By Megan Turner. AN openly gay filmmaker casts a former teen TV babe as a bisexual named Lucifer and ends up falling for her, despite his orientation. But getting them to divulge details of their romance is like asking for national security secrets. Robertson shoots him a look that halts him mid-giggle. It may be the first Araki movie with a happy ending, but it is far from a conventional, lightweight romance, with the director continuing the exploration of polymorphous sexuality that informs his oeuvre.
The Doom Generation: A Heterosexual Movie – Flaming Classics
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Christina Applegate barely pads in the door of the Coffee Bean on Sunset and pays for her tea when the assault begins. A large man in filthy clothes has spotted the former teen star and is yammering at her in a loud voice. The scene is both frightening and telling. Courtney would probably slap the scary guy at the cafe with a restraining order or at the very least demand that this hirsute giant and his nasty friend get out of her face.
Gregg Araki is famous for his dark, decadent, and deranged takes on teenage life. His 90s Teenage Apocalypse Trilogy — which includes the endlessly screenshotted, Rose McGowan-starring The Doom Generation — portrayed teenagers in a queer, truthful, neon-saturated way that few, if any, directors have achieved so perfectly since. Yet an under-acknowledged aspect of his films are the boys in them. Predictably, countless fans on Twitter and Tumblr have latched onto the concept of Avan and Tyler playing blissed-out stoner boyfriends.