Drama

Sexy couple Zack and Benji decide to have an "open" weekend to partake in the smorgasbord of available men on their vacation to a gay getaway in Palm Springs. When Zack runs into his ex-boyfriend Casey at the resort, they both do their best to look like they are having a good time. How could they not, when they are surrounded by cute, frisky guys with six-packs and very little clothing? When Casey reacquaints with his old high school friend Peter, he convinces him to pretend to be his boyfriend to save face with Zack despite Peter's reluctance. As sexual tensions start to mount between Benji and Peter, Zack becomes increasingly dissatisfied with his relationship while Casey longs for a stable relationship of his own. A sexy and outrageous comedy, Eating Out: The Open Weekend serves up plenty of eye-candy and fun along with the pursuit of finding true love.

One of the most controversial gay-themed films in recent years, this Brazilian romantic drama centers on the intimate bond between two half brothers. As children, Francisco and his younger brother Thomas, were best friends and unusually close to each other - so much so that their intimacy troubled outsiders. Fast-forward; the now strikingly handsome young men take their childhood intensity into a torrid relationship. But can their love survive society's discerning gaze? Spectacularly shot amidst the mountains, beaches and grand estates of Brazil, From Beginning to End is a strikingly evocative romance of two men fighting against societal conventions.

• Condition: New
• Format: DVD
• Closed-captioned; Color; DVD; Full Screen; HiFi Sound; NTSC

A powerful and compelling adaptation of author Randy Shilts' chronicle of the evolution of the AIDS crisis, this acclaimed drama follows the battles of doctors and scientists against an uncaring bureaucracy to identify the virus, while the stories of AIDS patients from all walks of life and those close to them bring the problem into a deeply personal focus. Matthew Modine, Glenne Headly, Charles Martin Smith, Lily Tomlin star. 140 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, Dolby Digital Surround, Spanish Dolby Digital mono; Subtitles: English, Spanish, French; biographies.

A superior, made-for-cable film, this Home Box Office adaptation of Randy Shilts's chronicle detailing the emergence of AIDS in America and the fight against bureaucracy and society for a cure is a taut, outrageous, and affecting true-life drama. Matthew Modine (Birdy, Married to the Mob) is featured as a doctor with the Centers for Disease Control at the time when the first reports of a disease plaguing the gay community were heard. Modine and his colleagues embark on an investigation that resembles a compelling detective story as they try to track the source of the disease and discover a cure. Their efforts are thwarted by an ambivalent government and a turf war between French physicians and a celebrated American researcher (Alan Alda) who seems to place his own glory above the dead and the dying. Featuring heartfelt performances from a stellar cast including Richard Gere, Glenne Headly, Anjelica Huston, Steve Martin, Ian McKellen, Saul Rubinek, and Lily Tomlin, this impassioned film stands as an impressive and important document of one of the darkest eras in modern human history, and a tribute to the spirit of those who sought to save lives. --Robert Lane

Tom Hanks, Denzel Washington. When a rising star at a prestigious Philadelphia law firm is found out to be gay and HIV-positive, he is fired under false pretenses and takes his employers to court. Hanks won the Best Actor Oscar. 1993/color/125 min/PG-13/widescreen.

Philadelphia wasn't the first movie about AIDS (it followed such worthy independent films as Parting Glances and Longtime Companion), but it was the first Hollywood studio picture to take AIDS as its primary subject. In that sense, Philadelphia is a historically important film. As such, it's worth remembering that director Jonathan Demme (Melvin and Howard, Something Wild, The Silence of the Lambs) wasn't interested in preaching to the converted; he set out to make a film that would connect with a mainstream audience. And he succeeded. Philadelphia was not only a hit, it also won Oscars for Bruce Springsteen's haunting "The Streets of Philadelphia," and for Tom Hanks as the gay lawyer Andrew Beckett who is unjustly fired by his firm because he has AIDS. Denzel Washington is another lawyer (functioning as the mainstream-audience surrogate) who reluctantly takes Beckett's case and learns to overcome his misconceptions about the disease, about those who contract it, and about gay people in general. The combined warmth and humanism of Hanks and Demme were absolutely essential to making this picture a success. The cast also features Jason Robards, Antonio Banderas (as Beckett's lover), Joanne Woodward, and Robert Ridgely, and, of course, those Demme regulars Charles Napier, Tracey Walter, and Roger Corman. --Jim Emerson

From Nicole Conn, director of the lesbian classic Claire Of The Moon. Elegant and refined Elena (Necar Zadegan, TV s 24, The Event) is a devoted wife to her pastor husband, mother to her teenage son, and daughter to her traditional Indian family. When she meets lesbian writer Peyton (ravishingly beautiful Traci Dinwiddie, TV s Supernatural ) Elena is confronted with intense, unexpected feelings for a woman and their relationship evolves into a passionate romance. Charming, funny and poignant as well as smoldering and sensual!

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Charlize Theron won the Best Actress Academy Award for her astonishing performance as Aileen Wuornos, the prostitute convicted of killing several men in Florida in 1989 and 1990. The film focuses on Wuornos' murder campaign, in which she targeted abusive johns she met on the road and at truck stops, and her relationship with Selby Wall (Christina Ricci), a lesbian with whom she became romantically involved. With Bruce Dern, Scott Wilson, Pruitt Taylor Vince. 109 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1.

Critics have universally praised Charlize Theron's performance in Monster, and the praise, for once, is astonishingly deserved. The gorgeous star of The Italian Job and The Cider House Rules vanishes into the character of Aileen Wuornos, a real-life serial killer and prostitute who murdered at least seven men in Florida. Monster traces her relationship with a young woman named Selby (Christina Ricci, The Ice Storm, Buffalo 66), which intertwines with Wuornos's murder spree. This remarkable movie finds compassion for Wuornos but unflinchingly faces her brutal crimes; Theron expresses this woman's horrific life history without softening her terrifying, dead-eyed stare. This is a gripping, devastating performance, a physical and psychological transformation comparable to Robert DeNiro's in Raging Bull. The movie's moral and emotional complexity wouldn't succeed without this searing performance--but succeed it does, and it will stick with you for some time afterward. --Bret Fetzer

Forced to give up his dreams of art school, Zach spends his days working a dead end job and helping his needy sister care for her son. In his free time he surfs, draws and hangs out with his best friend, Gabe, who lives on the wealthy side of town. When Gabe's older brother, Shaun, returns home, he is drawn to Zach's selflessness and talent. Zach falls in love with Shaun while struggling to reconcile his own desires with the needs of his family.

The feature-film debut from art director Jonah Markowitz (Quinceañera) pivots on the tension between responsibility to family and responsibility to self. Recent high-school graduate Zach (Trevor Wright) has one summer to reconcile the competing halves of his life. The aspiring Picasso lives in blue-collar San Pedro with his irresponsible sister, Jeanne (Tina Holmes, Half Nelson), her five-year-old son, Cody (Jackson Wurth), and their rarely-seen father. Zach gave up his art school dreams to toil in a diner and help look after his much-loved nephew. With his best friend, Gabe (Ross Thomas), away at college, Zach draws, surfs, and skateboards by his lonesome. When Gabe's novelist brother, Shaun (Brad Rowe, Billy's Hollywood Screen Kiss), returns to his Orange County home to recover from a broken heart, he and Zach alternate between riding the waves and encouraging each other to pursue their aspirations. Shaun is gay, while Zach appears to be straight, but a casual kiss between the two soon leads to a secret relationship. Before the former returns to Los Angeles, the latter has to decide who he is--gay, straight, artist, cook, uncle, or father--and what he's going to do about it. Except for the location shooting, this low-budget indie plays like an extended episode of The O.C. what with all the "bro"s and "dude"s and love scenes tame enough for network TV. Nonetheless, Markowitz’s heart is in the right place, and Shelter may provide some real-life Zachs with the courage they need to follow their passions. --Kathleen C. Fennessy

In 1961, an elderly woman is "widowed" when her companion of 50 years dies. In 1972, a feminist co-ed lets her sexual politics take the back seat to a powerful attraction when she finds herself seduced by an outsider. And in 2000, a couple with almost everything that two women can have, want the one thing they can't have - unless something more than fate intervenes.

HBO caused a stir when it aired If These Walls Could Talk, a portrait of three women from three generations (all who occupied the same house at various times) who had unwanted pregnancies. HBO utilizes the same gimmick in the sequel, this time telling the story of women who love women.

The three stories of If These Walls Could Talk 2 are uneven. Far and away the most powerful and moving story is the first, taking place in 1961, starring Vanessa Redgrave as a woman "widowed" when her partner of 50 years suddenly dies. Redgrave is phenomenal, and her piece alone makes this sequel worth watching. The 1972 portion stars Michelle Williams, who finds dealing with the sexual politics of the gay community increasingly more complex when she falls in love with a boyish woman (played by Chloë Sevigny). The most modern piece, taking place in 2000, portrays a contemporary lesbian couple (Sharon Stone and Ellen DeGeneres) determined to have a baby. The light nature of the story detracts from the more serious issues of the earlier segments. Despite the mixed fare, HBO once again proves itself on the cutting edge of moviemaking, with this rather daring film that will both provoke and entertain. --Jenny Brown

Longhorns is a completely unexpected and unabashedly sexy comedy from the director of Rock Haven and Redwoods, which has been slaying sold-out audiences from Festivals everywhere!

Winner of the 1969 Academy Awardr for Best Picture, Best Director and Best Adapted Screenplay, this groundbreaking masterpiece also earned Best Actor Oscarr Nominations for the brilliant, searing performances of Jon Voight and Dustin Hoffman as two small-time hustlers whose powerful friendship transcends the gritty realities of big-city life and their own unfulfilled dreams. Daring...shocking...provocative. Midnight Cowboy is the only X-rated movie to ever win an Oscarr, although the film was later re-rated "R."

The first, and only, X-rated film to win a best picture Academy Award, John Schlesinger's Midnight Cowboy seems a lot less daring today (and has been reclassified as an R), but remains a fascinating time capsule of late-1960s sexual decadence in mainstream American cinema. In a career-making performance, Jon Voight plays Joe Buck, a naive Texas dishwasher who goes to the big city (New York) to make his fortune as a sexual hustler. Although enthusiastic about selling himself to rich ladies for stud services, he quickly finds it hard to make a living and eventually crashes in a seedy dump with a crippled petty thief named Ratzo Rizzo (Dustin Hoffman, doing one of his more effective "stupid acting tricks," with a limp and a high-pitch rasp of a voice). Schlesinger's quick-cut, semi-psychedelic style has dated severely, as has his ruthlessly cynical approach to almost everybody but the lead characters. But at its heart the movie is a sad tale of friendship between a couple of losers lost in the big city, and with an ending no studio would approve today. It's a bit like an urban Of Mice and Men, but where both guys are Lenny. --Jim Emerson

The first, and only, X-rated film to win a best picture Academy Award, John Schlesinger's Midnight Cowboy seems a lot less daring today (and has been reclassified as an R), but remains a fascinating time capsule of late-1960s sexual decadence in mainstream American cinema. In a career-making performance, Jon Voight plays Joe Buck, a naive Texas dishwasher who goes to the big city (New York) to make his fortune as a sexual hustler. Although enthusiastic about selling himself to rich ladies for stud services, he quickly finds it hard to make a living and eventually crashes in a seedy dump with a crippled petty thief named Ratzo Rizzo (Dustin Hoffman, doing one of his more effective "stupid acting tricks," with a limp and a high-pitch rasp of a voice). Schlesinger's quick-cut, semi-psychedelic style has dated severely, as has his ruthlessly cynical approach to almost everybody but the lead characters. But at its heart the movie is a sad tale of friendship between a couple of losers lost in the big city, and with an ending no studio would approve today. It's a bit like an urban Of Mice and Men, but where both guys are Lenny. --Jim Emerson