Stonewall

Movies taking liberties with history are nothing new; neither are tales involving people of color that end up told from the whitest possible perspective (the Asian tsunami seen through European tourists’ eyes, African and slave narratives refocused on how they impacted white people, etc.). So if you’re sufficiently inured to such things, the first two-thirds of STONEWALL—action director Roland Emmerich’s take on the seminal NYC riot that launched the modern LGBTQ civil rights movement—fares passably well as entertainment, and openly gay Emmerich at least had the good sense to center the story on the street youth who led the rebellion. But in its last third, the movie comes completely off the rails: tacking on a silly last-minute subplot, distorting a key historical moment unforgivably (it’s one thing to see the world through cornfed eyes, but another to make the cornfeed the catalyst of action), and fading to black on an unnecessary hometown postscript. Those who know nothing about June 28, 1969, will get the skeleton of the true story and a glimpse of some of the real-life activists and participants; but satisfying meat is sadly lacking from these bones. —YSM

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We love to sit in the dark with a big tub of popcorn amid a roomful of strangers. Reports on what we witness there come in two varieties: Bullet Reviews quickly and concisely convey our take on a film, always in spoiler-free fashion; Trailer Trash reveals Your Sacrificial Moviegoer's best prediction on whether an upcoming movie is worth seeing, based solely on the trailer (the short "previews" before the feature presentation).

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