John

The cinematography in "John" is a standout element, beautifully capturing the seedy yet vibrant streets of Hollywood.

The film's commitment to showcasing the city's underbelly adds authenticity to the story.

Making it easy for the audience to connect with their pligh , the film's unflinching portrayal of the harsh realities faced by LGBTQ sex workers may be unsettling for some viewers. "John" is not a typical action movie filled with adrenaline-pumping sequences. Instead, it's a thought-provoking, emotionally charged journey through a world that remains largely hidden from mainstream cinema.

There's not much here. The story centers around the male hustling trade in LaLa land. What might have been an excellent docudrama exploring the under represented lives of young men on the street completely misses the mark. First of all, the venue is all wrong. The producers and writers might have chosen a smaller town to focus their attention. Nobody cares about LA, it's way too stereotypical. Secondly, the writing is terrible. Then there's the acting which sinks this cinematic ship even further. John, around whom the picture revolves, has no personality whatsoever. We really don't learn too much about what motivated him to end up on the streets in the first place. He doesn't come across at all as a sympathetic character., the others even less so. This viewer wishes that the script had more socially relevant dialogue about the ups and downs of the life of a male sex worker. I also feel strongly that LA was the wrong selection for this yawn filled nonsense. Don't waste your time.

John Review "John," the brainchild of writer-director Han Minh Le, is poised to make its festival debut this year. Backed by producer Joseph Hieu, known for the Sundance Film Festival's award-winning "The Accidental Getaway Driver", the film dives deep into the tumultuous life of a young Latino sex worker.

The film's 90-minute run lays bare every aspect of John's struggle; from the poor neighborhood he lives in to the condoms and medicine he has to steal to keep his lifestyle afloat, at times getting too close for comfort. But that's a part of Le Han's directorial vision, who's devoted to giving his audience a one-of-a-kind experience, that's both raw and authentic.

Nonetheless, there's hope to be had in the fact that even someone like John, who isn't as resourceful, has people looking out for him. Peaches, a black trans prostitute who is by far the most interesting character in the film looks out for him on the regular, offering him companionship and financial help. Celine Jackson, the actor who plays the character knocks it out of the park with her performance and comes off as a seasoned veteran. There's also Miguel, an older experienced hustler who guides John through the dynamics of their profession. Though not as impactful as his counterpart, Seth Hafley does an adequate job.

Not only does the film explore in detail what's life like for sex workers, as it constantly portrays the threats of addiction, homelessness, and HIV but it also touches upon the stigma of being queer in a society that's becoming increasingly intolerant. Sebastian Perez does a great job of portraying the isolation and loneliness of his character and the film's cinematography and camerawork only make it more powerful.

The film's standout aspect is the director's surprising choice to shoot it via an iPhone. Not only is the quality uncompromised but Han Le takes full advantage of the medium, resulting in shots that would be very difficult to pull off with an elaborate camera setup. Ultimately, the decision lends greatly to the director's vision of delivering a very personal look into the lives of the film's characters.

All in all, "John" is a powerful and thought-provoking film that leaves an indelible mark by delving into uncomfortable realities.

I have to confess that I had been tempted to switch off at a couple of points early in the film. I really don't like opera or classical music accompanying a movie. It always strikes me as pretentious. And, as I'm going deaf, I had the subtitles on which irritated me when they flashed up saying "Operatic music playing" when it was actually Vivaldi's Four Seasons. Minor quibbles though as the action drew me in.

I was particularly struck by the camaraderie amongst the rent boys. And the supporting cast was convincing enough to make me wonder if they actually were streetwalkers. Peaches, despite her sharp edges was also a sympathetic character.

John was a bundle of contradictions, in turn kindly (to the congressman) and a thieving scumbag (with the poorer guy in the car). But no eighteen year old should have to carry his burdens, especially the final one.

This, despite some lighter moments, was a depressing film. Totally worth watching though.

I can see what they were trying to do with this film, it just did not work.

I can appreciate the attempts to touch upon French new wave but it really does miss the mark.

This is a well worn and weary tale of street prostitution, attempting to blend realism with drama.

But the script is so disjointed and overlong. Whilst it tries to touch upon the different stories of various characters, be they prostitutes or their renters, it rests on cliche and feels too forced.

Whilst I can appreciate the rough edges of the acting (and their are some lovely performances) you need a strong lead, which this film fails at delivering. The lead actor is a one trick pony, utterly failing to portray any complexity or depth to a role which requires it.

It also suffers from some confusion on its style in acting. On the one hand it wants to portray realistic and raw, but then throws in some completely contrived sections.

I understand there are people who will love this, maybe I just think we have moved on from this style - relevant more for a different time in film.

But it is not a total loss for me, hence the 4 stars. Whilst meandering and dull at points, it has some bright moments which makes it worth a watch.