Dean is having a midlife crisis. He hates his job and sees too little of his traveling boyfriend when an old flame reconnects after 15 years. The first Act is pleasing, with very snappy dialogue between Dean and his working partner Mel. As we transition into Act 2, Dean goes off to his cabin-like second home in remote Joshua Tree (outside of Palm Springs). The early scenes are delightfully cinematic and devoid of excessive dialogue but when the old flame arrives to visit, the film makes an unhappy transition to a radio play, with too much dialogue and too little action. The first few minutes with the ex-lover provide a few humorous lines, but the tone quickly becomes darker and most of the humor is lost at this point. The last half of the film begins to drag and follows the familiar plot line of the midlife crisis/seven year inch genre -- films like "eCupid" and "Bedrooms & Hallways" with the same prescribed ending. The film is beautifully lit and photographed, and all of the cast turn-in first-rate performances, but the weak second half of the script won't encourage repeated viewings.
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waderobson23 September 2016
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t-dooley-69-38691620 January 2017Dean has just been told that his eyesight is deteriorating but that is what happens in 'middle age'. Still a good looking man but suffering the gay years are 1 times 2 sort of thing he starts to have a bit of a mid lifer. So he decides to go off to his little holiday home near Joshua Tree in the Mojave desert.
Then out of the blue his old flame from New York contacts him. This is Alex and he walked out on Dean fifteen years ago. So they go for the rekindle and see what happens route. What happens next is an emotional roller coaster for both men as their honesty acts as a mirror to the other's perceived sins and in return their own.
Now this is a solid piece of film making and for the most part is just the two of them and yet it still works as there is enough chemistry. I saw it billed as a comedy but it is a relationship drama and any mirth that does occur is purely incidental as it is in real life. The acting is all fine as is the direction and everything else with some particularly good cinematography – but with the Mojave to play with you should not go too far wrong. The story may not be to everyone's liking but it does play out in what I consider to be a realistic and interesting way, and so is one that is worth seeing if you enjoy gay cinema (not a porno by the way) for all it brings to our screens. -
One of the characters in "Lazy Eye," Dean, is a fan of NPR (National Public Radio, the movie's other protagonist, Alex, helpfully spells out for us dolts in the audience). This is used as movie shorthand to give us some insight into Dean as a character. However, writer-director Tim Kirkman doesn't flesh out the character enough to make this trait any more than an empty affectation, akin to leather bound classics being displayed on a bookcase to make someone appear cultured when you know the books have never been cracked. This point is hammered home during one of "Lazy Eye"'s unnecessary flashbacks, in which Dean (Lucas Near-Verbrugghe) realizes "Morning Edition" is about to come on and hurries to switch on the radio, a rapturous expression crossing his face as the program's theme music plays. Even Ira Glass would roll his eyes at this scene.
But there are other moments where the characters seem real. Dean is a Los Angeles-based graphic designer in his late 30s who has amblyopia—lazy eye. At the film's opening he's dismayed to learn he'll need trifocals, the new glasses highlighting that he's not getting any younger. He's enjoying a successful career, yet chafes at being bound to his clients' boring ideas. (I particularly liked his railing against "heads in the sky" movie poster designs.) But what's really eating at him is an e-mail received from Alex (Aaron Costa Ganis), an ex-boyfriend from 15 years ago, when he was a New York art student. "Of course I remember you. You broke my f------ heart," is Dean's first response, which he deletes before hitting "send." Instead, he suggests that Alex, a former Wall Street exec now living in New Orleans, come out to visit him at his vacation cabin in Joshua Tree.
The exes reunite and reconnect—literally—within seconds of greeting each other (this sex now-talk later approach mirrors their hook-up 15 years ago, we later find out). After sex the guys talk about old times, the compromises they each made as they got older, and thoughts on the movie "Harold and Maude," the cult comedy discussed as if it's some impenetrable art film. It looks like they might be on the road to rekindling what they had all those years ago in New York. That is, until one character reveals something about himself that changes how the other character—and the audience—regards him. This wouldn't be a problem if Kirkman used it as a jumping off point to further develop the character and the story, but the revelation is never dealt with to a satisfying degree, with lame excuses and justifications taking the place of any real emotional catharsis. We're asked to forgive a character's duplicity because the movie tells us to, not because the forgiveness was earned.
"Lazy Eye" can't totally be written off. Though Kirkman's writing disappoints, his directing seldom falters. The acting is first rate, with Near-Verbrugghe and Costa Ganis exhibiting an easy chemistry. It's the strength of their performances keeps us watching even when the script weakens. Also, Gabe Mayhan's cinematography is gorgeous.
What's so frustrating about "Lazy Eye" is you can see there's potential for a really good—possibly great—movie here, but it's trapped in the body of a mediocre one. It strives to be a more intelligent take on gay relationships and in many instances it is, but there are many more instances where it's clear the film makers haven't done their homework and are just cribbing from Cliff Notes. -
Gordon-1123 September 2016This film tells the story of a man who meets his ex boyfriend for the first time in a house in the Mojave desert, after he left without a trace fifteen years ago.
"Lazy Eye" stands out from the crowd because it is very well made. The production is very good, and you can tell everything is professionally made. The sets and locations are nice, and I can see much thought have been put into the designs of what is seen on screen. I particularly like the four coloured prints on the wall of Dean's office, and the nice lighting by the pool at night that illuminates the characters.
Story telling is a strong point in this film. Even though there are only two characters in most of the film, I remain captivated by their constantly changing and dynamic interaction. Every line drives the next line, and I just want more of the story to unfold. I really enjoyed watching "Lazy Eye". -
ohlabtechguy25 January 2020A gay, drama romance about two, middle aged fellas, Dean and Alex, who reconnect after losing contact with one another for 15 years. Setting in the 29 Palms area of CA served as a relaxing backdrop, but we see the overuse of water(pool) and cigarettes as a common symbolic element in gay movies. Presumably the water element gives a logical reason for why the characters in gay movies must disrobe, show skin and perhaps get physical. I don't fancy being submerged in water so that wouldn't be a key element in one of my movies and I would try to use other natural reasons to portray nudity. The cigarettes have got to go. There hasn't been anything sexy about them since 1960. Now to the story line.....the two gay characters had had a summer long affair 15 years prior while they both lived in NYC. They parted ways and during that 15 year period we are to believe that a romantic/sexual fire still burned long and hot between them, yet no credible reason for the sustaining of this eternal fire was given. An online search helped them reconnect and within 15 minutes of their long overdue reunion, they started force Frenching and proceeded to pounce on one another in the bedroom. Hmmmm...not what two rational middle aged adults would likely do given the context. Much of the conversations between the two characters was realistic but far too slow and mundane. And let's face it, if we are going to be watching two dudes for 88 minutes, they had better be filmed in the most flattering ways....not so with Dean looking like a drowned water rat, long hair disheveled and water dripping down his glasses for much of the movie. The flash backs to their early 20s was not credible either and some of these shots lasted too long. It was too obvious that Dean and Alex did not look 20 something. Of course, Dean is married, to a guy, who's conveniently away for work in far away Australia. Only problem is...his long lost Alex doesn't know this until they've reconsummated their previous affair. Creates a bit of a credible dramatic tension, but how they part ways at the end doesn't give the viewer much of a happy feeling, nor does it signal an adult message that promotes maturity and wisdom.
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jaronb9420 June 2016This film is an attempt at a gay version of Richard Linklater's "Before" films, that follow two protagonists as they interact in real time. It has a lot going for it, including great production values, good actors, and dialogue that deftly engages the audience throughout. The problem, though, is that neither character is particularly likable, making it difficult to care about them. The primary character, Dean, lives a bourgeois life, facing obstacles ranging from having to transition to progressive lenses to deciding whether to fill the pool at his beautiful second home with fresh or salt water. He's a bit of a whiner, complaining that his graphic design clients set parameters and don't allow him to follow his "artistic" whims. He claims to be a Democratic Socialist, but his only apparent effort toward social justice is that he used to listen to NPR. He's a bit narcissistic and seems oblivious to his privilege. The secondary character, Alex, remains somewhat a cipher. We learn that he "has money" but not much more other than as it relates back to Dean. He's mostly a foil for Dean's angst, discussing things like whether Dean should trade his vacation desert home up for a better one at the top of the hill. In all, a good try, but I just couldn't care about these characters.
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This movie is all about the dialogue and the acting, and both are excellent. Very little happens other than two characters talking honestly, intelligently, and naturally with each other, and so the success of the entire film rests on the audience being interested in the conversation, and liking the characters enough to stick with them. I did.
The film kept my attention throughout, and was nicely photographed and edited, without reinventing the wheel or distracting with needless artsy-fartsy imagery. A simple story, simply told.
A note on the Netflix certificate: Netflix displays an 18 certificate with the warning "strong sex". This is patently absurd, since the two or three sex scenes in the film are very tame, showing nothing more than bare male chests and legs, and maybe a brief glimpse of thigh. Clearly it's the fact that the sex scenes involve two men that makes it so "strong" - and in this day and age I find that double standard offensive. If the same scenes had featured a heterosexual couple, they would have been PG or at a push PG13 and described as "mild". Times and attitudes are changing, but clearly not fast enough. -
calvintoronto22 April 2017Despite the fine production values and strong acting, this film is nothing more than an effort to pass off one man's navel-gazing as something worth examining. It is not.
You find out fairly early on that one of the two men, Dean, is actually married. He's invited his old flame Alex to visit, and you're lead to believe --but before you find out Dean is married -- that Dean is crushing on Alex. But he actually is. But he's also happily married. And that's the problem. A huge problem.
You initially think Alex is the one who's got it together, since he seems so cocky and since he, at least initially, appears to be "the one who got away." But you find out that that isn't true, and that he's still carrying a flame for Dean though he left him behind years ago.
In examining Dean's angst, the film becomes a mapping of Dean's psychology, of "what I want." And to that sorry end, he effectively uses Alex to resolve his mid-life crisis, which has to be one of the most dishonest, horrible things someone can do to another person.
When Alex confronts Dean and asks him point blank what he wants, after telling Dean what he, Alex, wants, Dean dissimulates. What is likely meant to be an exploration of Dean's mixed emotions is, rather, a horrifying glance into the mind of someone so self-absorbed that he can't see Alex as a human being with his own needs. Indeed, that the film renders Alex as a cipher cements this fact. At the end, Dean buries a picture of Alex that Dean drew of Alex long ago, when they met. Alex had brought it with him and given it to Dean. The burying of the picture supposedly shows, finally, some resolve, that Dean finally grows a spine. But he buries the picture along with a dead mouse, who's drowned in the pool. I don't know about you, but that is psychologically warped. The metaphor of burying the picture is plain enough: the relationship is dead. But a dead mouse too? Ick.
The film ends with Dean taking a call from his lover -- he's finally got reception at his somewhat remote location and so now he's connected to his lover after not being able to earlier -- Get it?. Alex is gone, and there's no sense he ever even was a part of Dean's life. Like the multitude of dead mice that drown in Dean's pool, Alex has just been collateral damage. Dean is less likable than Donald Trump, and that's saying something.
If there ever was a picture not worth making, this is it. I mean, aren't there already enough narcissists out in the world ruining the lives of others? An ugly, uncomfortable film. -
cekadah26 December 2016First I want to thank Director: Tim Kirkman for making a good film on a touchy subject, that being male companionship and how it's often based on a shallow foundation. In Lazy Eye the character Dean decides to look back and find a guy he had a brief relationship with 15 years past. What Dean fails to realize is that the entire affair with Alex was based on lust and not common interest or friendship. He finds Alex through the now all pervasive social media via the internet and discovers that Alex is open for a short visit to Dean's desert house.
We discover early on that Dean and Alex are more interested in one another physically than mentally because within five minutes of meeting again after 15 years they are both in the sack! From that point on their relationship and efforts to catch-up through talking is strained and often confrontational. In addition both seem to regress to the emotional level both were at 15 years earlier. Dean is only curious because he is not completely truthful with Alex about his life. And the past 15 years with Alex's life remains a mystery to Dean and the viewer.
This movie has nice production values and the actors try to bring the script to life. The story is a bit weak but it's brought together nicely. -
myronlearn30 August 2023There are so many wonderful, cutting edge and meaningful LGBTQ+ films out there. Regrettably, this is not one of them. 'Lazy Eye' should have been titled 'What am I Doing Here?'. This line is actually uttered by one of the characters toward the end of this mediocre tale of reconnection, loneliness and guilt. Dean, an artist who's married to Brian, but spends a good deal of time geographically separated from him due to work, tries desperately to rendezvous with Alex, a heartthrob from his past. Dean's search takes 15 years to search and is finally successful. Alex visits Dean in Cali and sparks start to fly immediately between the two of them. Dean neglects to tell Alex he's married and very much in love with his husband. Alex finally figures it out but only after he has fallen in love with Dean. He finally asks Dean 'What am I Doing Here' and this viewer thought that one line made more sense than did the rest of the movie's dialogue including the film's title. So much mumbo jumbo occurs between these two who both, in reality ,would have been better off not reconnecting.
I wish the writing were better, as well as the direction and acting by the two leads. It wasn't awful, but not too good either. -
Kirpianuscus9 October 2021It is a film who impose a sort of gratitude for the smart work with cliches, for images and for acting. A mature perspective about love, life, the loved one and people defining the middle age traits. Seductive because it is a kind surprising. In same measure, for the status of reasonable questions support, for storytelling and flash backs, for dialogues and, not last, a little, for mice. A film defined by gentle form of honesty, easy portrait of vulnerability and beautiful images of desert. And a movie who you deserve for a long time. Short, just beautiful.
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codygdietrich25 December 2020It starts out feeling predicable and then moves on feeling like it's going nowhere. Then develops a little depth and conflict. It never expands on the depth that it touches on or truly resolved the conflict before ending. The ending didn't seem true to the characters.
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djaynes19 November 2016Lazy Eye does a brilliant job of capturing the nuances and complications of intimacy. I was captivated by the chemistry between the two leads, Dean and Alex. Their superb acting and the carefully crafted story-telling truly bring this story to life.
I appreciate the way the passing of time is handled in this film. It resonates with anyone who has met back up with an old relationship. It feels organic.
Joshua Tree is such a gorgeous back-drop to this narrative. From a production stand-point, this film captures an aesthetic that honors the insane beauty of the desert. Lovely, beautiful film in every way. I highly recommend. -
ozmirage-5255019 August 2019'"Lazy Eye" is terse, polished, understated but deeply felt. "Gay" films usually ask viewers to cut them slack, to allow the makers expressive leeway we don't give other films. Lazy Eye stands up proudly and lays down its cards calmly. It compresses the emotional range of a novel as the very best short stories do: Annie Proulx's "Brokeback Mountain does that; so do stories by De Maupassant, Fitzgerald, Katherine Anne Porter, Philip Roth. It's a small film with big things tightly rolled inside it.
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css-899511 October 2018A lush California desert backdrop frames the story of two former lovers, out of touch for 15 years, who reconnect for a weekend idyll. Each has his own agenda. The script is sharp, biting, and perceptive. The two leads, Luca Near-Verbrugghe and Aaron Costa deliver spot on performances. A highly recommended addition to your 'watch next' list.
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I just saw this at a festival and was floored by the execution in every aspect of this movie. The script is smart and engaging, poignant, funny and realistic, working on many levels. The actors are amazing, absolutely believable over a span of fifteen years, and despite the small cast it never feels stagey, claustrophobic or forced. It is brilliantly shot and gorgeous to look at, with production values that boggle the mind considering the budget, and apparently a very tight shooting schedule. Can't recommend it highly enough. I was going to give it nine stars (just because, I guess) but thinking back on it as I write this, I can't think of any reason it doesn't deserve ten. Great film.
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Much like LGBTI people, Queer cinema has struggled to find its place, often disadvantaged and dismissed by the mainstream. Making movies is expensive and generally queer cinema never has access to the same kind of budgets as its hetero-normative counterparts resulting in, at times, distractingly poor production standards which fans of the genre generally forgive, hungry for any kind of representation on screen. Actors can be afraid to be associated with 'gay roles' whether they are gay, straight, closet, etc in real life. And stories can be safe, not wanting to miss the chance of catching that stray, curious, 'straight' viewer. But lately, in my opinion, some of these concerns are disappearing. Though film-making is still an expensive endeavor, high-quality cameras, audio and editing equipment is cheaper than ever – resulting in higher production standards. Need an aerial shot of a car on a desert highway? No need to hire a chopper. Hire or even buy outright a drone for that spectacular opening, closing or establishing shot. The myriad of ways we can now watch 'cinema' also helps, as streaming services (and alike) are hungry for content, making them far more willing to take risks on 'niche' titles to fill their catalog. All this brings me to Lazy Eye, which has its fair share of striking drone shots (of the Mohave Desert) and that I saw via iTunes after reading about it in a festival program – the kind of instant access to queer cinema I never had only a few years ago. There's no need to give a synopsis here but Lazy Eye (ironically) looks great, uses its locations well and is, for the most part, well-acted in what is essentially a two-hand-er. Another positive is the story, one that deals with gay men who are completely at ease with their sexuality, the drama coming from their tumble towards middle age and the physical, mental and emotional changes that come with it. We've seen the coming out, first love story countless times – Lazy Eye is what happens 15 plus years down the track, when you've had a number of relationships, you're out to everyone around you and might even be in a same sex marriage. Lazy Eye also doesn't reply on overt, titillating or unrealistic sex scenes where some queer cinema makes the mistake of being more like a porno. That's not to say Lazy Eye doesn't have sex scenes, there are two, but both have a distinct storytelling purpose and are all the more emotionally arousing for it. While it's not a perfect film (the 'Lazy Eye' of the title ends up having little bearing on the story despite the opening scene) it is an example of a certain maturity Queer cinema has reached both in production technique and story content. Another recent film, 'Retake', is very similar. Well shot, well- acted, set partially in a desert and deals with characters who are not tormented by their sexuality but who are dealing with life issues common to everyone. Retake too is very much worth a look as is 'Those People'. Again, it's well shot, in this case beautifully with characters not dealing with the singular issue of 'being gay' but dealing with life issues from a gay perspective. Yet another example is 'Akron'. On the surface it has all the hallmarks of the coming-out, first love story but quickly and refreshingly our very young characters are revealed to be utterly at ease with being gay as are their family and friends. While probably the weaker of the films mentioned here, Akron is worth seeing for the absolute normalcy of the gay relationship, accentuated by amazingly natural and uninhibited performances from the two leads. If these films are any indication, the future of Queer cinema is indeed bright.
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mrjomaled14 June 2017I just watched this movie for the second time. The first time with my husband and after that, alone. He didn't seem to appreciate it as much as I did. In fact, appreciate is a weak word to describe how this movie hit me in the gut. When he asked me how come I liked (loved, actually) the movie, I just said.."it resonates".
I have seen more queer movies that I can even bother to count and most of them are poorly acted, cheesy, have bad production values, and you can tell that they are made "just because". Well, not this one. It's the kind of movie that draws you in as you watch. It is mainly 2 actors having conversations, but what conversations! They are not extraordinary or special...just dealing with emotions and feelings, fears, happiness and the future. It helps of course (tremendously) that those 2 protagonists are very good actors and are easy on the eyes. not twinks or muscle gods, mind you, just good looking guys that you encounter everyday, if one is so lucky. The lovemaking scenes are tender, romantic and oh so nice, I kept being drawn into these very likable and relatable characters . I was completely taken by surprise by a revelation at the middle of the movie that frankly, I wasn't expecting. There was nothing in the previous scenes that gave me any idea of that. From then on, the movie takes off, knowing what I know, this "twist" puts the movie and their characters in a whole new light. The setting of Joshua Tree in the Mojave desert of southern California adds to the quality and beauty of the film, kudos to the cinematographer who did a wonderful job. Overall, the production values, dialogue and acting are top quality.
Kudos to two wonderful actors, Lucas Near-Verbrugghe and Aaron Costa Ganis for such a heartfelt and skillful performance. I also always like Michaela Watkins, who should have had an expanded role in this movie. I hope to see more of these 3 talented actors in the future. -
wildcatso22 January 2017After a hiatus of 15 years, Dean get an e-mail message of what looks like an attempt of re-connection of a past, quick but intense relationship with Alex. The film follows then the inner conflicts of Dean through a turmoil of mixed emotions after Alex's disappearance. Lazy Eye is one of those rare LGBT-themed films which discuss the possibilities of the resilience of passionate love when sometimes is soy difficult to try to rescue something that represented so much in the past was so cruelly severed. Personal accounts of all kinds are necessary to be sorted out so that both men decide whether wounds from the past can be healed. A brilliant independent film directed by Tim Kirkman, a filmmaker worth watching from now on. A masterpiece.
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As several reviewers have already written a synopsis, I'll skip right to the review. "Lazy Eye" is probably one of the highest caliber "queer cinema" films made this decade. The first reason would be the cinematography; granted it's a lot easier to make a high-quality digital film these days, but it still requires a LOT of work, as well as an artistic eye. But most astounding is the overall theme of this work, which touches on many subjects gay men must confront if they ever live past 30; relationship status, physical aging (i.e. loss of youth), overall life goals and what it means to be happy. The writer/director deals with all of these masterfully with the initial set-up of life scene through the eyes of Dean. Outwardly, we see a man who is unhappy with his job, his body, his life's overall direction and the fact that he has to deal with it all alone, save his female best-friend. When contacted by Ales, a lover from his past, we see the raw emotion of bitterness and betrayal in his initial responses to him...which of course shallowly mask his true emotions of unrequited love for "the one who got away". When the two actually decide to meet again in person, we see an expected sexual tension and indeed a fulfillment of their youthful desires. Yet the sex in this film is absolutely NOT gratuitous or even salacious (neither are guys I'd want to see having sex); it's just a slice of life that brings us further into the story.
Then comes the brilliant twist: after some clues here and there (for Alex AND us) we see Dean has a boyfriend...and that he actually loves him/is in a happy, stable relationship. So, all the previous "issues" with his life really come down to his own choosing; he has absolutely nothing to complain about unless he wishes to. Overall, this was extremely well done. My only issue would be with the dialogue and extra filler shots of the 2nd half (I think a good 20 mins could have been shaved off to make it much tighter). I highly recommend this to gay men of ALL ages; the moral being it is never too late to change your life/make new decisions...but sometimes you absolutely shouldn't. -
paulcreeden27 August 2017I'll usually watch a gay movie out of LA when I am just tired of flipping through the Netflix catalog. That probably says as much about me as it says about gay movies out of LA on streaming channels.
This title was not typical. I thoroughly enjoyed it. Once I got past the fact that 35-somethings were commiserating about being old and were swimming in a pool in the desert, I was engaged in the dialog. And this film addresses some universal elements of the gay male experience, both contemporary and traditional.
The one great love is a human thing, but gay men experience it in a profound way. Coming of age feeling totally alone in a heterosexual world causes many gay men to psychologically blossom with a first great love. And that first great love is seldom one's last love or only love as a gay man.
This film covers commitment, marriage, nostalgia and loss in a palatable way. The dialog and situations are believable. The actors are likable and natural. It did not fall into the soft-porn trap which sinks many LA gay films into the quagmire of the predictable. I recommend it to any gay man who has loved and lost. -
smartfisheater26 May 2019The acting, scenes, the story, the characters, the pacing, I pretty much loved all of it. Of all things, the story was damned great.
The relationship between these men was showcased so perfectly in this film but... Dean still loved his husband. We don't get to feel that feeling, what we feel is what Alex feels, wanting to be with the one who is right there in front of you. I'm left with a mess of feelings with sadness being most prominent and happiness almost nonexistent. We do know that Dean's marriage is loving with a few expected faults but what we know learned about Dean and Alex seemed more real than that. This might be seen as a fault of the story telling but I saw this as being focused on the relationship between Alex and Brian, no one else. What I felt was that they really did love each other and I'm left somewhat happy from watching this amazing movie. -
paul3141519 October 2021This is a hidden gem.
Minimalistic but beautifully acted and put together.
What I really like about it is that if you change the main characters with a man and a woman, the message stays the same. -
At The Beginning When i started to watch this movie, it captured my attention but minutes later started to be slow and boring and the idea of bringing the ex-boyfriend to the scene was well made and I enjoyed the development of the film so when least expected, the story turned out to be great and more interesting again, specially when bringing some drama at the end made it happen to me!
I Think Direction was very good and also acting was great and the story was even much better! Sometimes that is what we need to understand what true love is , so lots of congratulations to the Director for a nice movie!