This is the second vertical AI BL drama I've sat through, and honestly I went in knowing better. I had it on while I was doing cardio at the gym, and what struck me was just how much the plot echoed the last one I watched. Same step brother romance angle, same mystery girlfriend showing up near the end, same extra guy pining after one of the leads. Genuinely the only thing going for it was the runtime, the whole thing wrapped up in forty five minutes flat. The setup kicks off with Finn moving schools because his mom just married into money. He finds out his new step brother Aiden goes to the same place, and he's warned to keep his distance from him. Their first run in at school is rocky, just like you'd expect, but there's this odd pull between them neither can shake off. Finn keeps telling himself not to read into it because Aiden's straight and openly homophobic. Things shift when some kids start bullying Finn and the student council president, Ryan, steps in to ...
With a capacity of over 1000, this cavernous club and adjoining cabaret called The Backlot attracted hordes of mostly white gay men and the Hollywood elite throughout such historical touchstones as the sexual revolution and the height of the AIDS crisis. The makers have conducted dozens of interviews for his film, from Studio One staff, most touchingly Michael Koth, a former bartender, who describes the devastating loss over the years and his own personal struggles. There’s a hilarious interview with a dancer named Jimmy, who became a local celebrity, and who makes the distinction between dancing on a box and dancing on a stage. He also gets vivid and humorous stories from the likes of such other showbiz icons. In a documentary filled with beautiful memories, I was glad to see it not shy away from its ugly past, like no women or men of color were allowed. This was strictly for white males. Also, as disco fell out of favor, and the AIDS epidemic began, the club experienced troubled times. The emotional stories of grief and loss recounted in the film are, as expected, heartbreaking. But there are other emotional accounts by interviewees that illustrate gay men’s experiences during the era.
The pacing of the film is energetic but this partly stems from having so many interviewees who, even in the case of those who return to the screen several times, comment rather briefly. Less contributors and more detailed personal recollections would have helped the film to sustain its impact for a wider audience. It feels all too characteristic when the film acknowledges yet fails to investigate in-depth accusations. The film is sometimes adventurous and is often lively but, even though it builds up a special show reunion at The Backlot in 2019 and emphasizes the tension over the challenge to prevent the demolition work, the movie lacks the depth and weight that a closer study of the gay context in Hollywood in the days of Studio One could have provided. This documentary may be best appreciated by those who knew or have been to the club — as the interviewees’ trips down memory lane attest. But this documentary also provides an engaging history for viewers curious about gay history. (4/10)
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