top of page


This was a bit of a strange experience for me. I knew fairly little about it going in, other than that it seemed to go down quite well at the London Film Festival. I also assumed it was an A24 release, which it quite clearly isn’t. I think my mental image was of an art house, highbrow queer commentary, and for a good chunk of the film I almost kept up the belief that it was that. It’s not, it’s essentially your typical Judd Apatow film except it’s written by a gay man about gay issues in a very clever way.

Some of the jokes went completely over my head until I started looking into the film a bit more. I didn’t realise how meta the casting of Luke Macfarlane was, but having now looked at his filmography I think it’s brilliant that they managed to cast him as the basic guy from a Hallmark family. The jokes that I did understand were very well crafted, and they all had a necessary bite in terms of highlighting real life issues. On one hand it’s a light comedy but on the other it really does have a lot to say.

I can’t claim it’s a masterpiece or that it’s breaking new ground or anything, but I do think it’s a very enjoyable light comedy that will spark a lot of conversation for the right circles of people. And to be honest, it’s nice to see a mainstream release that treats queer people with their due respect rather than as a bunch of monolithic beings. From that point of view, I really hope it does well enough to at least be remembered as this generation’s new Superbad or something.

0 views0 comments

Recent Posts

See All

BFI London Film Festival 2023

Shortcomings In a way, Shortcomings was the perfect film to open up the London Film Festival this year. More often than not, deciding what to see in this context is based on minimal information. It mi

Past Lives Review

Fate and destiny aren’t unfamiliar concepts in cinema. From William Friedkin‘s Sorcerer to the Meg Ryan and Tom Hanks blockbuster Sleepless in Seattle, the two closely related concepts have been used

Minore (FrightFest 2023)

In a sense, it’s unfortunate that every modern monster movie will be compared to Jaws. Unless it’s a pre-existing franchise like Godzilla or King Kong, Steven Speilberg’s seaside classic remains the s


bottom of page