“A couple weeks have passed since Roland Emmerich released his latest disaster flick, Stonewall, to the outrage of the gay community, the transgender community, the Ron Perlman fanboy community, the film critic community and probably the “outraged over outrage” community, too. Maybe we should have seen the uproar coming. Emmerich is not the man you hire to turn civil rights landmarks into cinema: he’s the same guy who made Anonymous, an absolutely bonkers attempt at playing literary detective with Shakespeare’s oeuvre that shamelessly rewrites real-world history in its investigation. Emmerich isn’t cut out for chronicling, in other words, so nobody should have anticipated anything from Stonewall apart from jaw-dropping negligence.” (Via Birth.Movies.Death.)
Pingback: Review: The Death and Life of Marsha P. Johnson, 2017, dir. David France | A Constant Visual Feast