I will make no claims for the movie being very good, let alone great, but its generally vibrant New York setting, brought to life by Seidelman (shown below), the film's writer Marty Madden, and a competent cast, make this one a relatively painless watch for folk interested in ballroom dancing, the wheelchair handicapped, and/or further examples of the "other" -- with which Seidelman has peopled her films since her career began.
Desperately Seeking Susan (from 1985 and which holds up well and was only her second film out of more than 20), my personal favorite is one that wasn't much seen, Gaudi Afternoon, in which she has a delightfully odd story, set in a gorgeous Barcelona, and four class actresses to keep it firing. Here, as elsewhere -- just about everywhere -- in her work, the "other" is front and center. So it is with Musical Chairs, in which one prominent character (played by a sassy Laverne Cox) refers to her/himself as "a black, transsexual cripple."
Mom is played by Priscilla Lopez (shown at left, front row, and below), whose career pretty much began and hit one of its high points in the original production of A Chorus Line.
E.J. Bonilla, above, right), who loves both ballroom dancing and the girl he sets his eyes and heart on -- who does, too (Leah Pipes, above, left). Ms Pipes is lovely, and Mr. Bonilla is even better. Sporting a great body and face, as well as good acting chops, this young performer, who was excellent in the still unreleased Four, should only get lucky and be able to give one of his excellent performances in a hit movie for a change -- and thus ensure a lengthy career. Till then, we'll have to hope.
Boynton Beach Club -- clearly needs not just good actors but a good script to bring home the bacon. Musical Chairs, while occasionally too ham-fisted to make the grade, is still often surprisingly enjoyable -- especially if you're an aficionado of ball-room dance, Mr. Bonilla and/or Ms Pipes. Again, you can stream it free by simply clicking here -- from now through Dec. 31, 2012.