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Go Fish
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Directed by Rose Troche.
This hit arthouse ensemble piece traces the romantic and political ups and downs of a group of multicultural Chicago lesbians. The central story involves an unlikely romance between Max (Guinevere Turner), a hip young babe, and Ely (V.S. Brodie), a slightly older woman involved in a long-term, long-distance relationship that's basically a smokescreen for her fear of romantic risk. When the pair are introduced by Max's roommate, teacher/activist Kia (T. Wendy McMillan), Max isn't interested in Ely, whose long hair, hippie accoutrements, and fondness for decaffeinated herbal tea don't impress the younger, more fashion-conscious woman. Soon, though, fate, friends, and Ely's butch new hairstyle conspire to push the women closer together. As this new romance inches along, the pair's friends have problems of their own: Kia must help her closeted girlfriend, Evy (Migdalia Melendez), come to grips with the disapproval of her conservative Latina mother, while their pal Daria (Anastasia Sharp) incurs the disapproval of the lesbian community for her decision to sleep with a man. Filmed in black and white on-location in Chicago, Go Fish features a number of non-standard narrative devices, most notably the Greek chorus, or "jury," of lesbians who comment on not only the plot, but also the political and social ramifications thereof. Shown in competition at Sundance in 1994, Go Fish went on to earn critical and commercial success and establish the careers of director Rose Troche and actress Turner, who together co-wrote and co-produced the picture. Turner would appear in several additional indies and co-write the script for American Psycho, while Troche would go on to helm 1998's Bedrooms & Hallways. ~ Brian J. Dillard, All Movie Guide
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mercurialmercurial Re:Uwe Boll
by mercurial in HORROR MOVIES 101
liked it.
"I think it's a rather moot point. There are always going to be "good" directors and "bad" directors, "good" screenplays and "bad" screenplays, et. al. It may not be any kind of majority, but some people do like his films and I think he serves a purpose (however inane it may be).Personally, I had wanted to see Bloodrayne when I found out that Guinevere Turner was scripting it (I liked Go Fish and The Notorious Bettie Page and loved American Pyscho) and was completely horrified when I had seen the final product. Interestingly, I was able to talk with Guinevere in L.A. through a friend of mine that was friends with her friends or some weird six degrees of separation like that. Anyways, I wanted to talk to her about Bloodrayne and when I barely finished speaking the word she rolled her eyes and made a look of disgust on her face that pretty much explained everything. She briefly mentioned fighting with Boll and his people over the script and how most of it was taken out of her hand ... " [More]
Review by All Movie Guide
All Movie Guide
is neutral about it.
One of the seminal queer movies of the '90s, and an important indie successs story, the debut film from director Rose Troche and actress Guinevere Turner, who co-wrote and co-produced the picture, is simultaneously a romantic comedy, a political debate, and a stylish piece of experimental filmmaking. The movie's commercial success probably stems from its well-written, well-acted central romantic plot, but its critical significance owes much to the other elements. From a mock Greek chorus staged as a lesbian slumber party to a wide array of interesting shot selections and inventive fantasy sequences, Go Fish challenges the notion that a film has to go for the lowest common denominator if it wants to tell a story that's sexy and sweet. Executive-produced by Christine Vachon and Tom Kalin, whose earlier projects emphasized artfulness over accessibility, Go Fish cross-pollinates New Queer Cinema with feel-good filmmaking and feminist activism. As the politically correct early '90s recede from memory, some of the weightier debates may seem a bit heavy-handed -- especially for those outside the film's gay and lesbian core audience. Yet these elements are central to the film's overall portrait of a group of Midwestern feminist lesbians. "The personal is political" is sort of a Women's Studies 101 truism, but Troche and Turner put it into action, locating all sorts of good-natured sexual and romantic fun within the context of their larger community. From the opening sequence of a history class reclaiming lost lesbian icons to the closing-credits montage of various stereotype-free sexual tableaux, Go Fish is a film by and for real lesbians rather than the soft-focus, male-identified creatures that inhabit so many other movies. ~ Brian J. Dillard, All Movie Guide
 



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