Coming out of the same studio that gave us RuPaul's Drag Race, and stacked with a whole crew of former contestants, Stop! That! Train! plays like RuPaul basically taking a bow for the entire franchise she's built. It's not really a gay film in the traditional sense, but with so many drag stars from Ru's shows popping up alongside a few cameos from well known out gay actors, I figured it earns a spot on this blog anyway. The whole thing is completely over the top, packed with GenZ slang, loud flashy visuals, and humor that's constantly winking at you knowing how ridiculous it is. Going in you'd assume it's meant to be a laugh riot, and a lot of critics online seem to be eating it up, but I just couldn't get into it at all. I've never really been someone who vibes with campy silly stuff like this, so honestly my reaction doesn't surprise me one bit. The setup follows Tess and DeeDee, two low level stewardesses who sneak onto the fancy Glamazonian E...
Conversion therapy is the controversial, non-scientifically based process which aims to convert an individual's sexual orientation from homosexual to heterosexual. Although it has been discredited by all major American medical, psychiatric, psychological and professional counseling organizations, some therapists still offer the service for reasons almost exclusively rooted in a conservative religious belief system. We follow Nathan, a gay man in his late twenties, as he seeks counseling from a conversion therapist Christopher Doyle, a (self-proclaimed) formerly gay man who is now married with five kids and the “straightest” life imaginable. The bulk of the film is prolonged sections of these sessions in which Nathan struggles deeply with his torn feelings, wanting to live the straight Christian life but finding himself drawn to other men, including a hairdresser best friend, who would clearly make the perfect partner. The film spends a great deal of time watching Nathan rehearsing for a play in which he plays the villain, and there are points in the film where his emotional openness and constant stream of tears during therapy closely resemble these performances for the ever-present cameras.
The filmmakers had unfettered access to individual therapy sessions, family sessions, and a collection of weekend camps, and have crafted an emotional thriller which chronicles two years of Nathan's journey from acceptance to skepticism, all leading to a profound epiphany. The camp scenes — bullying, role-playing, and self-esteem exercises, all to build manliness — come across as unintentionally satirical, not to mention ineffective. The most devastating scenes are Doyle's confrontative sessions with Nathan and his parents, who actually are willing to accept him "no matter what," yet are forced to apologize for how they have failed him. But my biggest problem of the film is it not taking a side and making it clear to the audiences that it doesn't work. It makes no effort to condemn conversion therapy or provide voices aside from those depicted who were all catholic gay men with a very, very deep-seated internalized heterosexism. it leaves you to guess at how cruel the "therapy" sessions become when the vital ones were not filmed. The intention may have been novel here, but I do not endorse the idea especially when the makers leave to for the viewers to interpret the whole situation and whether it works or not. This is a very important subject and should take a clear stand. (3/10)
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