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Leaving Metropolis

3.4 out of 5 stars 21 customer reviews

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(Apr 06, 2004)
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Editorial Reviews

Product Description

Leaving Metropolis is the film version of Brad Fraser’s hit play Poor Super Man, which Time Magazine called one of the top ten plays of 1994. Fraser also wrote Love and Human Remains. He currently is writer and coproducer for Showtime’s Queer as Folk. David’s a successful artist in need of a muse. Looking for inspiration, he applies for a job as a waiter. Owners Matt and Violet don’t know quite what to make of David – he seems unconcerned with money, and overqualified for the job – but they love his energy and ideas. When David eventually reveals he’s a gay artist, Matt – who dreams of being a cartoonist – asks to see his paintings. But when he finds he has become David’s secret subject, unexpected feelings overwhelm Matt, and he’s drawn into a risky relationship that will change all their lives.

Torrid sex and tortured emotions fill the screen in Leaving Metropolis. David (Troy Ruptash), a successful painter, has lost his inspiration. To find stimulation, he gets a job at a small, out-of-the-way diner, run by married couple Violet (Cherilee Taylor) and Matt (Vincent Corazza, Owning Mahoney). When sparks fly with Matt, David gets stimulation and inspiration--but the portraits he paints of Matt may break the couple apart. The machinations of a bitter friend bring the situation to a boil. Though filled with lots and lots of sex (both gay and straight), Leaving Metropolis pays as much attention to the character's minds as to their flesh (well, almost as much--the sex scenes are quite extensive and the bodies are all beautiful). Some of the script's metaphors are a little clumsy, but the psychology is convincing. Adapted by award-winning writer Brad Fraser from his play Poor Super Man. --Bret Fetzer

Special Features


Product Details

  • Actors: Troy Ruptash, Vince Corazza, Lynda Boyd, Cherilee Taylor, Thom Allison
  • Directors: Brad Fraser
  • Writers: Brad Fraser
  • Producers: Jeff Peeler, Ken Mead, Kim Todd, Paul Stiles
  • Format: Closed-captioned, Color, Dolby, Letterboxed, Widescreen, Digital Sound, NTSC
  • Language: English (Unknown)
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Number of discs: 1
  • Rated: Unrated
  • Studio: Wolfe Video
  • DVD Release Date: April 6, 2004
  • Run Time: 88 minutes
  • Average Customer Review: 3.4 out of 5 stars  See all reviews (21 customer reviews)
  • ASIN: B0001BMMHW
  • Amazon Best Sellers Rank: #124,660 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Leaving Metropolis" on IMDb

Customer Reviews

Top Customer Reviews

By Grady Harp HALL OF FAMETOP 100 REVIEWERVINE VOICE on April 13, 2004
Format: DVD
Brad Fraser is an excellent writer and has elected to move his successful play "Poor Super Man" (1994) onto the screen with great success. Fraser is also a writer and co-producer for the enormously popular "Queer as Folk" television series and he knows his subjects well. He has the ability to write about the gay world without making a 'gay movie' primarily because he shows such comfort with the variations in gender identities that he can explore all facets. The result is a film that is more about people than about stereotypes, and a fine job he does in writing scenes for characters who, in other director's hands, might seem contrived at best and silly at worst.
The story revolves around a gifted young painter David (Troy Ruptash) who lives with a transsexual friend who is awaiting gender-altering surgery while coping with the cold fact of being HIV positive (Shannon - played by a very fine actor whose name passed by too fast on the screen to acknowledge). David also has an alcoholic over-the-hill blonde reporter Kryka (again, played to perfection by an actress whose name flew by in the credits). David has painter's block and to escape that state he seeks anonymous employment as a waiter to observe life, seeking visual input for his canvases. The Main Street Diner is run by a newly married couple - Matt (Vincent Corazza) and Violet (Cherilee Taylor). David eyes the apparent 'straight guy' Matt and is surprised to find his gaze returned. The closeted Matt has a fling with David which produces a successful break for David's painter's block (he paints beautiful nude images of Matt without Matt's knowing it) and an unsuccessful dissolution of Matt's marriage. The active foil in all of this is Kryka and she is the undoing of the affairs.
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Comment 40 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
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Format: DVD
The best thing about Leaving Metropolis is the arresting visual sense of director Brad Fraser, adapting his own stage play Poor Super Man. Almost every scene and set is filled with vivid colors and striking compositions, making the film a delight for the viewer's eye. The presence of a trio of physically attractive principals who are frequently seen in various stages of undress does not hurt either.

It probably marks a certain coming of age in gay/lesbian cinema that lots of nudity and hot (albeit soft-core) sex, both gay and straight, doesn't guarantee a good film these days. All the eye candy in Leaving Metropolis cannot disguise major problems in this story of a troubled painter (Troy Ruptash) who, for rather contrived reasons, moonlights as a waiter in a diner owned by a married couple (Vincent Corazza and Cherilee Taylor) and becomes enamored of the husband, with disastrous emotional consequences for all. This by now familiar love triangle still has possibilities; that they are not realized here is due not only to a script that, though occasionally witty, is more often trite and overblown, but above all to the stiff and stagy Ruptash, who is unable to rise above the level of cold reading in his performance. Corazza and Taylor are better, the former in particular managing to suggest the anguish of a man caught in the grasp of whirlwind emotions beyond his control. As in many flawed films of this sort, however, a subsidiary character steals the show: Thom Allison's turn as Ruptash's doomed, transgendered best friend projects genuine emotion largely missing from the rest of the proceedings.
Comment 37 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
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Format: DVD
I was just really able to appreciate this film. Sure there were some lines that I didn't like and and I was a little unclear about some plot aspects and I wished we could have seen what happens to the characters after the film ended. But overall, I really loved the message of the film and the originality of it. This is a film about love, sexuality, and relationships. It was really beautiful. Most of what I must praise highest is the acting. Every single person was casted perfectly for what their unique talents offered. Corazza's is a VERY believable and truthful actor. His acting lends himself to innocence and sympathy -- just what Matt needed. Taylor was brilliant. She exudes power and assurance. And she played every one of her very difficult lines absolutely perfectly. She was perfection. Allison was surprising convincing and excellent. I say surprising because for a man dressed in woman's clothing, this is the first movie where I actually LIKED the character and this character was believable and not a stupid stereotype. Shannon was real person for me. Boyd was absolutely excellent. She seems to be the most experienced and a clear veteran of the art. They were so lucky to get her for this. She's a world-class actress.

This film was just really enjoyable. I really found the writer's (Fraser) commentary to be especially interesting. This film was daring, original, and well-directed. A little unbelievable at points, but enjoyable none the less.
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Format: DVD
This film tells its story reasonably well; the acting is pretty good; production is good, etc.; however, somehow I never found myself fully engaged. The premise seems reasonable enough: David, the Successful Gay Artist-working-as-a-waiter to put him in touch with regular people again and so recharge his creativity as an artist. Also an infatuation between a gay man and a straight man, whether reciprocated or not, is also believable. But somehow, with this cast or with this script, the film doesn't resonate. Granted, it *could* happen, but David seems far too together to fall for Matt.
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