Test

This film has minimal dialog and a lot of boring dancing of a repetitive routine. The acting is terrible and the dialog, made up and improvised on the fly. The editing jumps scenes , leaving gaps in continuity. There is insufficient context to make anything comprehensible. It's a fairly childish and superficial look at gay life and the early days of the AIDS epidemic in San Francisco. The audio track is terrible as in so many of these low budget, Indie films, but to the point where one has to turn on the subtitles. Sadly, at that point one then has to read the childish dialog from the badly written script. Movies like this should be tossed in the nearest dumpster!

If you love lean, topless, white, men in their prime dancing ballet then this movie is for you!

The plot is simple and straightforward and has been told before. Thus, it's the delivery of the story that I think is fair to criticize.

The characters of the movie did a convincing job capturing the deep fear and dread that many people still have about HIV/AIDS and the unknown.

The plot moves along in a beautiful "slice of life" style of narrative. You get to see Scott Marlowe's character go through the anxiety and even horror of possibly getting a disease that just murdered Rock Hudson. Everyone else is so afraid and in panic of this new mysterious disease strongly associated with gay men that it sparks an acute wave of homophobia. You see "die faggot" spray painted casually and menacingly on a mattress on the side of the street. You worry if you can get it from sweat. You try to find out if you can tell who has it just by looking at their appearance. The paranoia builds and unfortunately the stigma of HIV/AIDS is still as strong and relevant today.

A subplot develops as the gay protagonist tries to also dance like a man as harshly instructed by his fastidious jerk of a choreographer.

My only negative criticism I think and room for improvement is found in nearly all gay films. It's a movie about cisgender white men. Forget drag queens, trans-gendered people, and more importantly people of ethnic minorities and how it was nearly impossible to get help without interacting with those other marginalized groups. This is another gay film that beautifully annihilated reality by believing that white men are the default human beings.

Overall though, if you're into looking at white men dance naked and have gay sex with each in a tasteful movie with a decent plot then give this movie a try!

This is a reminder of an era I prefer not to think about, but I wasn't quite sure what this was about and I'm glad I watched it anyway. The fear, anxiety and lack of knowledge in regards to AIDS in the 1980's is well remembered by me, though I lived in NYC and not San Francisco as these characters do, but the ravaging was the same. There are no big dramatics here to show the overwhelming scope of this disease. It's an intimate reality of insecure and frightened individuals. I wish I could say this is some small masterpiece, but it isn't. It's an odd film made by a director who has thus far not made a film after this, and that was 9 years before this writing, with a lead who has never been in any other feature film. The cast is clearly professional dancers as at least a third of this film is modern dance scenes, so this is a feast for the affectionatos. While all of that makes this dramatically weaker, much of the dancing is mighty impressive. In the midst of AIDS in this era and all the dancing, this is also a tale of a budding relationship that ends, my favorite moment, on the most peculiar note, sort of ironically humorous. In the lead, Scott Marlowe, is a novice at acting, but he does well. The other lead, Matthew Risch, is an actor, and clearly a professional dancer as well, and he gives an honest performance. It's a quiet, very small, very well directed film that is hard to find on this site by name.

I was hoping for a lot more from this. For starters, being old enough to remember this era, "Test" captures absolutely none of the feel of that time. If you want a genuine reflection of what things were really like, watch any of the gay films that were actually made then: "Longtime Companion", "An Early Frost" or others. Throwing in a couple of Bronski Beat songs and having your characters talk about their new Sony Walkmans is a pretty pitiful way to have to make people believe it's set in 1985.

Slow pacing, weak writing and mediocre acting don't help. This film had no emotional depth at all, which is sad considering the seriousness of the subject matter. In sum, this movie sadly adds nothing to the genre and you're probably better off watching something else.

TEST is director/writer Chris Mason Johnson's second feature, sets in San Francisco, 1985, in the wake of the AIDS epidemic, Frankie (Marlowe) is a young dancer in a dancer company, currently a stand-in for a modern dance project called AFTER DARK. The film surprisingly chooses a rather poised attitude to narrate Frankie's day-to-day life, minutely records his sexual desire, the terror towards the unknown virus and the indecision regarding a new clinic test which could be a death knell for gay men, like his fellow dancer Todd (Risch) says - we come out to our family with death. Johnson never play up the platitudinous romance which is a common trait in the genre, although from their first scene together, audience can perceive a certain spark between Frankie and Todd, but it is not until near the end, they finally strike up a tentative physical contact, again no sparks fly ecstasy, but in an all-too-casual manner and without any implication for melodramatic commitment issues. It is a telling bond between two gay men who may or may not be each other's chosen one.

Artistically, the film also feels a shade different from its peers, first of all, the original choreography fashioned by Sidra Bell is nothing if not a ravishing stunt, at the same time the camera generates its own motion by gyrating fluidly around the dancers' movements. Moreover, Johnson implants Ceiri Torjussen's constantly muffled score to reflect Frankie's sensitive mental activities and deploys his Walkman and the vintage soundtrack as a reminder of the ethos of the era. An unpretentious script encapsulates a viable life trajectory of a common figure and occasionally is effervescent with amusement, such as the jest when they try to have sex with a condom for the first time and how it could end sex- activity forever, or when AIDS has been pointedly referred as an agent to instigate the wave of monogamy. Scott Marlowe firmly projects a sensitive persona on Frankie, who resembles a more lifelike character loathing promiscuity but not a total prude too, when temptation turns up, he can also egg it on if he likes it. The film is nominated for John Cassavetes Award in INDEPENDENT SPIRIT AWARDS 2015, which is definitely a tremendous spur for Johnson to proceed with his next project, and auspiciously, TEST shares a similar texture and sincerity of Andrew Haigh's WEEKEND (2011), another genre-defining contemporary LGBT indie.