For those who aren’t familiar with the story, Harvey Milk was elected to the San Francisco Board of Supervisors in 1977, and led the gay rights movement in that city. He was a business owner, running a small camera store in the Castro district, which is still a major American gay mecca. He served in his post for eleven months before being gunned down by a fellow former Supervisor who had just killed San Francisco Mayor George Moscone moments earlier.

The film succeeds on many levels, most notably with Penn’s performance. He is so absorbed by the character, that it’s easy to forget that we’re watching an actor, not the real man. What’s more, the supporting actors were all at their best, each one taking on a special role in the film.

As the opening credits rolled, the audience is reminded — or introduced — to the modern history of the gay rights struggles in the 20th century. Not too long before the gay pride parades and festivals was a time when the only place gay men could gather was in bars or clubs, and were always at risk of being invaded by police. “Offenders” would be dragged off in paddy wagons en masse. Later, it would be Anita Bryant and her “Save the Children” group that would be the face of the enemy of the gay rights movement, who spread her vitriol with a smile and a song.

After this onslaught montage of the images of the tyrannical majority, we’re introduced to Milk and his new boyfriend Scott Smith (Spider-Man’s James Franco) as they make the decision to move to San Francisco. Penn clearly provides the shape and face of the film, but it’s Franco who provides the heart and soul. In the two men, you see a genuine relationship, one that’s rarely — if ever — shown on screen. They cook, they clean, and they had their struggles. Even after they parted, they remained friends. As bizarre (or disturbing) as some readers might find it, the chemistry between the two men is genuine.

Scott Smith (James Franco)j and Harvey Milk (Sean Penn) share a moment

The key points of the film, as would be expected, revolve around the many campaigns and political events in which Milk participated. His first race was in 1973, and met with a political cold shoulder, even from the gay community. It was then that Milk and Smith were both long-haired hippy types, but Milk’s leadership was becoming evident. Later, he learned to build alliances, including with the Teamsters union.

His decision to become a serious candidate in 1975 involved a number of major changes, including a haircut, suits, and a more clean-cut image overall. He quickly earned the respect and support of those around him, as well as those in organized labor. It’s during this time that the film shows his rise to leadership in the community.

Milk’s supporting cast is a diverse blend of rising stars and seasoned pros. Speed Racer’s Emile Hirsch fills the oversized glasses of Milk’s protégé and longtime gay activist Cleve Jones (Jones later conceived the AIDS Memorial Quilt), and Lucas Grabeel of High School Musical fame takes on the role of photographer Danny Nicoletta. Victor Garber (Titanic fans remember him as Thomas Andrews) portrays Milk’s greatest ally, Mayor Moscone. Finally, Josh Brolin (W.) fills the proud-yet-disturbed shoes of Dan White.

Harvey Milk after an impromptu gay rights march on June 7, 1977. Photo by J.M. Pritikin/Chicago

One key scene which showcases Milk’s leadership is an impromptu gay rights march after a critical election. The film places the march after a 1978 vote to repeal gay rights in Wichita, Kansas. The actual event, as photographed by J.M. Pritikin, actually took place earlier in June of 1977, after the election in Miami-Dade County. That vote struck down a gay rights ordinance in that city and was the result of the fever-pitch campaign by singer Anita Bryant.

While the film’s success is in its cast, script, and overall historical accuracy, the one drawback is its direction and composition. Director Gus Van Sant has put together a capable film, yet his own composition choices border on the jarringly irritating. A few scenes scenes are out of place, and some points of history, including the march after the Dade County election are casually changed for the sake of dramatic flow. This is the flaw of a great many biopics, and Milk is no exception.

Despite its flaws, Milk is clearly a film worth viewing; not only for the stellar performances of the cast, but for its bird’s-eye view of 1970’s gay rights history. It’s a pity that it was released after this year’s election, since it retells the struggle of another California voter initiative – proposition 6 – which would have called for the state to bar gays and lesbians from being teachers. Unlike this year’s proposition 8, a ban on gay marriage, that proposition failed dramatically.

Cleve Jones (Emile Hirsch) begins his long activist career

While this film is unquestionably about gay men, Van Sant wisely focused the story on the lives of the people and their work. Here, we see gay men portrayed as normal as we’ve yet to see on film. It’s a story about struggle, passion, frustration, and ultimately about tragedy. Clearly, it’s a film that reaches out to all audiences. Sadly, many in this area will pass it by, assuming it’s only for the gay community. It’s a film that tells the story of courage in the face of great opposition, something to which everyone can relate.

Just as Harvey Milk worked hard for all of the people in his city, Milk is reaching out to the rest of us. No matter what side of the closet you’re in, or even if you care about closets, it’s a story that’s worth telling. Its message of hope, genuine honesty, and integrity is what drove Harvey Milk, and is a driving force for those who still struggle for equality today.

Milk is currently playing in Nashville at the Regal Cinemas Green Hills 16 theatre.

Evan Almighty: 6/10
Fantastic Four: Rise of the Silver Surfer: 5/10

It seems that every Summer has its share of bland films that appeal only to those whose attention span will prevent any thorough reflection of just how inane they really are. This year’s finest examples are Evan Almighty and Fantastic Four: Rise of the Silver Surfer.

At a surface level, both films offer plenty of razzle and dazzle, and enough of a spectacle to wow the audience with its special effects and dry humor. However, neither one of these big-budget blockbusters is able to rise above their abject mediocrity. Since I don’t want to confuse anyone, I’ll start with Evan Almighty.

Yes, but who cleans up after them?

Steve Carrell picks up his role from this film’s predecessor, Bruce Almighty. Evan has the misfortune of retaining Bruce’s director (Tom Shadyac) as well, which is unfortunate. Shadyac’s claim to fame is to provide Jim Carrey with his best-known vehicle, Ace Ventura: Pet Detective. However, without Carry’s rubber-faced antics, his direction, and the movie as a whole, seems a bit lackluster.

Enter Industrial Light and Magic with their jaw-dropping flood sequence. Oh, yikes. I’m getting ahead of myself, aren’t I? Silly me.

Evan Almighty begins with Evan Baxter somehow winning a congressional race with the worst campaign dialogue in history: “Change the world.” Naturally, such a directive is going to need a little divine influence. Morgan Freeman once again portrays a version of God who has little to do than influence animals to flock toward poor Evan.

Thankfully, there aren’t any enlarged breast gags or dogs that pee into a toilet in this film. Instead, we have birds that drop their excrement for the sake humor. I guess such scatological humor has to be used in some form, right? How divine.

Of course, there’s plenty to like about Evan Almighty. The story is a fun idea. After all, how neat would it be to have five or six subdivision lots paid for and plenty of gopher wood delivered at your doorstep? It’s all part of the premise. God starts off subtle (which is pretty true to life, if you ask me) with repetitive hints. The subtlety wears off after a while, and even the audience will eventually get tired of seeing GEN 6:14 everywhere.

Possibly the brightest point of Evan Almighty is its affirmation of the family and its (visceral) positive message of hope even in the midst of eventual disaster. Even with all its flaws, it manages to get across a visual sermon that even politics can be redeemed.

In the end, Evan Almighty is never able to rise above what is essentially a flood of mediocrity. I’ve seen a few Christian pastors who said they recommended this film for their churches, but for the life of me I have no idea why. Sure, it’s good, clean family fun, but does that mean it has to be so lame?

The T-1000 strikes again

With Fantastic Four: Rise of the Silver Surfer, director Tim Story attempts to step up the story a few notches by actually providing a real threat that our heroes have to thwart. This film is clearly light years ahead of its predecessor, which really isn’t saying that much. The original Fantastic Four was just plain boring. Where the battle scene of the climax of that film was an exercise in the senseless, Rise of the Silver Surfer has the fate of the planet hanging in the balance.

Beware, this review contains some spoilers.

At less than 90 minutes, Surfer is short on time–time that could have been used for actually developing something better than the “Reed and Sue are getting married, so nothing else matters” subplot. Jessica Alba’s portrayal of Sue Storm is actually even more bland than before, which is quite an accomplishment.

To my delight, the Thing (Michael Chiklis) actually has a stable relationship in this fim. His brooding in the last film over the most cardboard wife in film history was just tiresome. His girlfriend, Alicia Masters (Kerry Washington), is probably the strongest female role in the film, which doesn’t speak well for Sue, the girl who’s power is to make her invisible.

Of course, Story finds time to have Johnny Storm (Chris Evans) take off his shirt during the film since he knows that the girls and gay boys need something to keep them interested. Sadly, it was probably the brightest point of the film.

When the mysterious Silver Surfer comes in to dig monstrous holes into the earth, it spells certain doom. Even Doctor Doom (Julian McMahon) steps up to help, even if he always has a trick up his villainous sleeve. The Surfer (voiced by Laurence Fishburne) gives a warning that “all you know is at an end.” Alas, the movie didn’t actually end until nearly an hour later.

Sure he’s hot and has big hands… but does he do windows?

His warning was that Galactus (SPOILER sorry, fanboys. It’s a big, cosmic tornado, not the big robitic guy in a purple and magenta outfit) was on its way to devour the earth. Since that’s obviously a bad thing, our heroes actually have to postpone their wedding plans. Poor Sue. The inevitable final wedding is reminiscent of the one seen in Spaceballs. All it lacked was the priest saying, “Good, you’re married! Kiss her!”

Reed Richards (Ioan Gruffudd) can probably be awarded “the dullest hero ever” award, even though he can stretch himself like silly putty gone horribly wrong. It’s a pity that his acting ability has the flexibility of a steel rod encased in concrete. Even still, Rise of the Silver Surfer is far better than its original.

In the end, though, it’s just not all that fantastic. Perhaps if we changed the name of the film to “The Tepid Four, Arrival of that Naked Silver Dude,” we might have a little more of a truthful title.

Originally published in www.skippingtothepiccolo.com