traceytoney
oct 2004 se unió
Te damos la bienvenida a nuevo perfil
Nuestras actualizaciones aún están en desarrollo. Si bien la versión anterior de el perfil ya no está disponible, estamos trabajando activamente en mejoras, ¡y algunas de las funciones que faltan regresarán pronto! Mantente al tanto para su regreso. Mientras tanto, el análisis de calificaciones sigue disponible en nuestras aplicaciones para iOS y Android, en la página de perfil. Para ver la distribución de tus calificaciones por año y género, consulta nuestra nueva Guía de ayuda.
Distintivos2
Para saber cómo ganar distintivos, ve a página de ayuda de distintivos.
Reseñas4
Clasificación de traceytoney
The gay private eye thriller Third Man Out is, hopefully, the first of a new film genre that I'll dub "Queer-Noir". Third Man's plot may be a bit serpentine and it's dialogue stretched at the corners to cover maximum political ground, but Chad Allen's nuanced and sexily hard-boiled performance easily compensates for these shortcomings. As Private Eye Donald Strachey, Allen comes off as Spenser crossed with Columbo with a dash of Brian Kinney tossed into this enticing mix.
Though Ron Oliver's direction isn't flashy, it's very appropriate for a noir flick set in Albany. Like Richard Stevenson's books--on the pages of which Donald Strachey was conceived--this film is about character and concept and the tension between these two dramatic elements. Stevenson was one of the first writers to infuse the pragmatic, ultra-masculine private eye genre with an unabashedly gay aesthetic. A perfect synthesis of these two influences, Third Man Out gives us a detective who shares waltzes and moonlight martinis with his hubby, drives a banged up Toyota Tercel and can lay bad guys flat with an unsparing right hook.
Third Man's production values are outstanding for a cable film. Keeping Richard Stevenson's Albany setting was a smart move by Here! network, as so many well intentioned films go astray when they aim for glitzy settings and end up with cheap Canadian photocopies.
The only flaws worth citing were: a couple of actor Sebastian Spence's scenes (during which he portrays Donald Strachey's husband as a cross between C3PO and Uncle Arthur from Bewitched) and a heavy-handed score (with good feature songs that are sandbagged by some very obtrusive "tension and suspense" instrumentals).
What most delighted me about Third Man was the thrill of watching a genuine and polished noir flick which was, in every respect, thoroughly but naturally queer. While Third Man isn't Brokeback Mountain, it is a milestone in its own right. It's a well executed, enjoyable film about a hard-boiled detective who wears bad ties and breaks out in a blushing grin when his boyfriend kisses him on the cheek.
Though Ron Oliver's direction isn't flashy, it's very appropriate for a noir flick set in Albany. Like Richard Stevenson's books--on the pages of which Donald Strachey was conceived--this film is about character and concept and the tension between these two dramatic elements. Stevenson was one of the first writers to infuse the pragmatic, ultra-masculine private eye genre with an unabashedly gay aesthetic. A perfect synthesis of these two influences, Third Man Out gives us a detective who shares waltzes and moonlight martinis with his hubby, drives a banged up Toyota Tercel and can lay bad guys flat with an unsparing right hook.
Third Man's production values are outstanding for a cable film. Keeping Richard Stevenson's Albany setting was a smart move by Here! network, as so many well intentioned films go astray when they aim for glitzy settings and end up with cheap Canadian photocopies.
The only flaws worth citing were: a couple of actor Sebastian Spence's scenes (during which he portrays Donald Strachey's husband as a cross between C3PO and Uncle Arthur from Bewitched) and a heavy-handed score (with good feature songs that are sandbagged by some very obtrusive "tension and suspense" instrumentals).
What most delighted me about Third Man was the thrill of watching a genuine and polished noir flick which was, in every respect, thoroughly but naturally queer. While Third Man isn't Brokeback Mountain, it is a milestone in its own right. It's a well executed, enjoyable film about a hard-boiled detective who wears bad ties and breaks out in a blushing grin when his boyfriend kisses him on the cheek.
