Most of these movies – like the flurry of wide release Bollywood flicks current aimed at the Indian diaspora – appeal exclusively to their target audience. Their production tends towards the almost pornographically chintzy, and they’re most often staffed from a self contained stable of avowedly Christian actors. They exist in a post racial America of prosperous, hard striving, counter-culturally embattled Christian families, whose faith sets them at odds with a world literally in thrall to the devil. Contemporary Christian movies religiously follow a variety of tropes.
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Ever since, the Jeebus movie has edged towards becoming a box office mainstay. Mel Gibson might be persona non grata, but his 2004 spatterfest The Passion of the Christ nailed a market so lucrative even progressive, secular Hollywood could no longer ignore it. Now another, arguably more sinister trend has taken hold, as Hollywood seeks to cash in on a long ignored and even disdained audience. Five years before that it was kids movies as a series of franchises, from Harry Potter to Spy Kids proved that tweens had a powerful grip on mammy and daddy’s credit card.
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Our screens are still filled with it’s predictable follow ups, from Cannes darling Amour to The Second Best Exotic Marigold Hotel. Five years ago it was the grey dollar, as the critically acclaimed Kings Speech dragged in sexagenarians who’d drifted away from the action packed vacuity of the block buster era. The flick makes major bank, and a mad scramble begins, as studios line up to cash in. Some startling maverick producer actually markets a movie to an underserved audience. Every few years hollywood is shocked by an utterly predictable success.