CAROL TAKES THE LOT AT GALECA'S DORIAN AWARDS

Why cry when you can laugh? And why laugh when you can laugh in the faces of Oscar voters, secure in the knowledge that you have far better taste than they do, and are thus far better people? Carol smacks down the competition at the 2015 Dorian Awards, winning in all but one of the categories in which it was nominated, and serving as proof that we're better than you, AMPAS. Oh, and, we're coming for you. Here were the Gay and Lesbian Entertainment Critics Association's nominations, and here are their award winners:

Film of the Year

Carol

Director of the Year

Todd Haynes (Carol)

Performance of the Year - Actor

Leonardo DiCaprio (The Revenant)

Performance of the Year - Actress

Cate Blanchett (Carol)

Screenplay of the Year

Phyllis Nagy (Carol)

Documentary of the Year

Amy

Foreign Language Film of the Year

Son of Saul

LGBTQ Film of the Year

Carol

Campy Flick of the Year

Magic Mike XXL

Visually Striking Film of the Year (honouring a production of stunning beauty, from art direction to cinematography)

Mad Max: Fury Road

Unsung Film of the Year

Tangerine

Wilde Artist of the Year (honouring a truly groundbreaking force in the fields of film, theatre and/or television)

Todd Haynes

The 'We're Wilde About You' Rising Star Award

Alicia Vikander

Wilde Wit of the Year (honouring a performer, writer or commentator whose observations both challenge and amuse)

Amy Schumer

Timeless Award

Jane Fonda

REVIEW - TRAINWRECK (JUDD APATOW)

For everything particularly right about Judd Apatow and Amy Schumer's Trainwreck, there's nothing particularly wrong about it. It's a flattering characteristic of a consistently engaging film, one which invites the viewer in through Schumer's generosity as an artist. She's a ballsy performer, with a finely-honed repertoire of a variety of gags, and her style of comedy is winning in its openness - she wants to make you laugh, at almost any expense. Schumer takes on her Trainwreck role with a relaxed countenance that strips away the potential self-awareness, thus you only rarely (if ever) feel like she's grovelling for admiration the way some supposedly self-effacing comedians do. She courts too controversial a line at times - not that her material is too racy, just that neither she nor director Judd Apatow is capable of framing her racy jokes in an appropriate context - and her humour is hardly revolutionary, but it is really good. Would that Apatow could contribute more to a film that, alas, features his name first over the end credits. He resigns himself to his lead, allowing her to take over, while subtly shading each scene in his own, tired tones. Trainwreck is tempered by Apatow's commercial sensibilities - perhaps thankfully, but you wish for a more radical approach to the direction, something in the visuals and the pacing to match the quality of the dialogue. Too often, Trainwreck succumbs to rom-com formula, most notably in its plot, and the ephemerality of a good gag here and there won't suffice to rescue it. Still, there's nothing particularly wrong about it, and that's particularly right.