I absolutely adore this movie. It is so thoroughly, delightfully queer in every sense of the word. It so perfectly blends the cinematic influences it's drawing from (obviously Anger and Fassbinder, but also cult camp classics like "Absolutely Beginners" and "Crimes of Passion") while also being utterly singular. Andre Riseborough has been getting a lot of the attention for this movie, and she's great in it, but Harry Melling is absolutely killing it in this film. He so inhabits Arthur's internal struggles with his masculinity and sexuality in a way that feels startlingly authentic. The final dance sequence is my favorite moment from a movie this year, and maybe in the past few years. Absolute queer joy personified.

This movie is "not for everyone," but what percentage of cinema really is "for" anyone?

I can't imagine I'll be more aggravated by another performance this year than I was by Andrea Riseborough's in this movie.

I'll never complain about a movie trying to give us something we haven't seen before, so credit where credit is due. But this film is a misfire from top to bottom. Set in a hyper-artificial world that reads like a love child between John Waters and David Lynch, the film is full of anger, frustration, and sadness about being forced into social norms that don't fit. I like the concept on paper, but this movie is intolerable. Nobody felt like a real character, nothing happening felt like it had any urgency, everything felt exaggerated and arbitrary. Riseborough is the worst offender -- why deliver a line like a normal human being when you can instead grimace and mug and throw yourself on the floor for no conceivable reason. But nobody comes out of this movie unscathed. The only scenes that featured characters having actual conversations of any substance sounded like gender identity podcasts.

It was like this movie was trying from the outset to be a cult classic, not understanding that cult classics can't be manufactured. I very much disliked it.

Grade: D.

Amanda Kramer's (Ladyworld) new film takes place in 1950s Manhattan - maybe not our version of that time and place, but a neon world of music and dance - where Arthur (Harry Melling) and Suze (Andrea Riseborough) - he's a clarinetist, she's a housewife - witness a murder committed by a gang of rough trade greasers in leather known as the Young Gents. That act of violence sparks previously unknown emotions and feelings of sexuality in both of them.

"Everyone wants to be Stanley Kowalski," Suze says at one point. This movie lives up to that promise, creating a world where the gang movies of the 1950s are real-life, complete with more fashion and queer content than any movie of that era would dare (well, sometimes in subtext).

A film festival referred to this movie as "A Streetcar Named Desire by way of John Waters."

That's a high mark to rise to but this movie goes for it.

Kenneth Anger might be pleased to see that his influence continues, while certainly jealous of the budget. And oh wow - Demi Moore in a pantsuit, animal print coat and silver high heels, living in a blue fantasy world apartment as a kept woman?

Watch this and prepare to swoon.