In an old Hollywood mansion, the spirit of an old family retainer inhabits an old grandfather clock. When a movie company uses the mansion for a film, the spirit inhabits the body of an ... See full summary »
Near the end of the 20th century, WMDs (weapons of mass destruction) are retired. However, certain factions plan to use a science space station as a weapon against each other. The astronauts inside will decide the world's fate.
Believing to be able to communicate with his deceased father, a young boy develops physchic powers where he uses them to try to stop supernatural forces threatening his family and friends, especially a possessed ventriloquist dummy.
He thought his future was in an astrophysics lab. His true calling lies somewhere closer to the White House. During a rainy rugby game, undergrad Carter Henderson (Max Thieriot - ... See full synopsis »
The plot revolves around the 1969 Stonewall Riots, the violent clash that kicked off the gay rights movement in New York City. The drama centers on Danny Winters, who flees to New York, leaving behind his sister. He finds his way to the Stonewall Inn, where he meets Trevor before catching the eye of Ed Murphy, manager of the Stonewall. He colludes with corrupt police and exploits homeless youth.
The first trailer for the film led to accusations that Roland Emmerich had "whitewashed" the historical events depicted by creating a fictional white protagonist. Emmerich and others associated with the production defended his casting choices but a year after the film's failure Emmerich continued to engender controversy with claims that the Stonewall riots were a "white event" and blaming the failure on the initial whitewashing complaints. See more »
During the first scene at the bar, a disco song comes on the jukebox, but disco didn't arrive until 73 or 74. Also, some of the clothes, especially the polyester pants that Trevor wears are more 70's than late 60's. Besides the music errors stated above, the film is rife with goofs. See more »
Were it not for Jon Robin Baitz 'Stonewall' would be a less interesting film. His script is narrow focus: the three months leading up to the 'rebellion' at the Stonewall bar on Christopher Street in New York's Greenwich Village. Roland Emmerich use his camera to capture the nights and days of those 90 days that gave rise to Gay Liberation, as seen through the least and most vulnerable of homosexuals--the drag queens, the bum boys and the homeless who risk life and limb by living on the street, and who are at the mercy of the mafia that own the Stonewall and the corrupt police who they pay for 'protection' or whose billy clubs bruise them or the Black Maria that haul them off to prison. Is it by chance that 'Stonewall' opens during Pope Francis' visit to New York? The Roman pontiff came with a message of love the least among us, even the homosexual. What is missing is the context of a US in the throes of 'revolutionary' turmoil in a mass movement against the war in Vietnam and the rise of the Black Panthers, a 'revolutionary' movement of liberation that proved to be an example for a revolt from below. Emmerich's camera recreate the cruising world of the piers, the bars and off screen the death that awaits the rent boys from predators. Baitz slights the Mattachine Society who labored in the years before the ferment of the 1960s for equal rights for homosexuals by peaceful means. He's got it right that the younger homosexuals rebelled on 28 June 1969 at Stonewall, and more to the point, it was the 'despised' drag queens who confronted the police and openly resisted the police, resulting in three days of rage and rebellion that gave rise to Gay Power. He's got it wrong in saying that the drag queens, in the person of Ray, based on the ironic Sylvia Rivera, had no political consciousness, but rose up in a having it had it sense of frustration. Rivera later was a simple member of the Young Lords, an activist group of Peurto Rican nationalists, modeled on the Panthers. 'Stonewall's hook is a young Johnny Appleseed from Indiana thrown out by his father for being gay. Ray adopts Danny Winter and brings into life on the streets. There are a class angle to this since Danny will go to Columbia as a scholarship, thereby escaping the streets, yet firmly gay and proud of his 'sister' Ray and her friends. There is a minor frisson of tension in Danny's kidnap and delivery to a predator who made us strangely think of J. Edgar Hoover, grotesquely tarted up in drag.
11 of 20 people found this review helpful.
Was this review helpful to you?
| Report this