The Reeler

Recent Comments


A Girl and a Gun
Ain't It Cool News
Alliance of Women Film Journalists
Anne Thompson
Art Fag City
Better Than Fudge
Big Picture Big Sound
Bitter Cinema
Blank Screen
Brian Flemming
Bright Lights
Celluloid Eyes
Chutry Experiment, The
Cinema Confidential
Cinema Eye
Coming Soon
Cool Cinema Trash
Cyndi Greening
Dark Horizons
Drew's Blog-O-Rama
Esoteric Rabbit
Film Detail
Film Experience, The
Film Journal, The
Film Journey
Film Stew
Film Rotation
GreenCine Daily
Hacking Netflix
Hammer to Nail
High Sign, The
Hollywood Elsewhere
House Next Door, The
IFC Blog, The
In the Company of Glenn
IndieScene Movie Marketing Blog
indieWIRE Blogs
Jay's Movie Blog
JoBlo's Movie Emporium
Kaiju Shakedown
Like Anna Karina's Sweater
Last Night with Riviera
Light Sleeper
Long Pauses
Masters of Cinema
Matt Zoller Seitz
Midnight Eye
Milk Plus
Mind Jack
Movie Blog, The
Movie City Indie
Movie Hole, The
Movie Poop Shoot
New York Cool
NY Post Movie Blog
News of the Dead
No More Marriages!
Notes From Underdog
Out of Focus
Persistence of Vision
Queer Film Review
Reel Roundtable
Screen Rush
Screener (Film Journal Int.)
Screening the Past
Self-Styled Siren
Short Sheet, The
Slant Magazine
Slant Magazine Blog
Still in Motion
Stranger Song, The
They Shoot Pictures, Don't They?
Tisch Film Review
Vince Keenan
World Film (at
You Know, For Film

The Reeler Blog

The Gray Lady's Sloppy Seconds

I rarely (if ever) have cause to pity a Times film critic, but this week was not kind to poor Jeanette Catsoulis. After first being underwhelmed by the dusty, diabetic Australian export Opal Dream, Catsoulis endured the indignity of not only having to view Phillip Bartell's tastefully titled Eating Out 2: Sloppy Seconds, but having to actually rationalize the film in English:

It’s not often filmmakers are thoughtful enough to include a critique of their work in the title, so for that, at least, the creators of Eating Out 2: Sloppy Seconds are to be commended. But in case avid fans of the first opus require further enticement, you should know the slop in question is both pervasive and highly visible. ...
With its jauntily crass aesthetic and wine-waiter line readings, the movie is most focused in its zeal to show the fruitlessness of right-wing efforts to reorient gay men. To that end, the support-group scenes are amusingly dimwitted, and the legendary Mink Stole (still game after 40 years in the business) gives her all as Kyle’s ebullient, gay-friendly mother.
The other women fare less well under [Bartell’s] direction and a script ... that sags with sexual explicitness. “Did my vagina scare you away?” asks a perplexed Tiffani. Perhaps we should ask the audience fleeing the theater.

It's special enough to see such a vulgar title tattooed on The Gray Lady, but its another thing altogether to see Catsoulis getting away with vagina jokes in The New York Times. I raise my Thanksgiving goblet in appreciation and hope to God her holiday bonus includes a review opportunity for something with commas in the budget.

Posted at November 24, 2006 12:34 PM

Post a comment

(If you haven't left a comment here before, you may need to be approved by the site owner before your comment will appear. Until then, it won't appear on the entry. Thanks for waiting.)


TrackBack URL for this entry:

Search The Reeler
Join the Mailing List

RSS Feed


Send a Tip