Forget about The Oscars. From J.Lo to Al Pacino, The Advocate looks at some of the actors who've perpetuated stereotypes and turned in terrible performances by going gay.
Many an actor has been showered with awards for playing gay. But just as many have fallen on their faces. As awards season rolls around, we took a look back at some of the worst performances by actors playing gay (or pretending to be gay) on film. From J.Lo in Gigli to Al Pacino in Cruising, read the list — then let us know who you think we missed in the comments below.
See the full list here.
Here are some of the women who made The Advocate's list:
Jennifer Lopez: Gigli — 2003
A lesbian hit woman who goes straight for Ben Affleck, it’s not that Jennifer Lopez’s acting is so much worse than the other bad performances in Gigli. It’s that the movie as a whole is so colossally bad (and the whole lesbian-gone-straight subplot so offensive), it drags everyone down with it. J.Lo won the worst actress award at the 2003 Razzies, and she and Affleck won Worst Screen Couple.
Alexis Smith: Once is Not Enough — 1975
1940s starlet Smith is not only gorgeous, she’s a hoot as the world’s richest closeted lesbian torn between a penniless movie director (Kirk Douglas) and an enigmatic Garbo-esque star (Melina Mercouri)—only this isn’t a comedy. This glossy but ultimately lethargic film was adapted from the torrid bestseller by Valley of the Dolls author Jacqueline Smith, who allegedly based the character Smith plays on one-time wife of Cary Grant, heiress Barbara Hutton.
Christina Ricci: Monster — 2003
Charlize Theron’s career-defining performance as rape victim turned killer Aileen Wuornos was made to look even better opposite Ricci’s whiny, unbalanced work as her runaway girlfriend Shelby. Ricci has turned in some fine performances in her career (most notably in The Opposite of Sex), but this is not one of them, and she almost single-handedly drags the entire film down with her.
Barbara Stanwyck: Walk on the Wild Side — 1962
A script this lousy could defeat even the usually dependable Stanwyck. As a neurotic New Orleans madam obsessed with her star hooker (Capucine), Stanwyck launches into overblown Bette Davis-mode, devouring the scenery of her Doll House bordello in an effort to make this lurid melodrama work.
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