Springtime for Homos: Our Nine Essential Springtime Movies

I’m going to shock you with my findings here, but I believe spring is the most underrepresented season in movies. “Summer” is practically its own genre, fall gets plenty of Halloween-themed flicks, and winter films are downright ubiquitous. Problem is, spring is the time of year when the worst movies come out, so it’s difficult to pinpoint the season’s best finds. Lo and behold, we’ve done it: Here are our nine favorite movies that remind us spring’s sassy freshness. There’s even baseball! I can’t believe it either.

9. Ghost World

If you’re like me, spring means one thing. Say it with me! A STRANGE, ISOLATING WEARINESS!

Yeah, it means other things too, but spring routinely brings me back to high school when graduation was near, motivation was far, and you couldn’t escape that pervading languor. In Ghost World, Thora Birch played a disillusioned teenager named Enid Coleslaw whose cynicism gives way to a realistic, un-cloying vulnerability. She finds an unlikely companion in a middle-aged weirdo (Steve Buscemi, mais bien sur!), and eventually confronts her own aimlessness. Just as good (if not better, actually): the Aimee Mann song “Ghost World,” which is based on the same graphic novel as this film.

Best scene: I’m all about Enid’s droll commentary at her high school graduation during the first few moments of the film.


8. Troop Beverly Hills

Spring means girl scout cookies, and no movie makes me want to scarf a box of Tagalongs like Troop Beverly Hills, arguably the finest moment in Shelley Long‘s cinematic oeuvre. Long’s character Phyllis Neflin has those sly, but flighty smarts that adequately prepare gay children for a lifetime of Goldie Hawn appreciation. The Blu-ray should come with a cute set of Private Benjammies! With little feet.

Best scene: Troop Beverly Hills’ climactic victory and validation as true “Wilderness Girls.”


7. The Producers

The scheming firm of Bialystok and Bloom make our list for one reason — well, two: 1) “Springtime for Hitler” is a fabulously insane musical number as well as a defining moment of irreverence in cinematic history. For the late ’60s, it’s pretty deranged. And 2) Zero Mostel and Gene Wilder have no contemporaries or descendants. They are literally unique comics and brilliant, compelling freaks.

Best scene: Leo Bloom’s screamy commitment to his blue blanket

 

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