Tonight At Beerland – “The Boy Who Cried Bitch”

Posted in Cinema, Internal Affairs at 11:51 am by

While much of Austin is in depths of post Free Week depression, Max Dropout and I have addressed the crisis with the debut of a new (free) monthly film series at Beerland, The Church Of The Up All Night.

We’ll get things started this evening with “The Boy Who Cried Bitch” (1991, dir. Juan José Campanella), according to MoiraKelly.net (seriously), “one of the most reprehensible films ever made….what are we to make of this gratuitous farrago involving two of the most unappealing characters ever to be featured in a movie? Pity? Sorrow? Fear? The one emotion it’s sure to incite in audiences is impatience for the actors to get that last dirty deed done so they can be liberated from the suffocating, grotesque atmosphere that has been created.”

I dunno about you, but I’d pay to see that. Luckily, we don’t have to.

Coming Feb. 8 – Rip Torn in “Payday”

(popcorn machine + drink specials on sunday)

4 Responses to “Tonight At Beerland – “The Boy Who Cried Bitch””

  1. David Roth says:

    I knew it wasn’t the official Moira Kelly site when I saw Lee Corso’s Hooters-sponsored football pick-em as the lead item on the page. Even casual Moira Kelly fans know she fucking hates Lee Corso.

  2. Marc says:

    I don’t know much, if anything, about Moira Kelly’s website but she might be the one famous person to have graduated from my high school.

  3. Marc says:

    Wait, addendum after having posted that – Jane Monheit, who was something like the #1 best selling jazz CD on Amazon a couple years ago, also graduated from my high school.

    I’m wondering if we’ve ever graduated a single athlete who has ever made it to the pros or at least maybe the icecapades? (Which Moira could probably have joined after that awesome ice skating movie that she was in years and years ago)

  4. Don says:

    I have my doubts there is no more reprehensible film than “Go Go Second Time Virgin” a 1968 paen to teen suicide from Koji Wakamatsu.

    I later learned that his films made during this time were a more mainstream GG Allin-style affront to societal mores, but at the time I saw this film, the director’s motives were entirely unclear.

    I could hardly imagine a postmodern film (aka one made after the mid 1980s) could be anything like something directed in the more earnest 1960s.

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