When a family-friendly gay film like England's escapist romance "Bonus Track" can't secure a distributor for a theatrical release and goes directly to video on demand, this is yet another sign of dire times for LGBTQ films in Hollywood.
The disastrous release of "Queer" in December based on the William Burroughs' novel, made barely $4 million worldwide, but cost $50 million to produce, despite casting a bona fide movie star, Daniel Craig (who couldn't even secure a Best Actor Oscar nomination with rapturous critical reviews of his performance), reinforces the lack of audience appeal to queer material outside of core LGBTQ masses.
Yet "Bonus Track" is a reflection of Netflix's game-changing "Heartstopper" series, since streaming platforms are now where most LGBTQ films screen as opposed to Cineplex cinemas.
"Heartstopper" redefined gay teen love affairs with its whimsical, effervescent charm, showing how despite awkward moments, romance can be fun and hopeful, without focusing on conflict and melodrama. It reminds us that even with difficulties, joy can be found in love.
"Bonus Track" (Vertigo Releasing), while nowhere near as inventive as "Heartstopper," has great affection for its two central characters. It sticks to the now predictable genre based rom-com formula with few surprises, but its sweetness and warmth, coupled with its authenticity, makes it almost impossible to dislike.
Teenage dream
It's 2006 in a small English Yorkshire town. Gawky 16-year-old loner George (Joe Anders, son of actress Kate Winslet and director Sam Mendes) is failing academics at his posh secondary school and might not graduate, to the consternation of his bickering parents, supportive mother (Alison Sudol) and stern, sarcastic father (Jack Davenport).
However, George believes he's a gifted musician and dreams of becoming a star (in fantasy scenes he's performing to rapturous audiences), even if no one else agrees, especially his condescending music teacher (Ray Panthaki)
Then cool, handsome, instantly popular Max (Samuel Paul Small), son of a mega-famous musical duo, who are divorcing, arrives at school to be near his mother. Max seeks geometry help from George and in return he will work on George's song, which he hopes to perform at the end of the term talent show. Max brings George out of his isolation.
At this point, as their budding friendship develops while they hang out together and even unsuccessfully date girls, the script writes itself. The only suspense is when they will share their first kiss.
The film is divided into chapters. Quite cleverly, each one is named after George's favorite songs/tracks (i.e. 'Teenage Dirtbag,' 'Dry Your Eyes') on cassette tapes, giving us hints concerning his emotional changes and feelings towards Max. George must also come to term with his sexuality, but more importantly gain control of his own life so he can discover what he really wants both personally and professionally.
Endearing flirts
This story takes place almost twenty years ago and similar to today's "Heartstopper" everyone around George is supportive and there's no hint of homophobia, which in a small provincial town at that time seems incredulous.
But this movie soars or falls on the chemistry of Max and George, which we can say is impeccable, with two likable actors making their clumsy flirting believable and endearing.
At 22, Small is clearly too old for the part, yet exudes charisma and almost bursts out of the screen whenever he appears. Similar to actor Jonathan Bailey, both men and women could easily fall in lust/love with him.
Unlike "Heartstopper," none of the supporting characters stories are expanded. This is particularly regrettable when there's an inkling that the Black female Head of the Year (Susan Wokoma) who shows concern for George, may have had a romance with a butch wilderness survival type teacher. A lesbian subplot could have added more sizzle to an otherwise pre-dictable end. The strife between George's parents is a lackluster substitute for any intrigue.
The peppy dialogue was written by Mike Gilbert from a story by Gilbert and actor Josh O'Connor (yes, the same one from "God's Own Country" and "Challengers"). O'Connor has a brief hilarious cameo as a graffiti artist/body piercer.
The soundtrack (not to mention flip phones) really exudes the mid aughts era with cuts from Franz Ferdinand, Wheatus, and The Streets. Gay singer/actor Olly Alexander croons the catchy George/Max 'composed' song 'A Very Bad Fun Idea' during the credits.
With all this talent (including Julia Jackman's direction), one wishes "Bonus Track" could have been more groundbreaking in a well-worn genre rather than a colorful imitation of "Heartstopper." Still, it could have descended into sentimentality, but luckily with the slight snarky edge of the screenplay, avoids that trap.
Though the film had all the elements for something more daring, but its core teen audience won't be disappointed with the final result. We care about George and Max with their feel-good courtship, so even if it's all a garden-variety fantasy, we'll take its sincere heart gladly as a remedy over the stone cold malarky we're currently enduring in real life.
'Bonus Track' is available on-demand February 11.
www.vertigoreleasing.com
Never miss a story! Keep up to date on the latest news, arts, politics, entertainment, and nightlife.
Sign up for the Bay Area Reporter's free weekday email newsletter. You'll receive our newsletters and special offers from our community partners.
Support California's largest LGBTQ newsroom. Your one-time, monthly, or annual contribution advocates for LGBTQ communities. Amplify a trusted voice providing news, information, and cultural coverage to all members of our community, regardless of their ability to pay -- Donate today!
