I gave this film a 9 out of 10, because it was exactly what I expected it to be.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Maybe I'm just too strange myself to really need Cho's constant message of self-love and self-empowerment, but I tired of it quickly as an adult, yet still harbour this quasi-nostalgic fondness that I had for Cho in my teens, even though I now find her incredibly boring, at best and, as an effete gay man of FTM history, I more often find her disgustingly offensive and hackneyed in her potential for appeal. She's best when she's lampooning the "child of immigrants" experience, even as one who was raised by non-assimilating English immigrant/Blitz-refugee grandparents, on some level I can relate to the ineffable strangeness of being reared in such close proximity with "the old country" and find it funny when it is; even so, she's been telling that joke, and all her others, for twenty years, and she seldom expands on it any more than she ever has.I can see what Cho was trying to do here. At the heart of this film, she's clearly attempting to unite her message of self-love with the low-budget camp and highly exaggerated character of a classic John Waters film from the 1970s. In that sense, I can respect her goals, but the Waters classics had something, likely many things that this film seriously lacks. One of those things is the on-screen sincerity of the characters and the chemistry they have with other characters. For as ridiculous as Waters characters like dawn Davenport, Aunt Ida, Crackers, Connie & Raymond Marbles and all the others are, every single actor in those films managed to put every fibre of their essence into those characters to make you believe them, and you simply don't get that in BAM-BAM & CELESTE, except perhaps with Hendrix. Furthermore, your classic John Waters character is less a one-sided stereotype and more something so bizarre its out of a fairy-tale. Cho's goth-punk Celeste is pretty much the stereotype of the self-hating fat girl who falls into that scene to distract from her own self-perceived ugliness. Daniels' effete and promiscuous gay boy is the same vapid, shallow caricature that you'd expect. The stereotyped "Midwesterners" they encounter on the road-trip are less like any "Midwesterner stereotypes" I've actually met (what with living here for twenty years) and more like what somebody from one of the coasts might imagine, making it possibly the most offensive aspect of the entire thing.Furthermore, Cho's message of self-love and implications of freak solidarity is completely lost when the once punky girl who justifiably hated everybody in that tiny town doesn't decide she's beautiful until she's transformed into something worlds more normal. The message that becomes clear is "you can't believe you're beautiful until everybody else believes you are".I really wanted to like this, really wanted to believe that there was something else decent to come out of Cho since Notorious and before she decided to stop being an ally to the TS/TG in the GBLT community, but I guess my nostalgia is either simply doomed to be disappointed, or simply was unfounded in the first place. This isn't the worst film ever, but it's certainly unfunny and generally forgettable if not for every offense to the community she so desperately wants to stand in solidarity with.

Anyone who hates this just doesn't get the concept of camp and parody. Like hello ... it's comedy, not Henry VIII, OK? Good grins all around. Good comedy often gets its message across though exaggeration. This movie is a good example of that. The homophobes and bigots are caricatures, not characters, and it works. Likewise, the romantic interest is exaggerated through its apparent superficiality. That's the point. This isn't about character development. It's about focusing the viewer on how they perceive the people around them, and pointing out the superficiality of their perceptions of others. In that, it succeeds. Though the ending was almost trite, they saved it in the end. Definitely worth a watch, and good messages all around.

I saw this film at Fusion 2005 in L.A., and I laughed from start to finish, as did the entire screening audience. Cho's turn as her mother is priceless. Jane Lynch as a lesbian survivalist and Danny Hoch as a neo-nazi clerk hopped up on sump'm are both hilarious. And the super-bitch played by Elaine Hendrix made my jaw drop at times with her racist rants...when my jaw was not busy laughing. What is funniest about the movie is its willingness to "go there" with stereotypes, queer or otherwise, and turn them on their respective ears. The plot is sort of like "Priscilla: Queen of the Desert" in reverse, with a trip from nowheresville to NYC in the queerest car you've ever seen. What I have not seen reflected in any of the reviews of this film so far is that, at least at Fusion, EVERYONE WAS LAUGHING! So once it's out in theaters, grab your friends and go see it!

I just saw this movie at the Toronto International Film Festival and Margaret Cho was there greeting fans at the entrance. She took questions, she took pictures, she was infinitely sweet and patient and I wanted nothing more than to love this movie; a fag and fag-hag road trip comedy, what could be better? Unfortunately I found the comedy was often of the "Psychics with ESPN" variety or that the timing was just off and I felt a bit disappointed that Maragret and also very funny Bruce did not imbue Bam Bam & Celeste with more character and personality since both in real life are such engaging and fun comedians I know it's a comedy and I wasn't expecting in-depth character development but they often came across a bit flat. I did however LOVE the supporting cast and the cameos alone make it worth watching. Plus Elaine Hendrix as the villainous high school tormentor turned beauty salon bitch was a brilliant casting choice. And Margaret playing her mother is reason enough to give the movie a shot.It's really colourful, really honest and clearly straight from Maragret's heart--I just wish more of the personality she shows in her stand-up would have translated into the script.