John Wick: Chapter 3 - Parabellum
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Rough-edged but undeniably appealing original musical; director Sheldon Larry works wonders with a tiny budget.
So-so off off broadway type musical set in the microcosm of the vogue ball scene in LA.
There's a couple of foot tapping numbers, but it looks really cheap and there are some shocking lip synchs.
A poor man's Rent at best.
I feel like I want to go to a drag club now and strut strut strut WE DON'T KNOW WHAT IS WHAT WE JUST STRUT!!!!!!!!!!!!!!!!!!!!!!
Me being part of what seems too be a fictitious scene this is real while it doesn't cover all aspects of the scene it could be considered too be a good version of it tho, love too see a part two!!!! More deep in detail!!!!
This wasnt bad at all but its terribley acted and scripted. The songs were good and the drama top class. Its fun though
It's not your typical musical â" It's one you'll really enjoy...
I know I did!
didn't expect to enjoy this as much as i did!
Director Sheldon Larryâ(TM)s Leave It On the Floor is a musical about the Los Angeles ball culture, bred out of an East Coast phenomena of underground LGBT youth dating back decades, but most prominently featured in its progenitor the documentary Paris Is Burning. Thrown out of their biological homes, black and latino queers find and congregate in new âhouses,â? led by an elder (or "house parent") and then compete in periodic competitions, dancing and vogueing down their own runways in outrageous costumes, often simulating their own version of the outer world, judged by their own peers. As a result, a newer, much stronger family is formed where everyone is accepting of their differences and they are able to operate at a level disallowed in mainstream society. This movement is responsible for giving birth to the idea of the pop star, including, but not limited to, such icons as Madonna, Lady Gaga (ââ(TM)Houseâ(TM) of Gagaâ? borrows the term from these ad hoc homes/teams) and Beyonceâ(TM)s alter-ego Sasha Fierce. Much like the music industry co-opted black R & B in the 1950â(TM)s and popularized the form by concocting Elvis Presley, most of these ladies owe a great part of their success to this subculture.
The story concerns Bradley Darnell Lyle (the talented Ephraim Sykes), a black queer youth, thrown out by his mother Deondra (Metra Dee along with her fingernails are hilarious at first, before the low-budget laughs give way to the stone-cold reality of how heartless the mother is). He takes off in her car and gives âmeet cuteâ? a new definition when Carter (well-cast Andre Myers) crosses his path. Their exchange is indicative of how truly smart and sly Glenn Gaylordâ(TM)s (who also wrote the songs) screenplay is. From there, Bradley slowly immerses himself in the world of ball culture, meeting all kinds of characters along the way, including his house mother Queef Latina (Barbie-Q, who can threaten to stick her foot up anyoneâ(TM)s ass with the best of them) and Eppie Durall (James Alsop almost steals the whole show) who wants nothing more than to give birth to her children.
The more upbeat songs are generally stronger than the slower ones. Princess Eminence (a divinely bitchy Phillip Evelyn, who also gives a heartfelt performance) gets to sing the toe-tapping âJustinâ(TM)s Gonna Call,â? explaining to Bradley that greener pastures await. And âKnock Them Mothafuckers Downâ? is a driving bowling-alley number about kicking ass and taking names that makes a catchy companion piece to the filmâ(TM)s self-titled theme. While the movie doesnâ(TM)t quite properly weave Caldwell Jones (Demarkes Dogan as Queef Latina's lover) into the story, his rap duet with Carter, âThis Is My Lament,â? achieves an odd beauty. âIâ(TM)m Willingâ? and âDonâ(TM)t Jump Babyâ? didnâ(TM)t ring any tears, but âHis Name Is Shawn,â? about the perception of and fight for identity of transgender and queer youth between the biological families who have ostracized them and the chosen families who have opened their arms to them is astonishing, appropriately awkward and strangely moving. The soundtrack also creates a really cool mash-up between âBallroom Blissâ? and Bradleyâ(TM)s self-pitying âLoserâ(TM)s List.â?
Like 1970â(TM)s Blaxploitation, there are some rough edges which work to the filmâ(TM)s advantage. Itâ(TM)s painfully obvious that the actors sing to their own vocals (a common practice in musicals that is less apparent in higher-budgeted affairs), but itâ(TM)s unimportant and hardly distracting.
To an outsider, at first, the Los Angeles ball culture may appear narcissistic and superficial. People prance down their runways, gesticulating and shooting irreverent poses, while being cheered on and/or booed in the process, all of which this attitude spreads into their respective homes. Yet, we eventually bear witness to talented dancers and contortionists, as well as the time and creativity which the artists invest into their costumes and makeup, but, ultimately, most importantly, the resilient fabric stitching these untraditional families together.
Floor is both a celebration of a marginalized culture which has been around for ages and developed out of a Darwinian instinct to exist and thrive, but its songs and sass beg for audience participation. Its flamboyance and musical revelry create an experience not unlike The Rocky Horror Picture Show, although I could be deathly wrong, as no one else immediately around me was bopping their head to the beats. This may have just been another indication of my square white boyness. Still, if this film could achieve a small fraction of the popularity and response of Rockyâ(TM)s, it would certainly be a respectable reflection of where our society is at today, especially considering the quality level is on par with modern classic Hedwig and the Angry Inch.
It had an aggressive start which isn't my preference but became happier to a nice ending. Pay attention to the script to pick up quite a bit of humor.