Whether it's due to political correctness or sensing a relatively untapped market, Hollywood has recently increased its inclusion of homosexual characters in its movies and TV shows. While "Ellen" may not have survived after the "outing," other shows such as "Will and Grace" have flourished with several major characters being gay.
On the big screen, films such as "My Best Friend's Wedding" and "The Object of My Affection" have featured major gay characters and there's even been talk that Rupert Everett will star as a new -- and gay -- James Bond character sometime in the future.
Two things that are perfectly clear about such shows and films are that they don't focus on the usual subjects of AIDS or the anguish of coming out, and that they include plenty of heterosexual characters in their stories. While the former is to keep things light and cheery, the latter is presumably done to make these films more palatable to mainstream heterosexual viewers. Such was the case with 1998's "Billy's Hollywood Screen Kiss" and now with the release of "Trick."
The true litmus test of how such films will play, however, goes beyond simply including straight characters. One only has to look at the plot, substitute straight characters into the key parts and see if the film still works. Doing so with "Trick" -- a romantic comedy about a couple trying to find a place for a "quickie" but who encounter more complications than sex -- may skew the particulars a bit, but the basic premise remains intact.
That said, the question that follows is whether this is a good romantic comedy -- be it gay or straight-based. The answer is that it's moderately entertaining with the gay angle adding some complexity to the proceedings as well as some specific humor obviously not applicable if everyone were straight.
Nominated for the Grand Jury Prize at 1999's Sundance Film Festival, first-time director Jim Fall and screenwriter Jason Schafer have fashioned a gay spin on the romantic comedy as mixed with the sex comedy genre and the late-night street wandering and odd encounters of films such as "Eyes Wide Shut" and "After Hours."
Unfortunately, the film doesn't really excel in either mode. Although it does have a light and occasionally amusing tone to it, the film never goes far enough with the odd or humorous complications to warrant that plot device. Nor is it funny, let alone hilarious enough to make it more appealing to all moviegoers (such as was the case with "The Birdcage").
In addition, such moments seem relatively tame when compared with the antics of the supporting characters who steal the show when not chewing on the scenery hard enough to leave noticeable bite marks. As such, most of the film's "big" laughs are dependent on those over-the-top performances.
With everyone's funny bone reacting differently to attempted humorous stimuli, however, reactions to such characters will obviously vary. For instance, some will find Tori Spelling ("The House of Yes," TV's "Beverly Hills 90210") and her loudmouthed and overbearing character as funny. Others, though, may find her annoying, while a flamboyant drag queen character will similarly elicit either moans and complaints of gay stereotypes or amusement at his antics.
Of course, they're just intended as comic flavoring with the more substantive characters being
Christian Campbell (TV's "Tek Wars" and "Malibu Shores" and brother to actress Neve) as the Matthew Broderick-like sensitive playwright and newcomer John Paul Pitoc as his more buff one-night stand (who bears a striking resemblance to Lou Diamond Phillips).
Their performances are good, but they suffer from somewhat contrived character motivations. For instance, while the saying goes "Opposites attract," the two mens' pairing seems unlikely, particularly after frequent and time-consuming complications would have extinguished their lust. This is especially true regarding Mark whose bored reactions should have insured that he'd be long gone before the night was done.
In addition, his character's change from a seemingly dimwitted hustler to a smart and caring guy who's just looking for love is both abrupt and occurs too quickly and without enough reason for the viewer to completely believe it. Beyond that, some may also object to the film's seemingly stereotypical view of gays and those with whom they associate (the sensitive playwright, the male dancer, the flamboyant drag queen and the straight female who has no straight male friends, etc.).
If not for the gay angle, this picture would be instantly forgettable as just another mediocre romantic comedy. Yet, despite the hopeful crossover setup and comedic potential appeal, as well as the flamboyant supporting performances and a few funny moments, this film never ends up being more than moderately entertaining or engaging.
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