. The Oscars are less than three weeks from now and you still have a lot to watch, I'm sure. Now, as for what is still playing in theatres, five of the ten Best Picture nominees are available to you. While the chances are good that you saw AVATAR and THE BLIND SIDE already, you don't want to miss UP IN THE AIR, PRECIOUS or AN EDUCATION either. I thought rather than focus on the films you likely have the easiest access to, I would focus a little more on the films that may not make your final cut in hopes that you will squeeze them in.

Here are the five best Oscar nominated films you might not have seen yet:

CRAZY HEART
Nominated for:

BEST ACTOR - JEFF BRIDGES
BEST SUPPORTING ACTRESS - MAGGIE GYLLENHAAL
BEST ORIGINAL SONG - THE WEARY KIND


CRAZY HEART is currently playing on a little over 1000 screens in North America and therefore shouldn't be too hard to find playing near you. Scott Cooper's film has a strong chance of taking home two Oscars come the big night, the first for Jeff Bridges and the second for the fantastic Ryan Bingham song. I'm not so sure how Maggie Gyllenhaal ended up nominated for her work here but she certainly doesn't take away from the film. CRAZY HEART is one of those quiet films about real people dealing with real problems that are just a little too real for some audiences. Bridges is so strong as alcoholic country singer, Bad Blake though, that it is easy to overlook the smaller budgetary issues.


THE LAST STATION
Nominated for:

BEST ACTRESS - HELEN MIRREN
BEST SUPPORTING ACTOR - CHRISTOPHER PLUMMER


THE LAST STATION imagines the last days of Russian author and reluctant near-prophet, Leo Tolstoy. Christopher Plummer plays Tolstoy and Helen Mirren plays his wife, Countess Sofya. The two are a long time married, have been drifting for years and are finally reaching their boiling points over their issues. THE LAST STATION was not recognized in any other category but it is still certainly worth it to watch these two go at it as they are both incredible professionals. It doesn't hurt that James McAvoy is always around for eye candy either.


THE MESSENGER
Nominated for:

BEST SUPPORTING ACTOR - WOODY HARRELSON
BEST ORIGINAL SCREENPLAY


The full Black Sheep review will be coming next week on THE MESSENGER but it has actually been playing in theatres here and there since November. I cannot say that I agree with the screenplay nomination for director, Oren Moverman and co-writer, Alessandro Camon. I found it lacked subtlety at times but it is still moving and engaging. The ensemble itself, rounded out by Ben Foster, who in a different year, could have easily seen his first nomination, and Samantha Morton, who should have quite honestly been listed amongst the nominees in place of Gyllenhaal, is dead on. And Harrelson leads the pack, capping off a great year with a well-deserved nod. THE MESSENGER opens in Canada on February 26.


A SINGLE MAN
Nominated for:

BEST ACTOR - COLIN FIRTH


The lack of Academy support for Tom Ford's debut feature, A SINGLE MAN, really surprised me when the Oscar nominations were announced. I expected Julianne Moore to pick a Supporting Actress nod. I hoped Abel Korzeniowski would pick up a nod for his sumptuous string score. I thought for sure it would pop up under Art Direction or Costume Design, considering how fashionable and stylish the whole thing is. I would have loved to have seen Ford himself recognized for his tender screenplay even. Sadly, I saw none of that happen. Still, if Colin Firth's nomination for his work as George is the only prize it takes, I will be thrilled.


THE WHITE RIBBON
Nominated for:

BEST FOREIGN LANGUAGE FILM
BEST CINEMATOGRAPHY


I told a friend of mine the other day that I was going to see a depressing black and white art film this past weekend. She humoured me at first but definitely thought I was crazy when I told her it was two and a half hours long and in German. Despite her lack of understanding as to how that could actually make for a great afternoon, I would actually see Michael Haneke's THE WHITE RIBBON again. I knew nothing of its plot going in and I think it best if you go in as blind as I did. The resulting experience will be all the more bewildering. THE WHITE RIBBON is not a likely winner in the Cinematography category but could surprise and is certainly one of the top two contenders in the Foreign Language category.


Next up for Black Sheep's Oscar coverage, Black Sheep looks at the Animated Feature category this weekend. Look for reviews for the Oscar nominated films throughout the week. Now, get out there and see those movies!

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Shearing the Oscars: Best Actor

This weekend, Black Sheep will be taking a closer look at one of the most exciting categories and one of the most infuriating at this year's Academy Awards. As I figure it best to start my weekend on a positive note, I am going to go with exciting to start. The ladies will wait until tomorrow, where apparently I will begin my day with a coffee and a scowl as I muse on their category. Meanwhile, if we could get to the gentlemen, and they all appear to be folks I could say that about, I describe the Best Actor category as exciting because I genuinely feel that they all deserve to be there. Though Bridges definitely has the edge, it is not a lost cause for the other competitors. And the nominees are ...

JEFF BRIDGES as Bad Black in CRAZY HEART


I did not get the chance to review Scott Cooper's CRAZY HEART when it came out but if I had I would have called it pretty good but not amazing. I also would have said that Bridge's incredible performance is the only real reason to see this film. To watch him disheveled and barely able to stand up is to understand how heavy life can get for an alcoholic who has no respect for his own self. His expression is restrained and real but his resonance is staggering. Bridges has been nominated for four Oscars already, the first for 1971's THE LAST PICTURE SHOW and the last for 2000's THE CONTENDER, but he has yet to win. After snagging the Golden Globe and the Screen Actors Guild Award for this role, Bridges does seem somewhat destined.

GEORGE CLOONEY as Ryan Bingham in UP IN THE AIR


Clooney had the momentum going in. He picked up early kudos from the National Board of Review and the New York Film Critics Circle for his smooth work as Ryan Bingham, in Jason Reitman's UP IN THE AIR. The role almost seems tailor made for Clooney, as art imitates what we think we know about his life. Bingham is unattached and approaching 50. He has no interest in settling in one place in particular or holding any one person's hand for too long. Clooney brings so much more than himself to the role though. He brings class and sophistication and such sympathy that he sets the tone for the film to follow. He has lost his edge though and has already won for a supporting role in SYRIANA. He could turn it around but I fear his plane might be grounded.

COLIN FIRTH as George in A SINGLE MAN


I have never really been a big Colin Firth fan. When I caught the North American premiere of Tom Ford's A SINGLE MAN at TIFF this fall though, I was floored by the depth of his range and how much sadness he could carry in his soul. Firth was on hand for the premiere and he could not appear to be more proud of his work and the film itself. The Academy didn't shower A SINGLE MAN with any other love than this nod though so Firth has his work cut out for him. He won awards for his work at the Venice Film Festival as well as from some West Coast critic's associations but so far, he has come up short for anything really big. This is his first nomination and without a major campaign, I can't see this being his first win as well.

MORGAN FREEMAN as Nelson Mandela in INVICTUS


I'm happy to say that with Freeman's and Matt Damon's Supporting Actor nods being the only one's awarded to Clint Eastwood's INVICTUS, it would appear that the Academy's unconditional love for all of Eastwood's work is finally falling off. The best thing about INVICTUS is the acting and Freeman certainly deserves to be nominated for his uncanny interpretation of the former President of South Africa. My criticism, and also why I don't feel this fifth nomination will turn into a second win for Freeman, is that his performance often borders more on imitation.

JEREMY RENNER as Staff Sgt. William James in THE HURT LOCKER


Renner's nod is the only one that doesn't match my Top 5 for the year. I enjoyed him. I felt that he brought different layers to a role that could have been very one-dimensional. I just happened to enjoy another performance more (Michael Stuhlbarg in A SERIOUS MAN). Renner is a fairly fresh face and this is his first nomination. My guess is that he got swept up in the enormous support for Kathryn Bigelow's THE HURT LOCKER and that just being honoured among these other veteran actors is his award.

WHO WILL WIN? Jeff Bridges

WHO COULD STILL UPSET? George Clooney

And so there are the men. Tomorrow, it's the women. I will not be covering the supporting categories as those are pretty much locks already. What do you think? Who do you think will win? And who do you think actually should win? Black Sheep wants to know what you think!

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Black Sheep's Top 10 of 2009

I sit before my computer on the last day of 2009. In a matter of hours, there will be so much going on that I will not be able find two minutes together to accomplish anything really so it's best that I get this done now, when I can give it the attention it truly deserves. 2009 was a great year for me and the movies. Early on in the year, I began publishing a regular monthly column on The Movie Network's "Movie Entertainment" magazine's website and it has since been picked up by The Movie Network itself. In April, I attended the Tribeca Film Festival for the first time and ended up meeting and interviewing one of my favorite director's, Steven Soderbergh. My interview with him about THE GIRLFRIEND EXPERIENCE would go on to be published on CBC's website. In May, I left my day job and prepared to move to Toronto, which I did in July. The summer was a great time to be unemployed and I managed to sustain myself on zero incoming cash until just after the Toronto International Film Festival. This year, I saw nearly 20 films at the festival, compared to a scant five the year before. I also had the chance to sit and interview the star and director of this year's indie success, PRECIOUS. I have had to return to working my day job now but 2010 awaits and I'm closer now than ever before.

Alright, so that's me. Now what about the movies? I knew all year that I was going to be leaving my day job at some point so I was able to get excited about a lot of the movies that were coming out this year. And a lot of them did not disappoint. As per usual, my full list of best performances and films will be coming soon with the announcement of the Mouton d'Or awards in January but the following is my Top 10 films of 2009, in alphabetical order. Even as I write these very words to you, I have a short list of eleven titles and I'm still not sure what will make it and what won't. The suspense is killing me! Anyway, here goes ... (click on any title for the full Black Sheep review)


(500) DAYS OF SUMMER
Directed by Marc Webb


I've seen this film three times and it makes me smile and feel good about everything every time. This anti-love story is so infectious and so enchanting that it somehow ignites my personal quest for love while simultaneously breaking down all the myths about love I've subscribed to all these years. The adorable Joseph Gordon-Levitt and Zooey Deschanel are the cutest couple of the year!


DISTRICT 9
Directed by Neil Blomkamp


When I first saw this film, I was floored. It was original; it was exciting; I was completely convinced that South Africa had been overrun with alien life. It isn't every day that you catch a film that is visually remarkable, action packed and socially conscious at the same time with absolutely no trace of compromise. I was also pretty floored because the moment it ended, I knew it was going to find its way on this list.


AN EDUCATION
Directed by Lone Scherfig


This film was the toast of TIFF and I could not get in no matter how hard I tried. It was well worth the wait. Its classic style and subtle screenplay brought new perspective to the feminist plight. Star, Carey Mulligan carries the ecstasy of a first love with the jubilance of a little girl and the weight of the consequences to dating an older man with grace and restraint. I for one definitely felt like I learnt something.


FANTASTIC MR. FOX
Directed by Wes Anderson


Wes Anderson is a particular taste and I was thrilled to see that taste make a successful transition into the realm of animation. Watching this adaptation of the Roald Dahl classic is a constant delight. It truly digs its own path, striking the perfect balance between adult insight and childlike excitement throughout. In a world where Pixar owns the monopoly on satisfying adult animation (and rightfully so), it is refreshing to see that others out there can not only pull it off too but bring something new as well.


THE HURT LOCKER
Directed by Kathryn Bigelow


By now, you've no doubt seen this film on every Top 10 list in the world. It is an obvious choice but it is also the right choice. Bigelow managed to craft a highly explosive film about trying to make sure bombs don't go off. The film is naturally tense but all the more so because Bigelow sneaks us into this military bomb squad in Iraq by shooting from as many different perspectives as possible. Perhaps this is why it is the least judgmental Iraq war film to date.


PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
Directed by Lee Daniels


From a filmmaking perspective, this one is certainly uneven at times but its boldness is so striking that it certainly earns its place amongst the best of the year. This story of a young woman, overweight, pregnant, illiterate and abused, is the most unlikely of success stories. It is fueled by some of the most brave performances of the year from one of the most eclectic casts of the year. It is Daniels though who deserves the biggest applause here for getting people to stop ignoring this girl and see her for who she is inside.


A SERIOUS MAN
Directed by Joel and Ethan Coen


Who knew that the Coen Brothers could get so personal and still feel completely disassociated? Michael Stuhlbarg's incredible performance as Larry Gopnick allows this tale of misfortune to transcend its Jewish roots and become a tale for unlucky folks everywhere. Watching his life is like watching a train wreck just get worse and worse but somehow all the while, thanks to that special Coen touch, deep, genuine sympathy is inspired aplenty.


SIN NOMBRE
Directed by Cory Fukunaga


I cannot say enough good things about this first feature from Cory Fukunaga. Two complete strangers end up on the same journey to cross the Mexican border into the United States and neither their lives nor ours are the same for having the experience. Each of their characters is going through their own individual struggles but the solace they find in each other makes every hardship they suffer worth it. Fukunaga is a bold new voice.


A SINGLE MAN
Directed by Tom Ford


Fashion designer, Tom Ford's directorial debut, is just plain stunning. It's 1960's design is authentic and exquisite and the performances from Colin Firth and Julianne Moore are fresh and exciting for each of them. By adapting Christopher Isherwood's novel of the same name about a man coping with the death of his longtime lover in a world that doesn't acknowledge that love, Ford has made more than a film; he has also made a very compelling argument for gay marriage and the rights that should be afforded gay men and women everywhere. And naturally, he did it in style.


UP IN THE AIR
Directed by Jason Reitman


Films that are decidedly adult in theme and tone have struggled recently to connect with audiences but this one is so perfectly executed that it is not only reaching its audience but going far beyond it. The zeitgeist factors in this film, from the crumbling economic backdrop to the increasingly guarded approach towards love and human interaction, make it easy for most to identify with it. The entire cast (George Clooney, Vera Farmiga and Anna Kendrick) is lovely; the tone is respectful; and thanks to Reitman, the whole thing soars.


HONOURABLE MENTION: HUNGER
Directed by Steve McQueen


OK, so I found a way to cheat the Top 10. Don't hate on me. I did not include this film in the actual Top 10 as it is considered a 2008 entry but as it did not play in Canada until this year, it warrants mentioning. This 2008 festival favorite went unnoticed in North American cinemas this past spring but that doesn't shock me. Hunger strikes and graphic prison violence are not exactly crowd pleasers. If you are up for it, you must see this film. It will turn your stomach but it will furiously turn the wheels of your mind as well.

There you have it folks. These were my favorite films from 2009. Here is to an excellent 2010!

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Black Sheep @ The Box Office: Merry Christmas, Hollywood.

Well, I'm full. I had plenty to eat over the last few days and food exhaustion may be the reason for my late report but I wasn't the only one who ingested a lot this weekend. Moviergoers ate up almost everything Hollywood was serving at the box office for the year's last full frame. Christmas Day has been a launching pad for a variety of fare over the years but this year it fell on a Friday and got a very big present - the biggest Christmas Day opening in history.


SHERLOCK HOLMES may have missed out on the weekend crown - an achievement claimed by AVATAR in its second weekend - but, with $24.8 million on Christmas Day alone, it easily surpassed former champ, MEET THE FOCKERS ($19.5 million), to become the best Christmas Day opening of all time. AVATAR also passed MEET THE FOCKERS, with $23.6 million, which is not bad at all for a film in its second week. SHERLOCK HOLMES ultimately brought in $65.4 million all weekend for a stellar wide per screen average of $18K. I can think of one person who just had the best Christmas of their lives - once-promising director, Guy Ritchie now has his first actual hit. And come to think of it, once washed up actor, Robert Downey Jr., now has two bonafide franchises on his hands. Fa-la-la-la-la-la-la-la-la, indeed.


James Cameron's AVATAR finished the weekend with $75 million, off only 2.6% from last week. It has already pulled in over $600 million internationally and it's success has naturally sprung talk of a sequel. I implore you, Mr. Cameron, leave this film alone. Take your wonderful technology and incredible imagination and create another great new thing. The point of AVATAR was to create something no one had ever seen and a sequel would inherently defeat that purpose. I'm asking nicely.


Speaking of sequels, ALVIN AND THE CHIPMUNKS: THE SQUEAKEQUEL (sp?), opened in third place after dethroning AVATAR on it's early Wednesday release. When the first film came out, I was floored that anyone wanted to see it but then it was huge. It brought in $44 million opening weekend, a couple of weeks before Christmas, and went on to make $212 million in North America. So this time, I was ready for it. The question wasn't whether it would do well; it was whether it would do better than the first. And I'm sad to say it did. On Wednesday, it brought in $18 million and it would finish its five day run with $77 million, $28 million more than the first made in five-days. Good job, people. I applaud you.


Opening in fourth place, the Nancy Meyers comedy, IT'S COMPLICATED. Comparatively, the opening is modest, pulling in a near $8K average on almost 2900 screens. It is still a strong opening for an R-rated adult comedy and Meyer's second largest December opening, after the Mel Gibson hit, WHAT WOMEN WANT. Not to sound too sexist but I'm thinking that Meryl Streep's biggest fans, people like my mom, were probably busy with holiday stuff this weekend so movies might not have been their priority. Good word of mouth should carry this one well into the new year.


That said, I actually did go to a movie with my mom this Christmas. My holiday movie this year was Rob Marshall's NINE. It was my second viewing and my mom's first (she loved it!). I was disappointed on first viewing and wanted to like it more. I did definitely enjoy it more on second viewing but people were less than enthused about making it their holiday movie. Yes, NINE increased its gross over 2000% this week but it could barely muster a $4K per screen average on 1400 screens. A film with this pedigree and this kind of push should have been much bigger. Oscar chances for the incredible cast and film were on the rise in the last week but the lack of audience support has definitely set them back.


Outside of that, most films in the Top 10 saw slight declines this week - except oddly enough for Disney's A CHRISTMAS CAROL, which plummeted by 60%. I guess the movies are a place to escape Christmas, not celebrate it further. THE BLIND SIDE and INVICTUS saw modest increases well into their runs, proving inspiration goes well with turkey and stuffing. And Oscar hopeful, fan favorite and critic's choice, UP IN THE AIR, expanded to over 1800 screens and saw a healthy 266% increase for a slot in the Top 5.


Outside the Top 10, Heath Ledger's last screen performance, one that was not completed and was filled in by Johnny Depp, Jude Law and Colin Ferrell, THE IMAGINARIUM OF DOCTOR PARNASSUS, was attended by Terry Gilliam fans everywhere, pulling in an average of $32K on 4 screens. Personally, I'm avoiding the film. I realized that I would rather leave my last memory of Ledger as THE DARK KNIGHT. There was plenty of holiday cheer actually for platform expansions. Jean-Marc Vallee's THE YOUNG VICTORIA added 143 screens for a 277% increase; Pedro Almodovar's BROKEN EMBRACES added 41 screens and improved over 75%; Tom Ford's A SINGLE MAN added 37 screens and improved over 120%; and CRAZY HEART, starring Oscar hopeful, Jeff Bridges, tacked on 8 screens and saw an 88% increase.


NEXT WEEK: Nothing; I got nothing. That's because there is nothing coming out next week. Hollywood is done with 2009. The only release is a limited one on Wednesday - Austrian director, Michael Haneke's critical darling, THE WHITE RIBBON, bows in New York and L.A. in order to qualify for the Oscars. The box office report will not appear next weekend, in this form that is. I will be looking back at 2009 as a whole and breaking it down into winners and losers. Good times.

Source: BOX OFFICE MOJO

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A SINGLE MAN

Written and Directed by Tom Ford
Starring Colin Firth, Julianne Moore, Matthew Goode and Nicolas Hoult


George: It takes time in the morning for me to become George.

At one point not so long ago, it was the big joke that what everyone in Hollywood who wasn’t already doing so really wanted to do was direct. While that often led to disastrous results, one can still muster high hopes for directorial debuts from the likes of someone as sophisticated as Tom Ford, most known for his work in fashion as a designer. With A SINGLE MAN, based on the Christopher Isherwood novel, Ford takes everything he knows about style and substance and translates his impeccable attention to detail from the runway to the big screen. In doing so, he has not only made a first feature that stands out with incredible promise for his future endeavors but he has also made one of the best films this year amongst directors both fresh and seasoned.


It is November 1962 and it has been eight months since George (Colin Firth) lost his lover of 16 years, Jim (Matthew Goode), in a car accident. We meet George on a very important day; it is the day in which he has decided will be his last. From the moment he wakes, he looks as though the battle is already lost. Every movement, every task looks laboured and difficult to manage. George has been living too long without the love that gave his life meaning and the manner in which Firth carries George allows his pain to resonate past the screen. I’m not a huge Firth fan; I’ve got nothing against him but I’ve never been thoroughly engaged by anything he’s done prior to this. That said, I can honestly say that his work in A SINGLE MAN is the singular best work of his career. He even eclipses a ravishing Julianne Moore! His eyes are sad, his demeanor is heavy but it is the constant struggle between the restraint he is required to exhibit publicly and the emotional collapse he is hiding beneath the surface of every pore that makes Firth unforgettable.


As one would expect, any film by Tom Ford is going to look good. Lensed by up and coming Spanish cinematographer, Eduard Grau, with a production design by “Mad Men” designer, Dan Bishop, A SINGLE MAN is both sensual and authentic. It also has the point of view of an easily distracted gay man with a roaming eye. Conversations about the Cuban missile crisis can only hold George’s attention for so long before his eyes turn to close-up shots of shirtless men playing tennis or something equally tantalizing. Not only is this perspective one that would have been spit upon in 1962, it is still a rare find today to come across a film that is unapologetically gay. Ford, an openly gay man himself, clearly has no interest in pandering to anyone as a filmmaker and the directness with which he tells this painful story of loss and loneliness is invigorating and commendable.


George likes to think of himself as invisible. After Jim’s death, he did everything he could to be exactly that but he felt that way long before this. For George, and sadly for so many others, being gay means having to swallow any words that might affirm who you are. The goal is to go unnoticed and it isn’t all that difficult. People see what they want to see and can go on living in that ignorant bliss for a long time until they can’t anymore. In George’s world, he lived as open a life as he could, even going so far as to live with his lover in a glass house, but that meant scrutiny. What they refused to see before, they don’t want to see now and with no outlet to validate the love that George lost, his life loses all meaning. Fortunately, Ford frames George’s plight with sympathy and care and subsequently, A SINGLE MAN becomes more than just a film – it becomes an indisputable argument for a generation of gay men and women still fighting for their civil rights today.

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