1776 has several bits, most notably the Staircase scene where Jefferson pins Adams to the banister. You know what, just watch the song. Go to 5:55, and tell me what it looks like Jefferson's about to do. Then go back to 4:56 and actually listen to the lyrics that lead up to it.
Jefferson is newly married, and explicitly tells Adams and Franklin to leave him alone, so it's not a sure bet.
21 Jump Street: Mostly it's Jenko on Schmidt, but Schmidt does get pretty slashy with Jenko too. The result is it's only more hilarious to watch!
22 Jump Street makes Jenko/Schmidt all but canon, with the film going out of its way to ensure that their interactions are perceived as those of romantic partners, including the "investigate other people" conversation, several students and the school psychologist mistaking them for lovers, Schmidt's clinginess and jealousy, and the fact that, when caught in the act of investigating, their go-to reaction is to pretend they were in the middle of a blowjob or seeking counseling for relationship issues.
28 Days Later. Pretty tame ho yay vibes with West, but there's a scene in question where one of the soldiers (the name of whom is escaping me) is gloating over what he's going to do to Selena — and it very, very creepily feels like he's also threatening Jim.
The hints between Jim and Major West were intentional, at least according to the director's DVD Commentary.
300 is full of this, but it's at much greater levels in the original comic. In both film and comic, a Persian messenger turns up to Sparta and demands the Spartans give up, mentioning that the Athenians hadn't yet submitted to Xerxes. In both versions, Leonidas calls the Athenians 'boy lovers'; in the movie, his wife is present, but in the comic book he's surrounded entirely by men. In history, Athenians and Spartans often ribbed each other like this (though it's questionable as to whether the actual Spartan form of pederasty was chaste or sexual). Think quarreling brothers (which adds a whole 'nother subtext now...) This was addressed in the letters page of the original run. A reader pointed out that there's plenty of evidence of homosexual activity among the Spartans. Frank Miller responded that there was also evidence that they lied about it and he stood by his dialogue. (Incidentally, according to The Other Wiki, said "reader" was Alan Moore.)
Also, both in the comic and the movie, Leonidas and Xerxes' first encounter is nothing short of teasing and subtext.
The Spartans of 300 apparently only loved manly, manly men.
Ben Wade and Dan Evans in the 2007 remake of 3:10 to Yuma. A movie in which a criminal decides to help the man who's trying to put him in jail because he quite likes him. Note that he makes that decision after spending several hours locked up with him in a bridal suite. And that most people agree that the end makes little sense unless you accept Ben Wade/Dan Evans as canon. If that wasn't enough, the movie also strongly hints that Charlie Prince has an unrequited crush on Ben Wade.
Not just strongly hints - the movie pretty much makes Charlie Prince canonically gay for his Boss (or just plain gay, for that matter — "Charlie Princess"?). It's made especially obvious from the annoyed look he gave to the girl Ben Wade was picking up, his emotional "I'll wait for you," and the betrayed look of shock he made when he saw that Ben decided to go along with Dan and jump off the roof.
Wade mentions his love for green eyes a handful of times in the beginning of the film. Charlie Prince (and Ben Foster) has the prettiest pair of green eyes...
9 is rather thick with Ho Yay, much of it being the result of 5 being veeery physical with the other characters.
Hell, one of 5's first lines in the movie is "If 2 were here, he would have done a better job."
And his completely breaking down after 2 was killed.
The artbook states that they share a "special bond". What the hell are we supposed to think!?
There's a brief bit where 5 finds 2 alive and well and begins to speak to him right before being interrupted by the Cat Beast. What he says is rather ambiguous, but it certainly sounds an awful lot like a partial "My love!"
Oh, also this: "This was the first thing we built together." Father-son-relationship, yeah right.
It helps too that the movie made a special point of shoulder touching among the cast, but only 5 and 2 (and 9 and 7, being the het. couple) touched hands (or at least had focal scenes on the hand touching).
For all the intentional Les Yay (hoorah for Prudence!) there's heaps of unintentional Max/Jude. It's the combined effect of all the best-friend-y musical numbers, Max's Ivy League hospitality, them running off to New York together, them sharing an apartment- and the fact that Sadie is obviously making the wrong assumptions as they do so. Jude is sulky and depressed- in a best friend-y sort of way- when Max gets drafted, and glomps him when Jude comes back. If you view the whole movie as a love story between Max and Jude, with Lucy as the unfortunate sisterly mediator, it becomes a lot cuter.
"With A Little Help From My Friends": for all the verses like "What do you see when you turn out the light?"/"Can't tell ya, but I know it's mine", they're both grinning like loons. And though Max is certainly a would-be Casanova in behaviour, he's only actually cohabiting with Jude.
It seems like it had to be intentional when Jude says, "I love the bugger," considering that "buggery" was originally used to refer to anal sex.
Aladdin: Some of the Genie's actions towards Aladdin could be considered flirtatious. But then again he's a very playful genie.
"Oh, Al. I'm gettin' kinda fond of you, kid. Not that I wanna pick out curtains or anything."
Genie tricks Al into kissing him during Friend Like Me and later forcefully smooches him.
Also, the Red Queen bemoans that her sister can make anyone (man or woman) love her.
The Red Queen seemed mighty fond of Alice there for awhile...
Alien: Resurrection: Ripley and Cal. After spending the previous three movies interacting exclusively with males and a surrogate child, Ripley wastes no time in becoming very chummy and touchy very quickly with the cute little android girl whom she first meets when Cal attempts to kill her, while Cal goes from wanting her as dead as the rest of the aliens to letting Ripley stick her fingers inside of her (not like that, perverts) and confiding her deepest feelings and fears about not being human. From the same movie, there's some Ho Yay between Johner and Vriess, which goes from subtext to text when Johner kisses Vriess at the end of the film because they both lived through all of it.
Amazing Grace: Wilberforce and William Pitt, his best friend, with whom he had a messy "breakup" in the second act of the movie. They meet up again at Wilberforce's wedding, where his new wife re-introduces them with this gem:
"You're discussing politics with your eyes. You might as well do it with your mouths."
Champ Kind: The bottom line is you've been spending a lot of time with this lady, Ron. You're a member of the Channel Four News Team. Ron Burgundy: That's a given. Champ Kind: We need you. Hell, I need you. I'm a mess without you. I miss you so damn much! I miss being with you. I miss being *near* you. I miss your laugh! [laugh's playfully and pulls on Ron's sleeve] Champ Kind: I miss your scent. [Composes himself, becomes serious] Champ Kind: I miss your musk... When this all gets sorted out, I think you and me should get an apartment together! Brian Fantana: Take it easy, Champ. Why don't you sit this next one out, stop talking for a while.
Anchors Aweigh has quite a bit of this. Clarence and Joe are rather touchy-feely and are quick to gush about each other to Aunt Susie. Given, Joe's trying to set Clarence up with Susie, but still. One gets the feeling that if this movie were made today, the two sailors would probably have ended up with each other. Or there's this interpretation.
Older gay men came out in a time when there was very little (if any) material—in any medium—which didn't portray homosexuals as criminal, sick, or pitiable degenerates, ultimately doomed. Even post-Stonewall, it took awhile for positive portrayals to make their way to the Young Adult section (where they're still favored targets of would-be censors). So you took your scraps where you could find them. In a sufficiently barren environment, Lord of the Flies was (at least, in certain aspects) compelling.
Another Country constantly tramples the fine line between subtext and text; seriously, the only two women to appear onscreen are a reporter in the framing device and a character's mother. The rest of the narrative is pure, unadulterated Ho Yay, being centered upon a 1930's boys' school where covert gay affairs are popping up like wildfires (to the dismay of the Absurdly Powerful Student Council), and the central character is as openly gay as a person could be at that time. The least homoerotic relationship onscreen is between the main character and his straight best friend, but that is only by virtue of them not being canon lovers; the pair still drips Ho Yay by any other standard. And it's awesome.
Appaloosa (2008): Virgil Cole and Everett Hitch might as well be married to each other. At least twice Everett said he was "with" Virgil. The book has even more subtext coming from Everett.
When Ali makes a move on Everett, he shoots her down, saying that the two of them can't be together, because they're "both with Virgil". ...'kay.
Arthur Christmas: Peter the elf certainly has some (unreciprocated) feelings for Steve.
Steve:(after the lights go out) Peter...let go of my hand, please.
Not to mention Peter got him underwear covered in S's and the slogan "I BELIEVE IN STEVE".
"There are also a lot of curious interludes in which Lawrence and Smith do verbal riffs, interrupting each other, stream of consciousness, finishing each other's sentences or not bothering to complete thoughts at all, to show a kind of easy familiarity, I guess... (and) why is Lawrence's apartment filled with photographs of Smith? Is Lawrence gay? Is Smith his boyfriend?"
Barbie & The Diamond Castle: The whole movie is about the power of Barbie and Teresa's friendship. They live together alone in a cottage in the woods, and in the end choose to keep this lifestyle instead of being princesses in a literal Diamond Castle. The handsome twins that should be their love interests never get any further than comic relief, as the girls are completely indifferent to them.
Quite a subtle example in Barton Fink, also involving John Turturro. The only real suggestion for much of the film comes when Charlie shows him some wrestling moves. However, toward the end, when the police believe he was an accomplice to Charlie's murders, they suggest that the pair may have had a sexual relationship - which Barton denies by clarifying that they 'wrestled together'. An odd example - very few people in the audience would suggest there was much Ho Yay there, but characters in the film do.
Another example of Roger Ebert going Hoyay-mad is his 1995 review of Batman Forever. He gladly jumps on the "Batman and Robin are gay" bandwagon (which actually dates back to the early 1950s), mentioning a scene in which Bruce Wayne convinces Dick Grayson to stay at Wayne Manor as his ward by showing him his collection of...motorcycles? ("The subtexts are so deep, you have to wade through them.") Ebert also wonders if Bruce Wayne would still be Batman if he didn't get to wear the rubber suit.
In the original script, apparently, it wasn't subtext. Just text.
Ben Hur, where it's intentional, at least in part. Gore Vidal (script rewrite) and William Wyler (director) told Stephen Boyd to play Messalah as if he and Hur had been lovers, but didn't tell Charlton Heston, fearing he'd refuse to play it. Seriously.
Bart: Well, Jim, since you are my guest and I am your host, what's your pleasure? What do you like to do? Jim: Oh, I don't know. Play chess... [licks his lips] Screw...
Also, they ride off into the sunset together! Granted, it was in a limo, but still! And they started off on a horse!
Blue Velvet: Frank Booth is, after all, a Depraved Bisexual who takes the hero out, covers his mouth with lipstick and kisses him while calling him pretty (the original, four hours long, script also implied pretty heavily that he raped him). And after all that, when he's chasing him to the woman's apartment, he threatens him with rape again and is still calling him pretty. Depraved, squickyHo Yay but still very much there.
The two main characters of Bride Wars...soooo much. Especially when they were shown together as children. Considering the first line of the trailer (paraphrased) is "The story I'm thinking of involves a bride and a bride?" It's hard to read that part as anything else.
Is it possible to have Ho Yay between two characters who technically never meet? If so, then the old musical Brigadoon managed it. Come on, you know the formula: Jeff, the more cynical of the pair of outsiders, is not only uninterested in the girl that takes him back to her home, but actively disgusted by her attentions. Harry, Brigadoon native, hates life and wants to leave Brigadoon. If either one had been female, you know the script would have found a way to let Harry leave with Jeff.
The entire cast of Bring It On (2000). Among other things, one male character claims to "speak fag fluently" and two female friends are referred to as "dykeadelic".
The main characters had this between themselves. It was easy to forget that the brother was the primary love interest.
It's hard not to see this trope in The Bucket List, especially when Carter's wife poignantly tells Edward: "Please give me my husband back." Also could be a subversion of Nobody over 50 Is Gay, since both Edward and Carter are in their eighties.
Buffy the Vampire Slayer: Didn't Lothos and Amilyn come off as a gay married couple? Amilyn's effeminate mannerisms, his kissing of Lothos's gloved hand as he slept, their bickering about the "young ones"...
Bye Bye Birdie: Harry McAfee seems to be excessively fond of Ed Sullivan. (It's pretty suspicious to hear Harry, who's been happily married for many years, openly admit that Ed is "my favorite human.") And in an Imagine Spot, Harry, dressed in golden robes and singing angelically, becomes pretty choked up when he says: "Ed, I love you." Is Hilarious in Hindsight when you remember that it's Paul Lynde playing Harry.
In The Cabinet of Dr. Caligari, Francis and Alan are supposed to be best friends who are both in love with Jane, but they're extremely affectionate with each other (and not toward Jane)—constantly touching each other, roughhousing, and clutching at each other when something distressing happens. Even after Alan dies, Francis spends most of his time ignoring Jane in favor of "investigating" Cesare and Caligari.
Canone Inverso - Making Love is an Italian movie about a genius violinist, Jeno, pursuing his female love interest Sophie, a pianist. A wonderful love story, no doubt - except that a lot more attention is paid to an extremely close friendship Jeno forms with another violinist David in a music college in Prague; no need to repeat the old jokes about boys in boarding schools, because this movie cheerfully commits all of them, even the common showers.
The Ho Yay is unbelievable, which really isn't surprising for an European movie. There's a scene when the whole class of boys plays jazz improvisations together and when a professor walks in, they start shouting that they're making love. Then there's a scene where Sophie makes a speech about love for music, saying that you love something when you realize that you cannot live without it anymore; Jeno says: "She's talking about us," meaning Sophie and himself, and David says, visibly puzzled: "But she doesn't know we're friends!"
When David, a wealthy boy, invites Jeno to his home, the two discover that they're actually half-brothers, adding some incestuous taste to the already rampant Ho Yay. David breaks their friendship out of jealousy for Jeno's better violin skills, but later in the movie, we learn that while Jeno, who was Jewish, died in a concentration camp because he wouldn't be parted from also Jewish Sophie, David, consumed with guilt, spent the rest of his life mourning for Jeno, actually travelling around under Jeno's name, playing Jeno's old violin and searching for Jeno's and Sophie's lost daughter.
Casablanca: Rick Blaine and Captain Renault see "the beginning of a beautiful friendship" by the end of the movie, and it's easy to see even more going on between them.
"If I were a woman, and I were not around, I should be in love with Rick." Mm-hmm.
There are quite a lot of shots where it looks like Major Strasser is checking out Captain Renault. Of course, most of that is Conrad Veidtbeing Conrard Veidt.
Kratt/Le Chiffre in Casino Royale (Kratt's his henchman, the bald one. Mostly on the entirely overscrutinised basis of the occasional look, Kratt's status as henchman... henchperson... and the fact that if Bond got to have someone good looking come over and kiss him on the cheek, it seemed like something parallel was being set up for Le Chiffre's when Kratt walked up behind him at the table. Way to distract an entire table of poker players, Mads. That, and Le Chiffre's girlfriend sucks. And really, he doesn't care much about her either, judging by his lack of alarm at her impending dehanditation.
Center Stage has two straight male ballet dancers (!) who are competing romantically for the female lead, but they give each other an awful lot of lingering glares and do a lot of symbolic dick-measuring in rehearsal studio and onstage. Arguably Foe Yay, although they don't outright fight.
Charlie Bartlett is full of this between main character Charlie and friend Murphy, and later in in the film between Charlie, again, and principal Nathan Gardner (who is also the father of Charlie's girlfriend).
CharliesAngels is brimming with subtext between the three angels. Demi Moore's character in the sequel spends most of her time being jealous of the ladies and their closeness. One scene in particular between her and Cameron Diaz's Natalie is postively overflowing, complete with guns as phallic metaphors and getting all up in Natalie's face.
Rupert Grint and Robert Sheehan's characters in Cherrybomb. They are best friends, to the point where they get possessive of each other and jealous of people who threaten their friendship. They're also quite...tactile with each other. There's a bit of fondling, and a couple of moments where they get right up in each others faces and seem about to kiss. And they wear matching lock and key necklaces, the symbolism of which is dubious. Plus one of them keeps suggesting that they engage in a threesome (albeit with a female as the third party, but still...)
There's a bit of this vibe between Velma and Roxie at the end of Chicago.
The film of Chocolat lays the Les Yay on thick between Josephine and Vianne. Whether this was intentional or merely the effect of Juliette Binoche wandering around is hard to tell.
Watching City Lights today, one can't help but think there's quite a bit of Ho Yay between The Tramp and the Millionaire. The two are very tactile with each other, the Millionaire keeps giving the Tramp things (including his car), takes him to dinner, gets mad at his butler for trying to throw the Tramp out, and in one scene they even sleep in the same bed. Unfortunately for the Tramp, however, the Millionaire only recognizes him when he's drunk: once he sobers up, he has no idea who the Tramp is and is very rude to him.
There is also the Tramp before the boxing scene. After his original boxing partner, who he had a deal with, runs away to avoid the police, the Tramp tries to act adorable so that his new partner won't hurt him. The boxer interprets this as the Tramp coming onto him, and hides behind the curtain to finish changing. There's also the part during the boxing match, where the Tramp hallucinates that the Flower Girl is with him, and kisses some random guy's hand, thinking it's hers.
Granted Cocktail took place in The Eighties, but there's still a lot of Ho Yay between Tom Cruise and Bryan Brown. Perhaps it's the sensei-student relationship or the lingering looks Cruise shoots his costar.
Cold Mountain: Ada Munroe and Ruby have a very close, intimate friendship, to the point where Ruby seems visibly upset by the main character Inman's return to Ada, fearing that Ada will drop all their plans for building a happy farm in exchange for a life with Inman. While the fact that both Ada and Ruby have male sweethearts defuses this a little, it's still got plenty of fuel for subtext.
Brian Posehn, Patton Oswalt, and Zach Galifianakis show a surprising amount of communal nudity in The Comedians of Comedy: The Movie. Just sayin'...
Commando. In fact, most of Arnold Schwarzenegger's action career. Or most 80s action movies, regardless of the star. If it was made in the Reagan years, it's pretty much guaranteed to feature a large, sweaty, muscular man taking off his shirt, waving around an enormous phallic symbol, and then wrestling another large, sweaty, muscular man.
Chase kisses Caleb during the fight scene in Sarah's room. At some point it has to stop being Ho Yay and become canon. (Besides, Caleb and Pogue were totally hooking up all over the place. And possibly/probably the other boys, too. The movie producers did make the serious artistic decision to have them be swimmers so they could all be wet and mostly naked together.)
True, The Dark Knight had a lot of Joker-on-Batman Foe Yay. But... jeez, Bruce, can't you stop staring at your ex's boyfriend for five seconds? We know Harvey Dent is good looking and all, but really. He's constantly trying to impress him, too.
There's also the whole, "we're under attack! Must grab Harvey and drag him off into the closet!" panic move Bruce does. Actually just the whole fact that Bruce/Batman treats Harvey more like a damsel in distress than he does his own female love interest.
You could pick any two guys from that and have justification for some of this. Joker/anybody and everybody is obvious, from him telling Batman "You complete me" to dressing up as a nurse and almost seducing Dent (to the side of chaos, yes, but it's still seduction dammit!), but there's obvious Batsy/Dent, Batboy/Gordon, and Cricket Bat/Alfred going on.
Joker/Harvey. Likewise with the "seduction".
One of the people who auditioned for Batman was Jake "Jack Twist" Gyllenhaal. This movie also had Maggie Gyllenhaal, with Heath Ledger playing the Joker. Which prompted many a round of giggles from certain fangirls.
The Da Vinci Code: Collet insists on waiting for Fache to get to a crime scene before taking action. Stupid, but loyal. At one point, he flat-out tells Fache that there are other people on the case, and Fache needs to stop figuratively choking them. When Fache loses it and beats up a witness/suspect, Collet, in his usual good-humour, makes it clear that Fache had better start talking. Fache explains that a bishop had broken his vows to tell Fache that Langdon had confessed to being the killer and that he basically feels he's letting down both God and the bishop by not catching Langdon. A very personal confession on his part. Collet casually says that he'll bribe the beat-up man into silence and that Fache can continue going after Langdon. Unethical to the extreme, but if it was anyone but Fache, Collet probably wouldn't have done it.
The Ho Yay made Dead Again miles more enjoyable. For one thing, it deals with themes of past lives, including one scenario where the hero and heroine of the film are revealed to have been married in a past life as well- with the genders reversed, making the Dogged Nice Guy the damsel in distress. There's a scene in the very beginning where a supposed big secret that could solve the central murder case turns out just to be the one guy acting like he's whispering something but instead kissing and evidently LICKING the other guy's ear before leaving death row to be executed.
In Dead Man On Campus, even the other characters noticed it.
At least one critic has pointed out that it's much more likely that a teenage boy would kill himself because he couldn't come out to his parents than because he couldn't follow his dream of being an actor. And Todd's reaction to Neil's death plays liked that of devestated lover, especially as all the other poets (who knew Neil for longer) are concerned with comforting him rather than their own grief.
Kim: You crack my back, you give me foot massages, and after a shower, you put moisturizer on my butt. Zoe: Deal.
Machine-Gun Joe from Death Race is "one angry homo", but the Hoyay really shows up at the end when Joe and Jenson escape the prison and run away to Mexico together to raise Jenson's daughter. Joe even has a cutesy nickame for him: "Igor".
The Deer Hunter, with Robert De Niro and Christopher Walken. Almost certainly intentional, too. (Especially when De Niro strips completely naked in front of Walken for no discernible reason.)
Likewise in GoldenEye when Alec is trying to seduce Natalia on the train, and he says "James and I shared everything...Absolutely everything..."?
The newest addition to the franchise, Skyfall. The scene with Bond and Silva was intentionally homoerotic and made the entire cinema silent with occasional tense laughter. Added to Bond's implied bisexuality/bicuriosity and the Bond/Q flirting, it's definitely one of if not the most Ho Yay filled Bond movies yet.
Mitch: Okay, you go back to doing something vaguely homoerotic!
There's a scene in the Keira Knightley film The Duchess where the title character, Georgianna, Duchess of Devonshire, is talking with her friend Lady Elizabeth (Bess) Foster, about Charles Grey; Bess insists that Grey loves her, and tells her that sex can be pleasurable (Georgianna's husband being a cold, unloving man), and then proceeds to 'help' her imagine Grey by undoing her robe and kissing her back as Grey would do. What makes the scene particularly weird is that Bess later becomes the Duke's lover.
It's entirely possible that the historical Georgiana and Bess were lovers, if not probable.
It certainly casts their relationship in an... interesting light, as Bess gave birth to a number of children by the Duke (half-siblings of Georgiana's children)... which only seemed to make their bond even stronger.
Ethan and Peter in Due Date have a bit of this, especially the scene at the hospital where Ethan caresses Peter's face.
The Eagle, which has literally maybe five minutes in which a woman is even on screen. This movie lives and breathes this trope. It actually has the line, "Put your weight on him, slave!" Referring to helping fix an injury, but even so.
And then there's that delightful scene where it looks like Esca is going to kiss Marcus. That is, he puts his hand ond Marcus' face, his gaze goes all intense and he leans closer and closer. And then, of course tears himself away in all due haste.
Eastern Promises — it's very nearly canon, but either way, Kirill sure looks like he's a wee bit Kolya-sexual. It's pretty damn hard to find fanfic for the film that's not Slash Fic, which is a sign of just how damn overwhelming the ho yay vibes are... and how much fangirls like Viggo Mortensen.
Word of God confirms Kirill is deeply in the closet and in love with Nikolai. So yeah, not reading too much into it.
Jokingly mentioned in Epic by MK in regards to Nod and Ronin, but it's obvious she's not the only one who caught it.
For the first Evil Dead film, there's surprisingly many ho yay moments between Ash and Scott. Scotty. Whichever. It doesn't help that Ash is almost woobified by all the hell he's put through (and all the fake blood he's bathed in), and that they gaze into one another's eyes quite a bit in between fending off their horrible possessed womenfolk.
In The Expendables, when Dolph Lundgren's character is asked why he is betraying Sylvester Stallone's character, he answers "Lover's quarrel." When he is dying, and Stallone asks him who hired him, he insists that he come closer so that he can whisper the answer in his ear.
The film Feds features two females who are training to become FBI agents. Dewitt and Zuckerman, the characters, develop a very close friendship that borders on les yay. When clothes shopping, Zuckerman says Dewitt has "great legs" and Dewitt leaves a date pissed when he talks bad about Zuckerman. And there's the constant physical affection the two show towards each other (hugs, arms draped over each other's shoulders, amongst other things).
Zuckerman mentions she's 29 and single and immediately answers, "No," when Dewitt asks if she thinks the romantic love interest is cute. Doesn't help that she has a bit of a vibe to her character also, immediately sounding antagonistic when the dorky male comes up to ask them both to join in a study group.
Zuckerman is overly enthusiastic when Dewitt wins a pizza eating contest including a glomp from Zuckerman to Dewitt.
Apparently, the Ho Yay was intentional. The director wanted the audience to be made uncomfortable by the subtext so they wouldn't anticipate the Twist Ending.
This is especially interesting because the author of the book upon which the movie was based is himself gay, but Fight Club the book doesn't have anywhere near the Ho Yay as the movie. Apart from when he talks about how he's in love with Tyler, maybe.
In Flatliners, the Nelson/Dave/Rachel love triangle holds far less weight than the Nelson/Dave Ho Yay. This even goes so far as having Dave smash the window of his army truck to rescue Nelson, when he could have easily just untied the canvas at the back of the truck.
Freddy and Jason in Freddy vs. Jason, the fight in the boiler room, where Freddy is moving a floating Jason with his crotch (I'm not kidding). Then after Jason is defeated that time, Freddy leans very close to him, it's to take off his mask, but still.
An early draft of the script had Freddy sometime in the past work as a consular at Camp Crystal Lake who molested Jason before he drowned. Seriously.
This bit from The Frisco Kid:
Avram: We are doing this to keep warm, aren't we? Tommy: Uh-huh. Avram: In that case, you can put your arms around me. Tommy: Come here, darling.
Idgie and Ruth of Fried Green Tomatoes are much closer to each other than to any man. Idgie in particular is extremely devoted to Ruth, and Ruth outright says that the reason she left her (abusive) husband with Idgie was because she loved her. Apparently in the original book they were lovers. The director did mention that the food fight they have was a "metaphor".
Funny Games has this out the wazoo. You can't have your main antagonists be basically Leopold and Loeb ONLY BADASS AND TOTALLY SOCIOPATHIC!(tm) and not have there be glimpses of unfortunate-yay. (It helps that... dude, it's got Michael Pitt. And whoever wrote the page brief for the film, the fact that there's no better name for one of the characters than basically "the dominant one" is very revealing.)
The relationship between Vincent and Eugene in Gattaca sometimes edges into Ho Yay territory. Especially after Vincent meets Irene.
Vincent carries Eugene a few times throughout the movie, due to Eugene's handicap. At one point, Eugene gets drunk, pulls Vincent close to his face by grabbing his tie, and says he's proud of Vincent. He even leaves Vincent lock of hair at the end..
Lampshaded by Peter of Family Guy in "Hell Comes to Quahog." Peter protests a Superstore USA (a Walmart Fictional Counterpart) and shouts, "We're here, we're queer, get used to it! Gattaca! Gattaca!" instead of the actual chant "Attica!" from Dog Day Afternoon.
Gentlemen Prefer Blondes: Dorothy Shaw can't find a man who satisfies her needs, is very snarky with all her beautiful friend's suitors, and only declares her love for Malone when it becomes clear doing so will benefit Lorelei. Interesting... Then there's the double wedding in the final scene - the cinematography tends to cut the grooms out of frame, making it look like it's the two women who are getting married.
Ginger Snaps has the titular Ginger and her sister Brigitte.
Ghost, Les Yay. At the end, it's really Oda Mae that Molly is kissing, though the audience sees the ghost of Sam. It was a bit squicky until Sam's face was shown.
And then there's the scene where Egon and Ray have figured out that the mood slime reacts if they yell at it. After Ray has yelled at it for a couple of minutes to demonstrate the effect to Winston and Peter, Peter asks him something like, "Is this what you two do here after I go home at night?" The way Ray smirks and nods in answer to that has some definite, ah, implications.
Tuco tenderly touching Blondie's blistered lips while standing by his bedside, while talking about how they're the same and all alone in the world.
Gossip featured subtext between Travis and Derrick Webb, mostly in the form of what looked like a one-sided crush on Travis's part. Of course, considering Derrick Webb was being portrayed by James Marsden, can you really blame him?
The musical number "Greased Lightning" from the musical Grease. Asides from the lyrics, which are (ironically) about how much female tail the male singers expect to get due to the sexiness of the eponymous car, it is made of homoeroticism. Pick something, anything about the number at random and it fits.
Not only that, but there's some pretty blatant Ho Yay between Kenickie and Danny just before the racing sequence. It's particularly telling that Kenickie's voice gets really low and uncharacteristically tender during the conversation, and the two enthusiastically hug immediately afterward. There's even a Lampshade Hanging when the guys become embarrasssed when they realize other people can see them.
The Great Race, the relationship between Professor Fate (Jack Lemmon) and his faithful henchman Max Meen (Peter Falk). Max's devotion to the Professor is unmistakable, although the Professor obviously doesn't appreciate him. Poor Max.
Green Street Hooligans has this between the Harvard good boy Matt and the football gang member Pete. They start off with a fight and reluctance to be together (Pete needs to be paid, Matt needs a place to stay) but Pete soon takes a keen interest in Matt after he sees him fighting alongside the gang. Pete and Matt become friends so fast the gang members are shocked:
Bovver: [Pete and Matt walk into the pub] Jesus, you two attatched at the fucking hip or what? Pete Dunham: Leave it out Bov, it's getting old. Bovver: Nah, I'm starting to wonder about you two. I mean if I didn't know any better I'd say you was a couple of gay boys.''
When Matt is outcast from GSE because he is accused of writing about them as an insider due to his Journalism degree, Pete risks his friends, reputation and place in GSE to defend Matt.
Ron and Nick in The Dilemma.
Hancock was full of subtext between Ray and Hancock, the hated hero whose image Ray tries to clean up. Besides the complete devotion and faith Ray has to Hancock and Hancock's trust in Ray, there is the bedroom scene (Doesn't help that Ray is pretty much drunk, and Hancock helps him get into bed) and At the end, Hancock somehow gets Ray's All-Heart logo on the 'moon' for him.
Hancock: Better take [your shoes] off. Ray: OK, but that's all you're getting off of me.
In Hanna, Hanna and Sophie. They kiss and then fade to black. Combine that with the failed kiss from earlier and Sophie's, "I think I'd like to be a lesbian" speech, and, well...
Poppy and her roommate/best friend Zoe in Happy Go Lucky. Oh so much. Another character even thinks that they're in a relationship, although Poppy might just be letting him think that. It's a bit unclear.
Hard Core Logo. Canadian punk-rock mockumentary focused in large part on the troubled, intense relationship between the lead singer and the guitarist of the titular band; the former's obsession with the latter (an excruciatingly gorgeous and slightly fey Callum Keith Rennie) is blatantly romantic and possessive. There are the allegations by another bandmember that a semiconsensual sexual encounter between the two might have been responsible for the band's breakup...
And then there's the rumors about what might have been going on between the actors during filming. Suffice to say, it was apparently a very stressful, very mindfucky, very Method-acted shoot.
In the fourth movie Cedric flirtatiously tries to persuade Harry to have a bath, this takes place on that bridge where Harry had a talk with Lupin (it's been mentioned before, it's a very romantic place). Also Ron obsesses about Viktor Krum and is very angry when he goes to the Yule Ball with Hermione.
Joey and Terri's interaction in Hellraiser III: Hell On Earth has some lesbian undertones. While asking around for Terri, Joey describes her as "really, really pretty", and quickly invites the confused younger girl into her home and lets her spend the night. The next morning Joey finds Terri cooking breakfast for her and wearing one of her shirts, and Terri's affection for Joey is clearly a substitute for the relationships she has had with her abusive boyfriends. Her perceived betrayal by Joey and actual betrayal by her current boyfriend is what causes her to join Pinhead's side.
Hercules features Pain and Panic. Nude S&M demons with a somewhat homoerotic relationship.
High School Musical 2: The school's Ambiguously Gay theater king is challenged to a baseball game by the school's JockWith A Heart Of Gold. They sing a song in which said jock proclaims loudly about how macho he is, and the line "show you how I swing" is sung. The jock asks "I'm not saying I'm going do it it, but if I did, what would have me do?", the other one smirks to himself, and the scene ends. The next time they appear, they're wearing each other's clothes. And yes, this was shown on the Disney Channel.
Also note that in the shirt switch scene, they appear to be eating hot dogs.
Word of God says Ryan has a crush on female lead Gabriella, but their scenes together make her look more like his Fag Hag.
In the stage versions, Ryan is explicitly gay, but his flamingosity is pushed from Flamboyant Gay to Camp Gay as a result.
In all the High School Musicals Chad is so thirsting for a Troy Sandwich.
Until High School Musical 3, where Troy gets his own stalker, in the shape of Rocket-Man. Who would've provided a handy substitute for the real Troy, for Chad, Ryan or anybody else (understandbly) lusting after someone played by Zac Efron.
This is the real reason Kelsi puts up with Sharpay. Or the real reason Sharpay considers herself Gabriella's rival?
There's one scene where Hitch is showing Albert how to kiss and pretends to be Allegra, and has him practice a good night kiss scenario. Romantic music even plays during the scene.
Hook: Dustin Hoffman and Bob Hoskins were allegedly playing Captain Hook and Smee like a gay couple. It shows.
That one scene in Hostel when Josh is starting to get intimate with a girl when his friend Oli starts happily play-humping him for a few seconds before running off. Not to mention the creepy business man's interactions with Josh.
The relationship between Nicholas Angel and Danny in Hot Fuzz. (According to the director there was originally another main character, a female love interest of Angel's. When the character was cut between drafts of the script, her lines - and the peace lily plotline - were simply given to Danny instead.)
It's further exploited at the DVD gag reel, which finishes with Ho Yay shots of Simon Pegg and Nick Frost.
"Me and @simonpegg once wrote some Nicholas Angel and Danny Butterman slash fiction. It was called HOT FUZZ...(applause)" "@simonpegg I too am deeply flattered by the slashers. I say all power to handstitched homoerotica." "I cannot say how much we all enjoyed writing these. You slash fiction writers are having way too much fun."
Ice Age - With Sid being the cause of a lot of it, as well as Buck and Rudy. And there's the 'interesting' scene in the plant between Manny and Diego...
Hoo boy, Eames and his "darling" Arthur in Inception live and breathe this. Especially on Eames's part.
There's also a teensy bit of this between Cobb and Fischer during the bathroom scene.
Here is where you can find a list of all the scenes in which Arthur/Eames is supposedly present.
"I'll come back and we'll be young men together again."
Blatantly portrayed in Infamous, with a twisted relationship complete with steamy kiss between Truman Capote (Toby Jones) and Perry Smith (Daniel Craig. Yes, James Bond). More subtle in the other Truman Capote biopic, Capote, but still present. Capote's real-life relationship with Perry Smith, one of two murderers he interviewed and corresponded with for five years while writing In Cold Blood has been the subject of much speculation for decades. Some of Capote's friends alleged that he'd been in love with Smith, and their letters to one another definitely come across as romantic. We do know that Capote bribed guards to allow him and Smith to be in a cell alone together, that Capote was unable to watch Smith hanged, and that Smith left him all his belongings after his death. At least Capote is confirmed to be homosexual in real life.
There was also serious chemistry between Lestat and one of the servant boys he picks out to kill. The young man clearly has different ideas as to why Lestat's taking him outside for privacy, only reinforced when the vampire gives his face a loving caress. Tom Cruise had to read something into the subtext there.
There's also some serious tension between Louis and Armand. So much so that even Claudia calls them on it.
Claudia: You would leave me for Armand if he beckoned you! Louis: Never. Claudia - "He wants you as you want him. He's been waiting for you."
My God! This scene with Louis and Armand isn't subtext, it's text. Plain bold text. Armand clearly wants Louis, and Louis admits his offer tempts him. Then the almost kiss, the caress, the "You want me to quicken you once more." Come on guys, come on.
The original Jaws, where Quint and Hooper practically strip off and snuggle up to compare scars, then drink to their legs. Yeah, even Brodie seemed to pick up on something... though that didn't stop him from joining the cuddle puddle for a singalong.
There is also Ho Yay between Hooper and Brody. They take an instant liking to each other, seem to share a moment at the dinner table while leaving Ellen out, and at the end of the film Hooper places his arm right on top of Brody's. It has a potentially homoerotic element to it although it could be seen as more of a bromance. It's affectionate but platonic.
Jeepers Creepers 2 is the epitome of this trope. Director Victor Salva stops at nothing to show the football team members, who are 16, taking their shirts off. In almost every scene. It doesn't help that they make plenty of dick jokes, argue about who is gayer, and there's a particular scene where the boys lay in top of the bus shirtless together, sun tanning. This made audiences uncomfortable, not due to the ho yay, but the fact that the characters are 16, mainly because many know that Salva is a convicted pedophile and child molester, having been arrested for videotaping himself having oral sex with Nathan Forrest Winters, the underage star of his film Clownhouse.
Critics made plenty of note of this. Says Ebert in his review:
"Despite Scott's homophobia, the movie has a healthy interest in the male physique, and it's amazing how many of the guys walk around bare-chested. The critic John Fallon writes 'at a certain point, I thought I was watching soft gay erotica,' and observes that when four of the guys go outside to pee, they line up shoulder to shoulder, which strikes him as unlikely since they are in a very large field. True in another movie, but in a film where the Creeper is likely to swoop down at any second and carry someone away, I would pick the tallest guy and stand next to him, on the theory that lightning will strike the tree and not you."
Baloo and Bagheera. There's the whole scolding-mother carefree-father thing being played, the long and emotional eulogy Bagheera gives Baloo when the bear "dies" to protect Mowgli, and come on. Baggy outright asks the guy if he would marry a panther!
And the ending was pretty gay, even with Mowgli going to the village to chase a girl. Baloo states girls are nothing but trouble, and he and Bagheera go strolling back into the jungle (with their arms around each other) singing the last song. So no, you're not weird for picking up on the implications behind their relationship.
It's more likely that Bagheera and Baloo had a stern-father/cool-uncle dynamic. Nothing particularly gay there.
Canonized in a Finnish theatrical adaptation of Jungle Book.
After a very 'special' run of a Jungle Book adaptation, Bagheera and Shere Khan had loads of this. Ooh, the Foe Yay in spades, and the taunting and Bagheera being all stoic... Plus they had a fight-scene, and Shere Khan only half-mockingly reminiscing about what a terror Bagheera used to be. Honestly, it came off like they'd just gotten out of a really bad breakup. And to top it off? Shere Khan had an inexplicable (yet totally hot) Southern accent, and Bagheera had a growly voice a laDinobot. It was disturbing, yet...
Jungle Cubs has Shere Khan/Bagheera in Shouta form.
Just Friends: Samantha kisses Darla on the lips and at one point says that she "likes girls".
It's hard not to see Ho Yay between Aman and Rohit in the Bollywood movie Kal Ho Naa Ho. Close friends? Check. Strangely touchy-feely? Check. Mistaken for Gay? Check... In one of the musical numbers, they find themselves without female dance partners, look at each other, shrug and dance with each other - a very camp gayinterior designer sees them and starts clapping excitedly, looking overjoyed. The fact that Aman and Rohit are both in love with the very pretty Naina and that she loves them both very much just makes the movie feel like one big ad for menage a trois.
Foreign Film: Kamikaze Girls had a ridiculous amount of random parts where people can go, 'wow, that's very les yay!'
The 1970's killer vehicle film Killdozer is rife with this sort of thing. To begin with, it's a bunch of manly construction workers on an island with no women. Dutch is a bit... attached to Mack, and when Mack bites it Dutch descends into alcoholic nutsville and talks about how he and Mack used to go swimming together. Kelly and Dennis' relationship to one another seems like bitter exes, giving a new perspective on the scene where Dennis breaks his ankle while running and has to be helped by Kelly, filling a role normally reserved for a female love interest.
a scene early on in La Bamba has Ritchie's brother coming into the bedroom drunk and warning Ritchie to be careful because "as messed-up as I am I might just mistake you for Carmen". The conversation continues with his brother chiding him about being young and inexperienced with women having lots of ill-timed "erections" and "wet dreams". All this taking place with Esai Morales having his shirt unbuttoned and Lou Diamond Phillips in bed topless. The scene end with Ritchie telling his brother to just "go to sleep". The implication being they share a bed together.
In an early, lesser-known (but very suspenseful) Alfred Hitchcock film called The Lady Vanishes a bunch of people are staying together at an inn in central Europe. There's a pair of middle-aged English gentlemen who seem to be very close friends; the hotel is overbooked, so the two men end up sleeping in the maid's room. At one point, when the maid storms in and starts to change, they look away without any interest whatsoever. Later, we see them sitting in bed—one isn't wearing a shirt and the other isn't wearing pants! They may just be Heterosexual Life-Partners, but the subtext was pretty damning.
The characters were named Charters and Caldicott and they were so popular in the movie that they appeared in other British thrillers like Night Train To Munich.
Very much intended. To quote David Lean's obituary: "As to the suggestion that the film was pervasively homoerotic, David Lean said: 'Yes. Of course it is. Throughout. Lawrence was very, if not entirely, homosexual. We thought we were being very daring at the time: Lawrence and Omar [Sharif, who played Ali] , Lawrence and the Arab boys.'"
And if you thought that Lawrence of Arabia had a lot of Ho Yay, wait till you see the made-for-TV not-quite-sequel A Dangerous Man: Lawrence after Arabia with Ralph Fiennes. It consists almost entirely of pure, undiluted Ho Yay - mostly between Lawrence and Feisal I, but also between Lawrence and Meinertzhagen, who notes that Lawrence looks like a girl, pats him on the knee twice and lets him take a bath in his bathroom with the door to his study open.
Legion has Michael and Gabriel. It seriously seemed like they were going to kiss near the end of their fight scene.
The body-surfing space vampire in Lifeforce occupies the mental hospital boss played by Patrick Stewart, and while interrogating her/him the astronaut protagonist (who's obsessed with her) is irresistibly drawn close for a (just averted) fatal kiss (with the image swopping between the alien's female form and the male body she's occupying).
In Like Minds (Murderous Intent in America) the main characters could make out in any scene without interrupting the flow of the movie. And then there's anything Nigel ever says to Alex, or should we say Jaaaack. "We will be united!"
Lilo & Stitch:. Jumba and Pleakley are the typical "two very different guys stuck together" plot, until you realize that Pleakley enjoys his disguise a little too much. And then we get the series, which has them: living and rooming together, pretending to be married for their disguise, wearing themed couple costumes for Halloween even when no one has to see them together. Pleakley dresses in a Casablanca outfit when Jumba leaves on a plane, and tries to recreate a "painful Earth parting scene." He wrings his hands and spends the entire night trying to contact a kidnapped Jumba. He calls Jumba "my hero!" when Jumba rescues him in kind. And Jumba never complains. Not even when Pleakley puts him in a wedding dress and tries to create a legally binding sham marriage to shut up his nagging mom, in what plays like a Coming-Out Story - especially as Pleakley looked way more uncomfortable with the girl he'd tried to do this with in the other half of the episode.
Then there's the finale movie where they're separated but totally miss each other - with Jumba "accidentally" calling Pleakley to come see his latest invention, Pleakley keeping a picture of Jumba on his desk, and all of it culminating with a phone conversation: "Don't you miss your 'Aunt Pleakley'? I'm wearing the wig..."
Ursula and Ariel from Disney's The Little Mermaid. What with her calling Ariel things like "my child", "angelfish", "my dear sweet child", "sweet cakes", "poor little princess", and "my sweet". As well as telling her if she can't get Prince Eric to kiss her on the third day, then as a consequence, she'll "belong to me"/"will be mine". She also has a tendency to invade Ariel's personal space.
Also at one point in the 'Poor Unfortunate Souls' song; she moves her tentacle across Ariel's chest, with Ariel having to push it off.
Little Shop of Horrors. Audrey II is very personal with Seymour, even going so far as to slide one of his vines up Seymour's shirt in "Feed Me".
Frodo and Sam from The Lord of the Rings. The third film was practically nothing but this whenever the two of them were on screen.
Practically canon: in the closing narration, Frodo tells Sam that "you can't always be torn in two", over scenes of Sam returning to his wife and children. With the strong implication that Sam would always be torn between Frodo and his wife.
Frodo and Sam, Merry and Pippin, Gimli and Legolas, Aragorn and Legolas, Aragorn and Boromir, Boromir and Frodo... No woman could ever be as important to those guys as they are to each other.
Haldir and Aragorn, anyone? They seem to hug an awful lot...Or maybe that was just once.
Merry and Pippin. Seriously, as if their tearful separation in Return of the King isn't enough, their reunion after the Battle of Minas Tirith? With Pippin tearfully cradling Merry and then covering him with his cloak? My goodness. Just check out the dialogue:
Merry: I knew...you'd find me. Pippin: Yes. Merry: Are you...going to leave me? Pippin: No, Merry. I'm going to look after you.
And neither of them ever had another love interest, either.
Hell, the Ho Yay wasn't just off screen. Dominic Monahan and Billy Boyd were constantly hanging out, and, in a gag, pretended to be literally comparing their penises in a trailer. With their pants down.
In 1956's Lust For Life Vincent Van Gogh (Kirk Douglas) seems a little too fond of fellow artist and eventual roommate Paul Gauguin (Anthony Quinn) to be "just friends". They're bickering and bantering later in the film borders looks a lot like that of an old married couple.
Some people have said they see Ho Yay between Alex and Marty in Madagascar but it's eclipsed by the sheer Flamboyant Gay behaviour of King Julien, including a scene where everyone's dancing and he leaps into Maurice's arms. In Real Life, lemur troops are led by a female; it's not a case of You Fail Zoology Forever because Julien is enough of a queen.
There's a scene in Madagascar 2 where Julien is giving Melman romantic advice while climbing all over his head and stroking it repeatedly. Ironically, Mort, who really, really likes Julien, is the one person he really can't stand.
Even less subtle at the beginning when Julien dresses up a a girl and yells: "Who's attracted to me?!" to the troop. Everyone cheers.
Alex: with his flamboyant, Broadway style dance maneuvers, overexcited personality and suspiciously close relationship with his best friend, Marty the zebra. It's also been pointed out that his interaction with his father seems like a metaphor for a Coming-Out Story. Come the third movie he is given a Love Interest in the form of Gia, but considering their relationship could just as easily be interpreted as friendship, there is the problematic matter of her age, and Alex is...rather close to the gruff, butch tiger Vitaly, nothing is really resolved.
Maybe I'm reading into this too much, but Stefano like Marty a lot.
Some of Cady's comments about obsessing over Regina qualify.
Gretchen too, as her obsessive desire to please Regina certainly qualifies.
The entire plot is driven by Janis's Foe Yay-tastic obsession with getting revenge on former BFF Regina.
Megamind has a lot of Foe Yay with his long-time nemesis Metroman; Megamind more or less based his life around those formative years acting as Metroboy's rival, and his hilarious but depressing lack of interest after Metroman's 'death' - and his eager enthusiasm to re-create that dynamic, to the point of creating Titan - also points to a reliance on and missing of Metroman's presence in his life.
Midnight Cowboy, but not to the extent of the book. Schlesinger stated that part of his intention with Midnight Cowboy was to show that two men could be friends without being homoerotic. This is in addition to the various interpretations of Joe being a closet-case. Though the movie has plenty of hoyay, Rizzo and Joe are specifically formed against that.
It's not just Ethan that he has subtext with. There's this slashtastic quote directed at Benji after he asked why his codename is Pluto.
Brandt: Well I think Uranus is available.
Slash fans have had a field day with Benji's "and I'll catch you" line.
There is also the scene at the Burj when Ethan is climbing back down the outside of the hotel and ends up hanging from the open window, Brandt holding onto his leg. Let's just say that he isn't exactly shy about climbing all over Brandt to get back to safety.
What the scene near the beginning of the film, where Ethan blows Benji a kiss and motions to his heart after he opens the prison gates in the opposite direction of the extraction point? Or later when Benji gets nervous and starts babbling about how honoured he is to be working in the field with Ethan?
Ethan is apparently a ho yay machine, making the extraction at the beginning of the film far more difficult and violent than necessary to break informer and naive ally Bogdan from the prison too.
Moon Child is one long piece of Ho Yay after the smiley scene. Sho's reaction to Kei's suggestion that they "spend time apart" was identical to the reaction of a lover told "Let's break up."
Then there's Kei's nightmare scene, which looks a lot more like a different kind of dream.
The look on Kei's face when Sho's arm is covered in blood from a bullet that grazed his shoulder. It looks like a combination of lust and hunger.
And of course the head-kissing scene; Sho's hollow-ness after Kei left him; their reunion, his desperate pleading with Kei to come save him, that worked even though Kei wanted to die; the scene where Sho is dying and Kei is screaming at him not to leave him; and their conversation about "being selfish."
When Yi-Che is on her death-bed, Kei refuses to turn her into a vampire because he says he does not want to condemn anyone to life as a monster like him...but when faced with Sho's imminent death, he cannot face the prospect of living without Sho, and immediately turns him into a vampire to save him. Sho later admits that he is glad Yi-Che was never made into a vampire with them.
Then there's the final scene where Sho and Kei sit in their car together, watching the ocean over a rather romantic-looking cliff, as they sing a sweet farewell to each other while they prepare for death.
Worth noting that Gackt and Hyde actually are close friends, and both of them classify their music as 'visual kei', a genre where probably 90% of the aesthetic is basically made of this trope, often live and on stage. If Moon Child is not invoking this deliberately, I'll eat my hat.
Then there's Gackt's infamous declaration that if Hyde were a woman, he would have fallen in love with him. Gackt even wrote in his autobiography that he contemplated kissing Hyde while he slept during filming for this movie.
Murder by Numbers. The whole film is basically pure Ho Yay. The so-called 'love interest' that the main characters are supposed to be fighting over? Comes across as little more than a beard for the both of them.
Wait, there's a way to watch that movie and not see that? The only fans of that film were a). in it for the teenage psychos and ho yay, or b). in it for the Leopold and Loeb references and ho yay. High points include Richard's jealous bedroom freak-out and the way our Charming Antagonists seem far too comfortable in each other's personal space. The whole business with Lisa just looks like Richie's seriously, seriously compensating — he's such an over-the-top cad, if only to compensate for his metrosexual fashion sense. But wow — talk about Slap-Slap-Kiss.
Somewhat more disturbing, in retrospect, if you take into account potential future Prison Rape for poor Justin. Who is now stuck in the big house alone and without Richie. Ergh.
The abandoned cabin in the woods where they meet in secret because their friendship is forbidden to talk about their hopes and dreams, come up with plans, and drink a lot of absinthe and do drugs totally isn't Make-Out Point. We swear. (Also, the photographic composite of Justin's and Richie's faces just looks like a prediction of what their kids would look like.)
My Blue Heaven: The two male leads troublemaker Vincent "Vinnie" Antonelli and FBI agent Barney Coopersmith show this in one scene in the form of this exchange after Barney saves Vinnie from gangsters.
Vinnie: You saved my life. Barney: You saved mine.
Two confirmed bachelors in their late fifties whose idea of a good time is to dress up Audrey Hepburn in fabulous Edith Head outfits? Oh, they were gay my friend. They were gaaay.
The movie itself said it:
Higgins:"Pickering and I are at it from morning till night. It fills our whole lives. Teaching Eliza, talking to Eliza, listening to Eliza, dressing Eliza." Higgins' Mother:"You're a pretty pair of babies, playing with your live doll."
There is a scene where Higgins imagines Eliza's new dress and uses Pickering as stand-in. He touches his hips, breast and shoulders while he imagines new details for the dress and ends up giving him an appreciative look once he is done.
Discussing Eliza's options once the bet is over, Higgins has this little insight:
Higgins' little song titled "Why can't a woman be more like a man?", in which he continually uses Pickering as an example: "Would you be hurt if I took out another fellow?"
And then we have the fact that Eliza/Higgins is easily the most chaste love story in all films. It takes until the last song for Higgins to even realize that he even likes Eliza, and then at the last scene she just appears, The End. No big finish kiss or anything. It could easily end with Eliza marrying Freddie while becoming Higgins and Pickerings BFF and with Pickering and Higgins bookending it in their library chatting about language once again.
In fact, that's just about how Shaw's Pygmalion (on which My Fair Lady is based) ends, with Eliza off to marry Freddie.
Neighbors: Pete's dramatic I Love You moment with Teddy could be read as this, especially with the romantic music that plays.
Newsies. The subplot with Sarah was inserted purely to hide the Ho Yay between David and Jack Kelly. It didn't work.
Jack and David even have a balcony scene, in which Davey invites Jack to stay the night!
If Jack Kelly randomly pelvic-thrusting couldn't turn David gay, nothing could. He's like Bridget: watching him? WILL make you gay. No exceptions.
Spot prodding David between the legs with his pimp-stick.
The opening number... just... the opening number. Complete with two newsies sprawled on top of each other and at least twenty men apparently bathing together.
That stuff about Jack's parents? Bullshit. Snyder just wanted Jack out of the boarding house to put an end to the epic Newsie-orgies going down every night.
Night at the Museum, between Jedidiah and Octavius. (Yes, the Roman Emperor Octavius. And a cowboy.) Featuring the line "I ain't quittin' you!"
Yes, the "quittin' you" line is said by thecowboy.
In the sequel - no, they weren't really going to kiss, but yeah...
It didn't help when the sand in the hourglass was suffocating Jedidiah, and he was trying to tell Octavius about how their relationship progressed "from enemies to friends and some stuff that will make you cry." Subtle.
Steve Coogan (who plays Octavious): There was a certain kind of subtext, what those of a discerning view might read as a subtle homoerotic subtext. If those people read that into it I certainly wouldn't argue with it... Yes, Octavius has a certain fascination with Jedediah because, of course, he wouldn't meet people as irreverent as that in the world of the Roman Empire, I think people were a bit more formal in their behaviour, so that slightly gauche, throwaway attitude that goes with being a cowboy fascinates Octavius, and he finds it quite alluring.
Once Upon a Time in the West: Cheyenne and Harmonica. Cheyenne idly toys with Harmonica's gun (no, not that one) while gazing at him during their first meeting. Both of them are also strongly drawn to each other throughout the movie, and both of them even manage to ignore/resist/turn down the advances of Jill (the gorgeous redhead who is attracted to both of them) to go Riding into the Sunset together at the end. And then, Cheyenne dies. But Harmonica ''keeps his body.
The bad guy in Onmyoji provides a lot of this: Doson murmurs and smiles at Seimei almost flirtatiously whenever they meet, and says "I'll be watching you" right before he commits suicide. He also strokes Seimei's face and throat while he asks him to rule the world with him. Seimei doesn't seem even remotely interested (possibly because he has pretty shikigami at home).
Doson also tries to convince Prince Sawara to spend eternity with him, instead of with Sawara's girlfriend. He gets downright hysterical at the idea of the prince leaving. This guy is a big lump of Foe Yay and Ho Yay.
One can't bring up Onmyoji without mentioning the relationship between Seimei and Hiromasa. Hiromasa is pretty clearly Seimei's only human friend, and the movies are full of scenes of them talking about love, exchanging long looks, and following each other into certain death. (In the second movie, Hiromasa's absence even makes Seimei lonely enough that he creates a shikigami-Hiromasa to, um, play dress-up with.)
The Other Guys. Will Ferrell's acting like he's got a raging crush on Mark Wahlberg. In the tradition of all bromance movies, Hoitz and Gamble sometimes take the 'buddy' aspect of 'buddy cop movie' to the extreme. "I missed you."
Come on, who gets anyone a gift "just because I was thinking of you" without being at least a little romantically inclined towards them?
There's a little reciprocation near the end. "Okay, fine, I missed you too."
The Outlaw was most notorious at the time of its release for its emphasis on Jane Russell's breasts, but modern viewers are often struck more by a perceived homosexual love triangle in the movie between Billy the Kid, Pat Garrett, and Doc Holliday. Garrett appears furious that the handsome young Billy has come between him and Doc, and Rio (Russell) seems more a symbol of dominance between Doc and Billy than a beautiful woman that any man would want. They focus a lot more on each other than they do on her.
Newt and Hermann. Apparently the novelization even describes them as "bickering like an old married couple."
Plenty of Ho Yay in The Pact (pretty much the only reason anyone's ever watched the movie), where the superfluous plot about a teenage assassin sent to kill a fellow prep school student in the Witness Protection scheme is largely ignored in favour of soft-focus pretty boys wrestling, going swimming, and dressing up as women.
The 2003 version of Peter Pan did make some viewers leave the theater with some rather obfuscating pictures involving Hook and Peter in their head.
The 1953 version has Hook and Smee. Smee is always a bumbling klutz and yet Hook is always having him around. Heck, in Return to Neverland after the octopus' touches hook with a suction cup, Hook thinks Smee kissed him.
The movie version of The Phantom has an interesting moment of this sort, especially since the film is ostensibly for a family audience and is set in the 1930s. Catherine Zeta-Jones is Sala, a henchwoman for the Big Bad who teams up with some pirates toward the end of the film after taking the hero's former girlfriend hostage. One of the pirates makes a pass at the hostage - prompting Sala to, in what is effectively a High Heel-Face Turn, kick the guy in the crotch, grab the other woman's hand, and murmur: "We girls need to stick together." It's possible Sala was just being protective...but then at the end of the movie, the heroine rejects the hero (although the narrator assures us that this is only temporary), and then the two girls leave together in Sala's plane! Something was going on there...
''Pinocchio has the title character and Jiminy Cricket. This scene in particular when he gets angry at Lampwick.
Pinocchio: Don't hurt him, Jiminy. He's my best friend.
Jiminy: YOUR BEST FRIEND!? And what am I? Just your conscience!?
Pintel and Ragetti from Pirates of the Caribbean have an extremely close relationship and often support each other. Add this to the fact that pirates and sailors in general aren't known for their exclusive heterosexuality and the possibility of them being more then Heterosexual Life-Partners is pretty clear. When interviewed, director Gore Verbinski described them as an 'old married couple', while their actors claim they are uncle and nephew. Since neither version is canon, either interpretation is possible... or both, if you're into that sort of thing.
Also Jack Sparrow and Will Turner, more so in the first one than the other two.
Upon their first meeting- while fighting, no less- Jack questions Will's sexuality. Now take into account the suggestive "not all treasure is silver and gold, mate", and Jack GIVING A HEART to Will... Elizabeth who?
Also Jack Sparrow and Cutler Beckett. "Each left our marks on the other" indeed.
Jack:(about his compass) It points to what you want most, and this not the Brethren Court, is it? Beckett: Then what is? Jack:(grinning) Me!
Of course, he adds the word "dead" right after, but still.
Also Jack Sparrow and Barbossa, who seem to almost flirt with each other at some points.
Definitely Jack and Norrington (known as "Sparrington" in fandom); they clearly have some sort of stern teacher/naughty schoolboy thing going on. And in the first movie, Jack gets rather touchy and close to him at several points.
And we're not sure what sex the goat was, but there was something going on there too.
The goat would have been female- goats were taken on board ship to supply fresh milk, pre-refrigeration. It would make no sense for it to be male, unless the Pearls have exceeded even their usual level of dunderheadedness.
To summarize, Jack Sparrow + anything male = this trope.
Also, at a fan event including some of the cast and crew, the actors were asked about the relationship between Pintel and Ragetti, and their explanation was peppered with screenwriter Ted Elliot yelling, "Gay!" Johnny Depp has also suggested that Jack is of a * ahem* resourceful orientation.
Pitch Black: Riddick and Johns gaze at each other longer then necessary.
Pitch Perfect shows a scene where Chloe forces Beca to sing... while they are both naked in the shower. Beca is pretty much trying to not to stare at Chloe's junk. They a have few other scenes and Chloe 'really' wants to be Beca's friend, enough to lean her forehead against Becca's and stare into her eyes....
The Princess Bride has Count Rugen (the guy who killed Inigo's father) and Prince Humperdink. In loads. Especially the scene outside of the secret passage tree to the torture chamber when the Count is getting ready to torture Westley.
Count Rugen: Ah. Are you coming down into the pit? Wesley's got his strength back. I'm starting him on the machine tonight. Prince Humperdinck: [sincerely] Tyrone, you know how much I love watching you work, but I've got my country's 500th anniversary to plan, my wedding to arrange, my wife to murder and Guilder to frame for it; I'm swamped. Count Rugen: [also sincere, with a worried look] Get some rest. If you haven't got your health, then you haven't got anything.
And Inigo and Fezzik are so adorably married. Their rhyming game! And the way they smile at each other! And when Fezzik takes care of Inigo after his epic bender! They're basically two halves of one useful, adult person. There's the Huge Guy Skinny Guy thing, but let's just not think too hardabout that. It's not that they're doing it, it's that they're Heterosexual Life-Partners to a mind-boggling degree.
The Producers. The song "Till Him", during the courtroom scene, gives us lyrics from Leo such as 'My existence bordered on the tragic/always timid never took a chance/then I felt his magic/and my heart began to dance.' Seriously, if this were between a guy and a girl, it would have been the romantic love song. As it is, it's pretty romantic already.
Max and Leo are very touchy-feely, constantly touching each other's shoulders, arms, hands, faces...
Pusher has a part with Heterosexual Life-Partners Tonny and Frank do nothing but just hang out, just the two of them, and mess around. One scene even has Tonny (played by Mads Mikkelsen!) plant a big kiss on Frank's mouth. Of course, this doesn't stop Frank from taking a bat to Tonny's head and beating him bloody when he just thinks that Tonny has ratted him out.
Queen Christina starred rumored bisexual Greta Garbo as the titular queen of Sweden, who frequently dressed like a man, never married, and was also rumored to be bisexual or a lesbian. With a set-up like that you'd expect it to have some Ho Yay, and you'd be right to. The real Christina is suspected to have had a love affair with Ebba Sparre, one of her ladies, and there's pretty much no other way to interpret their relationship in the movie. They kiss several times, and when Christina discovers that Ebba wants to marry a man she flies into a rage. Then when Christina is mistaken for a man at an out-of-the-way inn, a serving wench makes it very clear she's available. And the other way around, the Spanish ambassador Antonio certainly seems interested in "him," and agrees to sleep in the same bed with the "young man" before finding out he's a she.
"I always wanted to fight you, Cort. Ever since the first time I saw you. It's just this... itch that I had to scratch."
If you squint at the relationship between Mindy and Rose in the obscure David Cronenberg film Rabid. Mindy is determined to take care of her, seems to have stripped her naked when she was feeling ill, suggests she take a nice hot bath... For Rose's part she was violently against Mindy being her next victim, even when she didn't think it was lethal.
The 1999 black comedy Ravenous that is about cannibals in the 1840s out in the Sierra Nevada wilderness. The entire plot is basically Ives' attempt to persuade main character Boyd into embracing being a cannibal and joining his side in his plan to get a reliable food source. According to director Antonia Bird's commentary, her original ending for the movie was the camera zooming out of the barn from Ives and Boyd's dead bodies as if following their souls as they flew off together into the ether. She was forced to change it when people claimed it was "too romantic" of an ending. She didn't think it was romantic at all.
Also on her commentary, she claimed Robert Carlyle stated the plot was "the romance between Ives and Boyd." Antonia follows this up with her stating that he was most likely joking.
In Robert Carlyle's commentary, he proves her wrong about him joking by every so often mentioning the relationship between the two main characters. One scene has him going "just kiss him all ready!" to Boyd as he's dying in a bear trap with Ives and explaining that Ives is having a mini-orgasm over smelling Boyd's blood.
Hell, there's Ho Yay and/or Foe Yay between Ives and all of the characters. Being a cannibal, he uses the many food double entendres to good use, one scene having Boyd asking Ives if he ate the only female member of settlers Ives traveled with and him responding with "well, now that you mention it..." and giggling.
And the "he's licking me!" scene where one member of the rescue party has his wound licked by Ives. It happens in a dark tent, so the audience first believes he's licking something else...
There's also the relationship between Privates Toffler and Reich that have Reich being very protective of him and even hunting down Ives after Toffler's been murdered and partially eaten by him.
Re-Animator is a goldmine of slightly awkward ho yay between West and Dan. It helps that West is Crazy Awesome, and he's dragging Dan along with him — and there's a certain possessiveness about how he drapes a blanket over Dan's shoulders, holds him briefly, and tells him he's going into shock. And how they end up Heterosexual Life-Partners...
Many sources claim and/or provide evidence that this was intentional, with some going so far as to say that the Jim/Plato/Judy relationship was meant to be a poly-esque non-traditional family. Plato's character definitely had subtext - see the autographed photo of actor Alan Ladd pinned up adoringly in Plato's locker. Even the AMC filmsite references Plato as a gay character, that "hints at the possibility that he is seeking out Dean's character because he rejects fake machismo."
In fact, an on screen kiss between Jim and Plato was originally planned, but of course this is 1955 we're talking about. The head of Warner studios said in writing that a kiss was unacceptable and off the table.
Allegedly, Dean instructed Mineo: "Look at me the way I look at Natalie [Wood, who played Judy]." The director also apparently told him to look at Dean as though he was what he wanted most in the world; Mineo said he thought of his driver's license, being unable to acknowledge his crush on Dean to himself until later.
In Red Riding Hood, Valerie has quite a lot of Les Yay with most of the other females, particularly Roxanne and Prudence. In one scene her male love interest, Peter, is dancing suggestively with another girl. Valerie drags Prudence over there and tries to make him jealous by dancing with her the same way Peter was dancing with the other girl. Also, it could be argued that Peter and Henry have more chemistry with each other than either do with Valerie.
Marni and Blind Mag from Repo! The Genetic Opera. Virtually inseparable and best friends for nearly their entire lives (with Marni apparently being Mag's 'everything'). While Marni is mentioned several in songs sung by her husband and ex-fiance, she only ever actually physically appears in one Mag sings. The subtext is so heavy, it has become a standard in audience participation to yell out 'two lovers' in Mag's flashback scene with Marni (in reference to flashback scenes with Marni's other two love interests, which begin in such a way). Word of God has said that their relationship is open to interpretation.
Definitely something going on between characters Freddy Newendyke, "Mr. Orange," and Larry Dimick, "Mr. White," in Quentin Tarantino's 1990 film Reservoir Dogs. It is actually impossible to to cite specific examples; the entire movie is one colossal homoerotic overtone. The script:  (some-what inconsistent with the movie as Tarantino enjoys last-minute changes, apparently. The important [read: gay] bits are intact, though. Note: the scenes in the "INT. OFFICE" weren't actually filmed, so it isn't official canon. Still gay though, definitely. Eddie also calls his father "Daddy" in front of everybody, at almost every opportunity to do so.
There's undeniable subtext between Nice Guy Eddie and 'Toothpick' Vic Vega, from bro-hugs, cheek kisses and an all out throw-down on the floor of Daddy's office. There is also the "You'd keep me for yourself," line Eddie throws Vic's way, and the ever-classic "Did you see that, Daddy? Guy got me on the floor, tried to fuck me!")
Mr. Orange having a fake wedding ring he puts on as part of his 'cool, macho dude' costume. And Orange's wince while the guys discuss the pain of being fucked by a big dick in the beginning scene.
Why exactly does White think it's necessary to unbutton Orange's fly while he's bleeding to death from a bullet in the stomach?
Revenge of the Sith skirted the edge of both Ho Yay and Foe Yay with Anakin and Obi-Wan; Senator Palpatine also showed somewhat disturbing levels of interest in young Anakin since he was nine years old (yeah, yeah, Dark Side potential, but many fans felt like Palpy was being played as if he were a pedophile, as if he weren't evil enough).
Read the novelization. Stover is only writing the Anakin/Padmé because he has to. Of particular note is the section on Grievous's flagship — The part where Obi-Wan wakes up while being carried by Anakin is from Obi-Wan's POV, he starts by opening his eyes to see Anakin's butt - or he assumes it's Anakin's butt, since he hasn't seen it from this angle (upside down) and so close before. It's not just a sentence or two, either — there is excessive reference to "Anakin's butt". This goes on for about a page.
And speaking of Star Wars, go re-watch Qui-Gon's death scene...
The Laurence Olivier version of Richard III was rife with Richard/Buckingham Ho Yay. Example: Witness Richard's mannerisms during the "My other self, my counsel's consistory/ My oracle, my prophet!—my dear cousin," scene. Could that little elbow nudge and light emphasis on 'dear' be anything but flirtatious? And the scene right after Richard was declared King, when he makes Buckingham get down on his knees to kiss Richard's hand- the dom/sub Ho Yay was pretty well unmistakable.
Road to ... Bali has an alarming amount of Ho Yay between Bob Hope and Bing Crosby. Remarkably, they are tricked into marrying each other through a double Bride and Switch.
The entirety of Road To El Dorado, which is understandable as the two protagonists, Miguel and Tulio, were a couple in the original script.
They even had little pet-names for each other, which never made it into the final version of the film. However, apparently there are special DVDs which keep the pet-names in the subtitles!
The producers managed to sneak a few of the old scenes into the final version, though. There are a couple very affectionate looks between the two protagonists that make Altivo roll his eyes and once or twice they can be seen acting quite...intimately with each other. There's also the infamous skinny dipping scene and full conversations without pants.
In Robin Hood: Men in Tights, Prince John and the Sheriff of Rottingham have this all over the place, including the Sheriff sitting next to Prince John at the royal fair, the Sheriff barging in on the Prince in the middle of his royal bath, and let's not leave out how often they hold hands...
Alfred Hitchcock's Rope!. It's clearly intentional, as the film was based on the story of Leopold and Loeb, as mentioned above, but due to the Hays Code, their relationship had to be portrayed in coded language and imagery. Although there really should be no other way to interpret the opening scene in the film, where the two share a cigarette in seeming post-orgasmic bliss after murdering their friend. Eventually turns into Ho Yay, though.
Allegedly the original script contained references to Cadell's having had an affair with one of the two while in school.
Much like the Hot Fuzz example, Shawn and Ed's relationship in Shaun of the Dead is very close, to the point where they call each other "babe" and other pet names.
Nomi and Crystal in Showgirls. Quick tip fellas: If your girlfriends idea of a night on the town is taking you to a strip club, her being completely mesmerized by the entertainment and then spends an ungodly amount of money in order to watch while she gives you a lap-dance, it is time to recognize yourself for what you are.
Right at the end of Shrek, during Shrek and Fiona's wedding, the (undeniably male) wolf from Little Red Riding Hood is seen cuddling a knight.
The Shower Scene in Sixteen Candles was full of Les Yay. Even though Samantha and her friend are discussing Carolyn's relationship with Jake Ryan, the boy Samantha is in love with, Carolyn has no idea that the two are watching her, and the expression on Samantha's face just screams she wants Carolyn instead.
Another John Hughes one. In Pretty in Pink there's Steff and Blane, particular Steff towards Blane. Maybe it's because James Spader oozes sex whatever he does, but if you remove the convenient scene at the beginning of the movie when Steff is rejected by Andie, it looks like Steff is trying to get Blane away from Andie out of jealousy of him. Then there an interesting scene at Steff's house where both are talking and Steff is wearing an open shirt and sends Blane to take a shower at the end of their conversation, and even gives him an ultimatum: her or him (his friendship, but still). And finally the last scene together, where if you mute the whole thing, it looks like a breakup scene, with everything including Blane rejecting Steff's touch and Steff being all puppy-eyed at the end.
Matthew Fox and Nestor Carbonell in Smokin' Aces. Nestor Carbonell gets really homoerotic with Matthew Fox as he dies.
No mention of the Stanley Kubrick film Spartacus? The most explicit is the bath scene between Crassus and his slave, Antoninus, where Crassus clearly attempts to seduce Antoninus, which prompts the poor slave to run away and join Spartacus. Plus, there is lots of Antoninus/Spartacus before they are forced to fight to the death.
The original Spider-Man movies just get more and more blatant with each film between Peter and Harry; by the third one they actually feel more like the main pairing than Peter and Mary Jane.
Kirk and Spock is the granddaddy of all Slash Fic, but in the new Star Trek Nero and Ayel have some major villainous vibes.
The new film's Kirk and Spock have some moments, too. Lampshaded by Older Spock commenting on how deep and meaningful his friendship with Kirk was, how important it was, how it changed him forever...
What about Kirk and McCoy in the new film? Ohhhhhhhh boy.
Another Disney ChannelOriginal Movie example: Stuck in the Suburbs has buckets of Les Yay. For a start, the female lead starts ignoring her old (good) Girl Posse when an exciting new girl shows up. She and said new girl embark on an adventure with a male popstar and neither show any real desire to be with him beyond generic school girl crushes and the female lead is even upset when she accidentally breaks him up with his girlfriend. Neither girl ends up with a love interest at the end of the movie and at one point they have a tiff but make up.
And the very typical of romance movies 'sad break up' music interlude where they're both sad and broken up without the other?
Not only is there 'sad break up' music, but there are several montages of the two girls together and a couple of fervent embraces complete with a moment that felt like an almost kiss in one of them.
Sucker Punch: Mostly to show how close the girls are and how they need each other.
The scene between Amber and Blondie where Blondie explains to Amber how to seduce the Mayor.
Amber and Blondie are paired up in almost every group scene and even die together.
It's much more subtle, but it is there in abundance with Baby Doll and Rocket.
Baby Doll and Sweet Pea shared quite a lot of meaningful looks.
In Baby Doll's fantasies, she imagines all the girls in sexy clothing.
Rocket is very hands on with all the girls, especially Babydoll and Blondie.
"I don't bite (too hard)" is said outright by Rocket.
Another example can be observed in the science fiction movie Sunshine (which is directed by the very same director as 28 Days Later) between Capa and Mace, not only but the most obviously during their final scene. Danny Boyle, again, said it was intended to be a pretty homoerotic moment.
If you have no idea what's coming up, the first conversation between Judge Turpin and teenaged Anthony in the 2007 film version of Sweeney Todd: The Demon Barber of Fleet Street makes Turpin (fairly intentionally) sound like he's hitting on him. Hard. Not even in a good way, more of the 'I've got candy in my van' kind of way. And then it goes somewhere else entirely, to mixed amounts of relief and woobiefication. Also, due to the amount of body contact necessarily in giving someone a serious shave (and naturally, slitting a throat) all the scenes with Turpin and Todd himself could easily be recut for totally non-existent subtext.
All of "Pretty Women" has an awfully homoerotic vibe, what with the way Sweeney and Turpin are all singing together while Sweeney rubs his hands around Turpin's face, neck, and shoulders. Very strong Ho Yay vibe, despite the song's subject matter.
The part where Turpin mentions "the catamites of Greece." Look it up.
He basically calls Anthony a slut.
When he says 'everything you've ever dreamed of doing with a woman' it apparently goes right over his head that out of the four he's named, only three are actually women.
Never mind the expression on the Beadle's face as he throws Anthony into the street. "Next time, it'll be your pretty little brains all over the pavement." And the way he wields his cane... Plus, near the end, Sweeney totally flirts Beadle into that chair.
The Beadle's face during "Poor Thing", when Turpin is on the street attempting to woo Lucy with flowers, makes it look like he's envious of the attention Lucy is getting from the judge. And when Turpin tells him he plans on marrying Johanna, the Beadle looks shocked and then...extremely disappointed. Hell, there's a number of moments between those two that suggests the Beadle holds more than respect for Judge Turpin.
Sweet Smell of Success. Listen to the dialog carefully - it seems that Sidney was Hunsecker's boy toy for a while, and Hunsecker has blackballed him because he's a jilted lover. What to make of this line:
JJ: You see that grin? That's the, uh, that's the charming street-urchin face. It's part of his helpless act. He throws himself upon your mercy. He's got a half-dozen faces for the ladies. But the one I like, the really cute one, is the quick, dependable chap - nothing he won't do for you in a pinch.
Later, JJ says this to Sidney:
JJ: I'd hate to take a bite out of you. You're a cookie full of arsenic.
Of course, then there's the way JJ incestuously protects his sister...
Tank Girl. Tank Girl and Jet Girl meet in prison (Women in Prison). Tank Girl regularly seems to be flirting with Jet Girl, and even kisses her at one point to convince a guard that they're lovers so he'll leave Jet Girl alone. Tank Girl also tells Jet Girl jokes to try to make her laugh.
Welsh: You still believing in the beautiful light, are you? How do you do that? You're a magician to me. Witt: I still see a spark in you.
(Earlier in the same scene) Witt: You care about me, don't you, sarge? I always felt like you did. Why do you always make yourself out like a rock? One day I can come up and talk to you and the next day it's like we never even met.
And one of the last lines of the movie, where Welsh can only be talking to Witt after Witt died.:
Welsh: If I never meet you in this life, let me feel the lack. A glance from your eyes, and my life will be yours.
Third Star has James (played by Benedict Cumberbatch) slashing it up with absolutely everything and everyone. Miles often behaves like his ex, while Davy actually lives with James and his parents and couldn't possibly care more for James if he was in love with him, which he pretty much is anyway. One scene shows him helping James get dressed, while the ending sees him holding James in his arms twice, once when he's merely unconscious and once when he's already dead, staring off into the distance, completely heartbroken.
This Is Spinal Tap. Look at Nigel's expression of disgust whenever David's Yoko-Ono-esque girlfriend Jeanette shows up. Or at him watching David all the time. Or at him saying they're closer than brothers. Yeah... somebody has unrequited love here.
The Tinker Bell Movie has an odd moment between Tink and Silvermist. Tink the stranger has just fallen out of nowhere onto her rump, and Silvermist's reaction is to lean in, stroke Tink's nose, and coo, "Easy now... easy... Silvermist's got ya..."
Tinker, Tailor, Soldier, Spy: There's definitely a vibe between Bill Haydon and Jim Prideaux in the book and the movie. Even more justified considering Haydon is bisexual and some people openly speculate about their friendship in the book. The movie drops hints here and there: for example, a coworker owns a picture of them hugging after sports event but they own a different version of the picture, in which Prideaux is intently looking at Haydon.
Julie Taymor's film version of Titus gives Chiron and Demetrius some extremely inappropriate posing with each other. The fact that they're brothers who gangrape Titus' daughter (their step-aunt-by-marriage) doesn't help.
It was a very small part, but in the movie Tombstone, side-character Billy Breckenridge (the little guy with the glasses, played by Jason Priestley) was pretty seriously crushing on Mr. Fabian (the pretty-boy actor played by Billy Zane).
The movie Top Gun, memorable for the commanding officer's Catch Phrase "I'm gonna have somebody's butt for this!" and variants.
Trainspotting has several moments between Renton and Sickboy. Most notably when they're at Swanny's after Tommy's funeral and they just stare at each other for several long seconds.
The looks from Agent Simmons' balding sidekick in the 2007 Transformers movie, and the childish repetition of Simmons' declarations. Michael Bayeven said in the director's commentary John Turturro (Simmons' actor) improvised stuff about questioning his sexuality.
The Sam/Bumblebee stuff. 'Bee is technically genderless, but the Transformers are all assigned gender-specific pronouns, probably as a humanizing gesture. Also: "I'm not gonna leave you!"
And in Transformers: Revenge of the Fallen there is so much Ho Yay going on between Agent Simmons and Sam's friend, Leo, that they possibly had more chemistry (or at least the same amount) as Sam and Mikaela.
Also, as of Revenge of the Fallen, Megatron and Starscream appear to be up to their old tricks. "Starscream, I'm home!"
Yet another from Revenge of the Fallen, listen to what Megatron had to say as he pinned Sam down to a table mid-movie:
Megatron: Yeah! Yes! Yes! It feels good to grab your flesh!
Mike Ribble and Tino Orsini in the 1956 film Trapeze. Words don't do justice to the looks they throw at each other.
The Troll Hunter: Maybe a little between Thomas and Hans, particularly when Hans is fixing his wound.
In TRON, Flynn and RAM have a remarkably long staring-into-each-other's-eyes moment while RAM is dying. After RAM channeled the last of his energy into Flynn as the latter knelt worriedly next to him.
There's also some Flynn/Tron, from the original movie (comrades in arms, literally when Flynn re-channels a laser beam and Tron carries him before/after Flynn passes out), the Tron: Betrayal comics (trusted ally, Tron's unswerving belief in and protection of Flynn), and Tron: Legacy (snaps out of being Rinzler at a critical moment, colors flash back as Tron/Rinzler sinks).
Abby: If I was a guy, I think women would like, line up to go out with me. I'm smart. I have a good sense of humor. I make a great living. Noelle: I'd fuck you. Abby: Thank you, honey. I know you would.
Twilight is already covered under the literature section, but Edward's flashback to Carlisle turning him into a vampire has Edward making an honest-to-god orgasm face. Complete with creepy rape vibes.
It doesn't help that in the film, Carlisle's actor apparently went with the phrase "You're sexy" to get the appropriate freaked-out reaction from Edward's actor. Meta ho-yay?
The third movie? The writers (and actors) all seemed to be shipping Edward/Jacob.
Alice is very touchy feely with Bella vs Jasper who she is supposed to be married to. The two seem more siblings or friends than lovers.
In John Carpenter's Vampires, Valek seems very interested in caressing Jack Crow and purring his name. Jack, already extremely homophobic, goes off on a long rant about 'pole smoking fashion victims' and Valek doesn't really bother to deny it.
In Van Helsing, there's Dracula/Van Helsing. The count really seems a hell of a lot more eager to seduce Van Helsing than to kill him. What with the first-name usage and the hints about how close they used to be. It's even evident in the damn videogame!
In An Evening With Kevin Smith 2: Evening Harder, Kevin kind of lampshades this. Talking about his wife's Playboy shoot, he at one point, totally an Ass Pull, suggests she dresses like Jay and he dresses like Silent Bob:
Kevin: My wife dissected that for about half an hour. "I think you have some unresolved issues with your friend, Kevin!"
Jay: Yo man, tell me something about me. Rufus: You masturbate more than anyone on the planet. Jay: Aw fuck, everyone knows that. Tell me something nobody knows. Rufus: When you do it, you're thinking about guys. Jay: Dude, not all the time.
Ditto Banky. Hell, Banky and Hooper seem to end up together, if the end of Jay and Silent Bob Strike Back is to be believed (they've got their arms around each other as they walk out of the movie theater).
Violet And Daisy: It's easy to mistake the title characters as a couple, especially since there's nothing to refute it.
The entire first half of 'The Visitor'. Every interaction between the Professor and Tarek, particularly when a semi-nude Tarek teaches the Prof how to beat the drum between his legs. mmmm, manlove.
The Voyage of the Dawn Treader definitely has some Caspian/Edmund vibes. They tend to stare at each other far too often, they enjoy... ahem... crossing blades, they share a meaningful confession before the final battle, and their parting at the end of the movie has an emotional hug (whereas Caspian's hug with Lucy is far less important and in the background).
The Rorschach/Nite Owl bromance in Watchmen seemed to be given more emotional weight than the het romance. Yeah, this is Rorschach, but still.
Also, absolutely any moment featuring Adrian Veidt. They totally played up that "possibly homosexual" thing. While Ozzy certainly had his moments in the comic, the whole thing was cranked to 11 in The Movie. He had moments with Nite Owl, Manhattan, and even Rorschach. He always seemed to look like he was checking the other guys out...
The Warriors: A street gang with a ratio of nine physically fit men to one rather homely woman? Almost all of whom bare their chests? And insist on fighting hand-to-hand? And are Bash Brothers? And the movie's loosely based on an ancient Greek legend? It's almost inevitable - and, in particular, hard to resist the temptation to "slash" Ajax and Cowboy.
Cowboy: He saved my ass back there. We have to go back for him.
Nikolai Rodchenko and Raymond Greenwood from White Nights. They dance together. They argue and give each other those 'Come do me' glances. At one point, it looks as if they're about to have a proper fight, but it ends in a hug. The end of the movie is even more packed with Ho Yay; Raymond, upon being reunited with his wife (played by young and ridiculously charming Isabella Rossellini!) and Nikolai, hugs his wife for about two seconds - and then goes and gives Nikolai a proper, long embrace. The movie ends with the scene of the two of them gazing at each other and smiling. Of course, it doesn't hurt that Nikolai is played by Mikhail freaking Baryshnikov.
Wings (1927) features one of the earliest examples of a man-on-man kiss on the lips.
The girl in the triangle was never pursued by either. Rather, the title cards pretty much spell it out:
"You - you know there is nothing in the world that means so much to me as your friendship" "I knew it - - all the time - - "
Withnail and I with even non-slashers believing that Withnail is in love with Marwood. Marwood, in return, has affection for Withnail, treating him like a small child and looks as if the goodbye is causing him extreme amounts of pain.
Oh, dear lord, Charles and Erik. Deep heart-to-heart talks, chess games, intimate mind-linking, Erik cradling Charles's injured body and trying to kill the person responsible, the list goes on. There were numerous reviews pointing out how their bromance could be read as a closeted homosexual relationship. Half the time they're at a strip club, they spend it looking into each other's eyes, not on the half-naked women. This exchange at the end practically makes it canon:
Emma: Where's your telepath friend? Erik: Gone. Left a bit of a gap in my life, if I'm to be honest. I was rather hoping you would fill it.
Interviewer: I know a lot of the fans loved in First Class the relationship between you and Mr. Fassbender, Charles and Erik, there was an intimate moment or two, there was a connection, do we finally get to see them kiss?
James McAvoy: (laughs) Air kiss. Air kissing and Eskimo kiss.
Interviewer: You know if you're air-kissing, he could use his weight to pull you closer.
James McAvoy: (laughs) It's good, he could try, certainly buy me dinner a few times first.
Interviewer: I know a lot of the fans [..] responded very well to the bromance, the masculine friendship, the intimacy that you shared with James McAvoy on the screen the last time. I asked him any chance of a kiss, and he seems willing if you're game.
Michael Fassbender: (sings) Sometimes when we touch, the honesty is too much... (laughs)
Interviewer: I'm welling up! That's an emotional moment.
Erik, who has known Charles for only two days at this point, basically admits that he thinks the telepath is cute when he calls him "an adorable lab rat." Seriously, when was the last time you saw Magneto playfully tease another male character in this manner?
In a deleted scene, Charles projects Erik in drag (yes, you read that correctly) and remarks, "You've never looked more beautiful, darling." There are a million other things Charles could've conjured with his mind to make Angel giggle, and creating an image of his best friend in make-up, with a ginger wig, dressed in a sparkly blue miniskirt, fishnet stockings and go-go boots is, uh... unusually kinky.
The "It's good isn't it?" just beforehand. Technically, he's talking about his telepathy, but really Charles, you do seem a bit too pleased with yourself.
Erik ferociously barks, "I SAID BACK OFF!!!" to the youngsters like a predator who wants to defend its wounded mate. If Charles was indeed dying, Erik would selfishly be the only one who could say goodbye to him—even Raven (whom Magneto respects more than the other mutants present) isn't "allowed" to be near her adopted brother.
In the truck where Charles mentally renders his team invisible to the Soviet soldiers, Erik's hand is on the inside of his friend's thigh.
Just as Moira and her team are about to ditch Erik at the residence of the Soviet official after he becomes a security risk, Charles bluntly tells her, "I'm sorry, I can't leave him," and runs off after Erik.
When they first meet, Charles hugs a drowning Erik in an attempt to calm the other man down.
When the younger Charles loses his temper with Erik on the plane, his outburst demonstrates quite clearly that Erik's betrayal in First Class (where their friendship had only lasted a few months) had hurt him a lot more than Raven's (who grew up with him as a sister figure for 18 years).
Charles: YOU ABANDONED ME!!! You took her away, and YOU ABANDONED ME!!!
Logan outright refers to Erik as "someone he [Charles] loved" when trying to convince Charles to go and find him. Although it's possible he was referring to Mystique, they were talking about Erik at the time, and it's left deliberately ambiguous.
Logan: The professor I knew would never turn his back on someone who lost their path, especially someone he loved.
When Logan asks Hank as to why Charles is in such bad shape, Hank lists Erik before Raven and the spinal cord injury, implying that the loss of Erik upset Charles more than the other two.
Hank: He lost everything: Erik, Raven, his legs...
Not to mention them holding hands when their elderly selves believe they're both about to die.
After Charles punches Erik very hard in the face, not only does Erik not retaliate at all (it's extremely rare for him to not respond to violence with violence), but he simply wipes his mouth where he was hit as he cheerfully greets Charles without any sarcasm. After believing for 11 years that he'd never see Charles again (and 10 of those were spent in solitary confinement), Erik is so darn grateful to be in Charles' presence once more that he isn't the least bit angry by the latter's punch.
Erik: Good to see you, too, old friend.
When the guards try to shoot them in the Pentagon kitchen, Charles instinctively places his arm across Erik's chest as a protective gesture.
Hank staying behind with Charles and taking care of him.