If one must find something nice to say about Todd Stephens' Another Gay Movie, then it could be that at the very least this is a film that shows gay teens not suffering through identity crises or worrying about coming out but constantly angling for and talking about sex with the same concentration and lack of shame that hetero teens are always depicted. It's a step in the right direction and a sign that, very slowly, films are finally losing the stigma against showing gay characters who are this at peace with who they are. Of course, the film itself is a shockingly incompetent piece of crap, but at least it got one thing right.

After the banal disaster that was his Gypsy 83 - a road movie whose low point where Stevie Nicks-obsessive Sara Rue falls in love with an Amish guy at a rest stop - it's truly mystifying as to how Stephens was able to pull another movie together. And yet, here it is. Since audiences have already suffered through not just one but two grim sequels to American Pie (not to mention the straight-to-video Band Camp), Stephens must have thought there was room for one more; albeit unofficial, and gay.

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Mickey Blue Eyes Review

By Christopher Null

Excellent

Hugh Grant hit paydirt once this summer, in Notting Hill. Can he do it again if you take away Julia Roberts? And throw in an unlikely comedy about murderous gangsters, an auction house, and a botched wedding?

Yes he can! Mickey Blue Eyes, against all odds, is nothing short of fall-down funny - on par with Notting Hill, South Park, and Austin Powers 2 as one of the best comedies of the summer.

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Tart Review

By Christopher Null

Weak

Misleading title alert!

Not only does the provocative title of Tart mislead us, but the packaging features a lithe Dominique Swain on its covers, her schoolgirl skirt blowing up to expose her panties. The tagline: "Sex, Drugs and Study Hall."

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Mickey Blue Eyes Review

By Rob Blackwelder

Zero

"Mickey Blue Eyes" is one of those movies that wouldn't last 20 minutes if the main character wasn't a certifiable moron.

A comedy of the uncomfortable, it's predicated on Hugh Grant, playing an tentative, English, auction house proprietor in New York, allowing himself to become embroiled in the mob when he unknowingly proposes to a mafia princess (Jeanne Tripplehorn).

She declines, crying her eyes out and explaining her background and the family she's tried to put behind her. Romantically, he says it doesn't matter. She exacts one promise from him: That he won't agree to do any favors for her family and won't accept any, either. "That's how they get you," she says. "Then you'll be one of them."

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