The Fast And The Furious is a guilty pleasure of mine; this amped up, goofy remake of Point Break is actually a ridiculously fun adrenaline rush. As a sequel, 2 Fast 2 Furious is pointless (it’s sorely missing the presence of the first film's co-star, Vin Diesel). As an exciting action film it’s just lacking. As a fun-dumb genre movie, it doesn’t deliver. HOWEVER, as apparently lame a movie as it is, it does work as a touching gay love story between two men whose macho cultures suppress them from revealing their true feelings and stop them from acting on their apparent lust. In that context this is powerful, beautiful film. 2 Fast 2 Furious is like a sexless, jacked-up Brokeback Mountain on speed.

Ludwig Wittgenstein is perhaps one of the more neurotic and bizarre philosophers that I’ve read thus far. Seeing any kind of interpretation of his life and measures of reason would be an oddly enjoyable migraine. Thankfully, our good friend Derek Jarman made a sort of homoerotic comedy that attempts to interpret his life and philosophical debates. I took the risk and gave it a try simply because Jarman himself seems to be a bit of a philosopher (perhaps if he had a favorite, it might be Wittgenstein). In what films I have seen of his, all of them tend to be laden with personal unease from his psyche. In that sense, his films are very exclusive and cater to his beliefs and sexuality. Watching Wittgenstein was sort of like sitting in a room with the director debating various issues and it just so happens that his side of the argument is better served through tangible images, rather than words.

To be considered the "second coming" of anything is a huge weight to carry upon one’s shoulders. Caravaggio is the story of Michelangelo Caravaggio (Nigel Terry), a painter who is seen as the new Michelangelo amongst his supporters, and a priest who discovered him while he was a teenage prostitute. The film shifts between three stages of Caravaggio’s life: his adolescence, his middle-aged years, and finally, his last few days on his deathbed where he dies slowly, in agony and in exile. The entire film is set in a timeless Vienna, part regal and part modern, which seems to be the norm in Jarman’s films.

In his adolescence, Caravaggio (Dexter Fletcher) is a hustler, using his paintings to make extra money on the streets or taking direction from his "guardian" to return home with the male buyers when their interest is not in his paintings. His work is mainly mimetic and consists of still-lifes of fruit or people, and eventually falls into the hands of a priest whose church looks after Caravaggio once he becomes gravely ill for the first time. He then begins a sort of commission for the church in exchange for money and support, ironically or purposefully similar to the late Michelangelo in reality. This sponsorship continues into his adulthood, but his work changes from the simply mimicry of objects and people into the bold representations of them. With each painting, he uses live models to recreate sorrowful, if not gruesome details of the human condition.

Jubilee is like a savage Shakespearian play where the past and present are joined in a marriage of destruction; a pas de deux of chaos.

Queen Elizabeth I (Jenny Runacre) is given a gateway by her Lord, John Dee (Richard O’Brian). With his powers he manifests the angel Ariel (David Brandon) who is able to take her from the past into the future in order for her to see the outcome of a world overturned by an absence of rulers and order. Throughout her journey, he acts as a sort of Greek chorus, yielding actions and prophesying bleak ends.

In the modern world, the plot circulates around a group that symbolizes a new sense of royalty. The group, who are actually more like a gang, live in an over-stimulating warehouse commune. Most of their pastimes consist of anarchic acts of rebellion and mischief, the extremes of such proving to be fatal. Ennui lends to murder and the luring of victims into their lifestyle to either destroy their zest for life or kill them for fun. There’s Bod (also played by Jenny Runacre), who is like a modern queen, embellishing herself with a gaudy crown and dishing out stern rule when called for; Amyl Nitrate (Jordan), the group heroine who loves history and loves to re-write it even more, urging the group to transform their desires into reality; Mad (Toyah Wilcox), the ringleader in destruction and a colorful pyromaniac; Crabs (Nell Campbell), the hopeless Lolita-esque romantic; two incestuously close brothers, Angel (Ian Charleston) and Sphinx (Karl Johnson); and their French au pair turned slave, Chaos (Hermine Demoriane).