Untamed_World_09

Yes, it's still necessary.

Even in 2025, homosexuality is still punishable under the law in some places - even as far as a death sentence - and/or gay marriage is illegal. Even now, rights of queer people are being withdrawn and denied in the supposedly more forward-thinking West.

Some may criticise the film's focus on the story of coming out, and long for happier queer films. Guess what, they exist. But this isn't it. And, actually, coming out remains a terrifying experience for many, which is not exclusive to the queer community.

In any case, I wouldn't even call this a coming out story.

Actual plot: Set in a time and place where the local law enforcement is cracking down on homosexuals, by trapping them into revealing themselves to undercover police officers in bathrooms, the undercover cop in question is struggling with feelings of homosexuality and suffering anxiety due to the opinions of those in his life, but begins to fall for one of his marks.

This is a very tragic love story between two people, so ashamed of their existence and their feelings they are forced into secrecy. For me, the nostalgic, bygone, filming style** only adds to the effect of the main character's anxiety and sucks you right into it with him.

It's a story about people and it delivers. Forget the rest. All the mess and chaos and pain of love - it's there - and the final scene is as devastating as their love.

Solid movie. Perfect pacing. A very interesting watch. Two exceptional performances.

At just an hour and a half, I wanted more.

*for anyone unfamiliar with Tovey's work, he starred in a British sitcom, titled Him & Her.

**a smarter person than me could analise and opine on this decision and how it mirrors the films themes, but check Sight & Sound or something for that.

In the words of Hank Hill, as the credits rolled, "surprise and disappointment".

I have been waiting for this movie's release for a long time. Presented as the funniest films of the year, decade, and on - it simply isn't.

This is not a matter of taste or preference in types of humour. I see people getting very analytical to defend the humour of the film and how groundbreaking is the exploration of masculinity and bla bla bla.

Side Note: These are likely the same people who shutdown arguments about gender when it's anything LGBT+.

This is a bad re-telling of Cable Guy. A movie that actually delved deep into the heart of a lonely person, given a glimmer of hope by an innocuous friendly gesture. This simply fails at that. If Cable Guy was a hammer, Friendship is barely a rubber mallet (though as tedious).

Paul Rudd is served a very banal dialogue and completely under-utilised. For reference, I've never seen Tim Robinson in anything else, but that shouldn't matter. Trying to justify not finding the film funny by claiming a person doesn't understand his type of humour is absurd. There's nothing clever going on. There's no depth. The accompanying score and music add little and, instead, exacerbate how unfunny everything is.

I don't know, if you grew up on YouTube, maybe you'll like it.

Also, Slipknot isn't punk. Not even close. And it doesn't work as a joke in the movie because no one corrects him. Mirrored throughout the script and the film, it just doesn't serve a purpose.

Do yourself a favour and rent Cable Guy instead.

I went into this with zero expectations, probably due to the average rating and lack of reviews, and knowing little more than the rather reductive and dumbed-down plot summary. In fact, I only really watched it because of a recent fascination with birds.

Without giving much away, it's a road trip, involving two stranger who each bring their own literal and emotional baggage along for the ride. Is it slow-paced? Yes. Is it boring? Depends. For me, I was drawn In enough by Javier Gutierrez' portrayal of Colombo to stick with it. Superb acting. Luis Zahera and Teresa Saponangelo deliver equally good performances as Mario and Elisabetta, respectively.

The script could have gone a lot deeper and the cinematography could have highlighted the beautiful landscapes better and become its own character, but, ultimately, it delivers what it sets out for the genre: the journey, from A to B, broken to healed, selfish to selfless.

It could have been great, but it's still good, and the performances alone are worth watching. It simply teases what it could have delivered, leaving a somewhat-dissatisfied hunger for more that some will dislike. Nevertheless, an engaging study of failed dreams and fear of responsibility in two fragile characters.