Breaking Glass Pictures timely gave the viewing public a New Year's gift by releasing the 2017 Israeli drama "Scaffolding" on January 1, 2019. The delay in sharing thoughts about this coming-of-age film is attributable to Breaking Glass and other indie-film studios keeping this site very busy with the regular awesome additions to their catalogs. 

The numerous accolades for "Scaffolding" include a well-deserved Israeli Film Academy Best Supporting Actor award for the man who portrays high-school literature teacher Rami. He represents the cultured side of the art versus commerce conflict with which excitable boy Asher is dealing. Tough and gruff dad Milo represents the other side.

The following YouTube clip of a "Scaffolding" trailer introduces the theme of the film and provides a strong sense of the characters. ​

Seventeen year-old Asher is the good son when "Scaffolding" opens; he is a strong and obedient offspring who happily is devoted to the titular company of his self-made man father, High school is a mutual nuisance regarding this highly disruptive presence and that educational institution.

The scales begin to tip in favor of book learning when Rami reaches Asher at a time that the boy also is facing his final finals. The conflict that is at the center of all films of this nature relates to Milo literally needing the help of his son more than ever. Milo directly stating that school is not very important creates more emotional turmoil.

The plot thickens on Asher experiencing the type of angst related to Rami that many of us feel when we view a high-school teacher as a parental figure. A blow to that relationship always hurts, and it is worse when we do not fully understand the cause. 

The search for answers causes Asher to fully go out of bounds; of course, this merely worsens his situation. 

The artistry of the "Scaffolding" relates to the understated manner in which this universal story unfolds. The actors who portray the three sides of the triangle all play their roles well. We are spared violently frenetic dancing in an empty warehouse and any other excessive demonstrations of teen angst. 

We also do not get any extreme displays of adult frustration or other strong feelings. This makes the pivotal act of desperation by Rami especially surprising.

The international vibe of "Scaffolding" continues with the special features. A 20-minute making-of short is in Hebrew without subtitles; the five-minute version has subtitles. 

The striking images and related spectacular cinematography in the Breaking Glass Pictures DVD release of the 2018 drama "Holiday" alone justify adding this film to your home-video collection. It also makes one wonder why Breaking does not spring for a Blu-ray release. 

The festival love for this entertaining tale of the trophy girlfriend of an abusive drug lord includes numerous top honors. These accolades include Best Picture at the 2018 Austin Fantastic Fest and Best Director at the 2018 Nordic International Film Festival, 

The following YouTube clip of a "Holiday" trailer does not do the style of the film justice but does provide a strong sense of the misogynistic elements and the counter-balancing theme of material girls with blonde ambition considering the boy with the cold hard cash to always be Mr. Right despite the cost of the relationship.

Early scenes have our heroine (pun intended) Sascha getting called out on a damsel-in-distress routine on the cusp of the extended titular vacation with aforementioned pusher Michael, This trip is to pimped-out villa in Bodrum on the Turkish Riviera, Their travel companions are the business associates of Michael and the significant others and children of those legitimate businessmen. 

Although lounging in the sun, playing games at the arcade, and clubbing is fun, Sascha soon learns the same lesson as her "sisters" that anyone who "marries" for money pays a high price for enjoying the lifestyles of the rich and loathsome. This includes having to put out on demand and dealing with a man whose temper (and temperament) essentially precludes finding someone to stick around out of love.

One of the best and most telling "Holiday" scenes has a bored Michael sitting in the bitch husband chair at a jewelry store while Sascha shops. This kept woman selecting emerald earrings aptly provides her a sense that she is not in Kansas anymore. Another way of looking at this is that it shows the intersection of her grasping greed and the combination of the lust of Michael and his desire to have a status symbol other than a tattoo on his arm. 

More drama enters the picture when Sascha strikes up an unsanctioned relationship with a yachting type. Handsome and kind sailor Thomas shares an intimate moment with Sascha, and both of them want more than a one evening stand. This prompts a jealous Michael to lure Thomas to the villa under false pretenses. The feral aspects of that evening show the true natures of both men.

The climax follows when Sascha plays a booty call gone wrong on Thomas; this leads to her becoming a girl interrupted who truly is dazed and confused. This adds to the morality tale aspect of this beautiful and compelling film. 

Breaking Glass Pictures fully lives up to its reputation for edgy dark fare as to its its February 18, 2020 DVD release of the 2019 grindhouse-light film "Feedbacck."

This tale of a night of terror for an aging Chav who can be considered the UK answer to Howard Stern, can be thought of as a Blumhouse remake of the '70s com "WKRP in Cincinnati" about the zany staff at a struggling AM radio station. On a related note, one can only hope that Blumhouse does recreate the "WKRP" episode that revolves around a belief that turkeys can fly.

Outspoken Jarvis Dolan arrives at work bloodied but undeterred in the wake of a beatdown inspired by his strong opinions; his glee on throwing around his star status is short-lived when it soon becomes apparent that tonight is not like every other night. For on this night, some people die and others wish for that fate.

The terror for Jarvis and delight for the warped viewers who enjoy his torture begins with learning that his show has been hijacked and that the culprits are at least one step ahead of him. Things follow the standard course of Jarvis being warned against trying to get any help. He also discovers that he is his own captive audience.

Learning that the current "night in question" involves an earlier "night in question" with heavy shades of "WKRP" is far from the end of the story. Virgin feature-film writer/director Pedro C. Alonso does an excellent job keeping the twists coming in a manner that validates the theory that all memories are subjective.

Jarvis and his sidekick being forced to graphically confess their sins under incredible duress and in a highly public manner greatly contributes to the perverse fun of this one. 

Alonso further shows his chops in the obligatory escape attempt scene. This one truly demonstrates sound and fury.

Of course, all this ends with the last men (if any) on both sides of the sadistic antics at the end of their ropes and thoroughly exhausted. The awesome thing this time is that all involved get exactly what they deserve,

The Breaking Glass Pictures January 21, 2020 DVD of the 2018 documentary "Church & State" provides a look at an early days of the campaign for marriage equality. It also reminds us that the religion of the Osmonds and Katherine Heigel is evil. 

The below trailer for "State" reveals the flaws that prevent loving it. Two of the biggest issues are that it does not break (pun intended) new ground and does address a (for now) moot point. A related observation is that the fight for marriage equality is so recent that the 10-percent have not forgotten the prelude to going to the chapel where they're gonna get married. 

Further, as the film points out, marriage advocate Mark Lawrence is not a very appealing spokesperson. He acknowledges this in the context of the literal poster boys whom he chooses as the face of the campaign. 

Additionally, directors Holly Tuckett and Kendall Wilcox provide PLENTY of talking heads and archival footage but no entertaining graphics or amusing clips from films and television shows. This does keep things dry. 

On a broad level, "State" focuses almost exclusively on the passage of an anti-marriage-equality law in Utah and the subsequent legal battles to overturn it. Some mention is made of Hawaii legalizing same-sex marriage, but nothing is said of the lawsuits in Massachusetts and other states. Further, Team Tuckett does not touch on the numerous valid reasons that civil unions are not an acceptable option to marriage.

"State" deserves more props for addressing the need for a rush to the altar (or city hall) on the Utah court decision legalizing same-sex marriage. A related issue is legitimate concern as to having those marriages declared illegal either pending the outcome of an appeal of the decision or a reversal of it.

Personal experience is being on alert in Massachusetts to attend a wedding within minutes of a favorable judgment in the state in that case. 

Discussing the principle of states' rights is another positive aspect of "State."

On a more narrow level, it is difficult to imagine anyone being surprised to hear either that the Mormon church is ant-gay or that it is controls the Utah legislature. This is reprehensible but is no different than any other "largest employer" in a state dictating the policy in that jurisdiction. 

A clip of the Mormon pope does nicely illustrate a main point of "Church,"  This latter day saint has a huge smile on his face and is laughing while telling the tale of a Mormon elder who is physically beaten for propositioning his partner during their missionary position. 

The mouth of the Mormon says no no regarding this punishment for the guy attempting to get into the magic underwear of his friend; conversely, the eyes of  that chosen one say yes yes. A very sad aspect of this is that the Mormon faith holds that that guy will go to Heaven. For the record, your not-so-humble reviewer wants his next existence either to be in Dog Heaven or to be a vengeful spirit. 

The bottom line is "so far, so good" regarding the Trump Administration not trying to undo marriage equality; as such, "State" is not so timely in any regard. 

Breaking Glass Pictures fully exhibits its love of perverse edge as to its DVD release of the twisted 2016 drama "Motel Mist." Although this tale of freaks and geeks at a "love motel" just outside Bangkok is adequate lurid, it being a variation of the Neil Simon "Love Boat" (complete with A and B List celebrities) '70s-era "Suite" films makes "Mist" that much more of a no-need-to-feel guilty pleasure. It also makes "Mist" more like BBC series "Hotel Babylon" than ABC '80s staple "Hotel." 

The following Breaking trailer for "Mist" highlights the atmospheric and kinky tone that makes it an entertaining walk on the wild side from the safety of your own home. 

Our rogue's gallery begins with typical outwardly respectable middle-aged Sopol, who maintains a lair at the titular hot-sheets Hilton; his current school girl who works in the oldest profession in the world is Laila. Their intercourse clearly shows that her pain provides his pleasure. 

This encounter taking an unexpected turn literally shows Sopol that karma is a bitch in a way that provides the audience particularly dark pleasure before the tables once again turn only to shift once more thanks to an even Stevens development. 

The partner-in-crime of Sopol is young hotel employee Tot, whose show business aspirations extend beyond his facilitating the real-life Bob Crane hobby of Sopol. Tot also is adequately unbalanced to fit right in with his guests. 

The fictional household name of the group is former child star Tul, whose personal path is textbook for former Disney Channel kidcom stars turned super freaks that you would never consider bringing home to mother. Tul is waiting for his alien friends to beam him up (and likely probe him). His adventures in coveted Room 5 include seeing a blue room and wanting to paint it black. This excitable boy going fully psycho near the end is a film highlight. 

Writer/director Prabda Yoon ends all this with an especially stylish sequence that shows that some dreams come true even for the not-so-pure at heart.

Breaking supplements this with a behind-the-scenes feature. 

The Breaking Glass Pictures DVD release of the 2018 Buenos Aires-based drama "We Are Thr3e" aptly can be considered the non-missing link between the Breaking tradition of releasing (often artfully arousing) gay-themed films and more mainstream world cinema fare. "Thr3e" sensitively (and mildly arousingly)  explores the theme of a long-term loving male-male-female relationship. Minimally, it will give anyone near the middle of the Kinsey Scale something about which to think.

One spoiler is that any guy with an interest in having a broamce include benefits is encouraged to show his buddy this film and proceed according to his reaction. 

Breaking does an especially good job communicating the theme and the tone of the film in the following trailer. It clearly shows that the cast is well selected and that writer/director Marcelo Briem Stamm is a good spokesperson for relationships that further expand boundaries in an era in which gay couples receive widespread acceptance in much of the US and beyond. 

The depicted genesis of the relationship between Russian-born bartender/free-spirit Sebastian, conformist Argentinian Nacho, and divorced girl-next-door Ana reflects the truism that no one can predict when any form of relationship will develop while engaged any form of  activity. The rest of this story is that love more often stems from when you are not seeking it than from when you are searching for Mr. or Ms. Right (or Right Now).

Nacho and Ana meet cute at a party; Sebastian literally and figuratively enters the picture when the other two go in search of the bar. Sebastian soon subtly seduces (but does not abandon) the latest objects of his affection. Although Sebastian calls many of the shots and largely directs the course of the relationship, a morning after scene makes it clear that he is not one of the chosen people.

A pivotal (and particularly well-played) scene is a variation of a situation that is very relatable to any dude who has been on either side of this interaction. Sebastian takes an unauthorized break to catch up with a bonding Nacho and Ana. The sense of relatability continues with Sebastian orchestrating things so that Nacho faces the test of (presumably) having his first mano a mano kiss. The hesitancy of Nacho to take this step provides an early in a series of looks at the skill of Sebastian to proceed things at the pace that Nacho and Ana can handle. 

Thing fairly quickly proceed to Sebastian presenting logical arguments for the trois to form a long-term loving menage. The point of reference this time is feeling love for someone who is unable to fulfill all of your physical and/or emotional needs. All of this being out in the open at least as to the three willing participants arguably is worth trying. 

One thing on which Stamm does not directly touch is the desire for male intimacy that virtually every man directly or indirectly feels as evidenced by previously largely straight Nacho not displaying much resistance as to the advances of Sebastian. This often manifests itself in the form of at least curiosity as to sex with another man regarding whom there is adequate attraction and trust to deal with the physical and emotional aspect of crossing the final frontier. Some acts are enjoyable for some of us only when you love the one with whom you are with.

The theme of love conquering all continues with Nacho especially becoming emboldened as to sharing the nature of his current relationship. The analogy here from the early days of the campaign for equal rights for gay men essentially is that the friends and family of Nacho must process not only that he now likes men but also has someone special in his life.

Stamm and his cast do a good job keeping things seemingly realistic as to the early sense of Nacho and Ana that the absence of Sebastian creates a hole. The same is true regarding Nacho and Ana inadvertently making Sebastian jealous.

We further see the complications as to our trio already contending with the practical issues that arise in any romantic relationship that further are complicated as to the nature of their arrangement. Accountant Nacho raises many of the transactional considerations, such as the law and business institutions only recognizing one spouse in a relationship.

The bigger picture (no pun intended) is to the extent to which the vision of Stamm is prophetic, The next stage as to gay relationships may be the "straight" guys who traditionally use the anonymous cruising methods of the era to be more open by getting everything that he needs at home, including a willing "beard," who actively participates in her two men mutually enjoying intimacy.

Sebastian addresses the female perspective by offering Ana husband material in the form of Nacho and boyfriend material in the form of himself. Many modern women likely would enjoy having her cake and the hunky baker as well.

The DVD bonuses include what must be an insightful interview with the cast and crew. A time constraint when watching "Thr3e" requires delayed gratification as to that feature. 

Breaking Glass Pictures once more goes where many men fail to measure up as to supplementing its DVD release of the (reviewed) 2017 Gerald McCullouch documentary "All Male All Nude" with the recent DVD release of the "exclusive uncensored version" of the 2019 McCulloch documentary "All Male All Nude Johnsons." One spoiler regarding the sequel is that the Johnsons club in Fort Lauderdale adjacent Wilton Manors is all male but only mostly nude; McCulloch compensates with copious footage from "Nude" and with scenes that show some Johnsons boys completely out of their Levis. 

The following aptly named Breaking "teaser trailer" for "Johnsons" offers a glimpse of the nice boys who work hard for the money that dispel the stereotypes of male strippers; we also get several looks at the packages that they deliver. Not much may come between them and their Calvins, but many patrons make their best effort.

The common elements of "Nude" and "Johnsons" extend beyond the general subject matter. Both films center around professional bodybuilder Matt Colunga, who asserts that he requires a knee-high "sock" when required to stop just short of going Full Monty.

We meet male strip-club veteran Colunga in "Nude." This man who has done (and shown) it all at "Nude" subject Swinging Richards in Atlanta now is the owner/manager/public face/mentor of Johnsons. He truly looks out for the boys on the stage and in the audience. The former fully comes through in requiring dancers to pass a breathalyzer before leaving work. 

We hear from plenty of the performers as to their financial motivations to put their money makers to work; no one can argue that those who have it would rather make as much flaunting it for a few hours than earn the same amount in one week at a McJob.

The rude awakening as to the aforementioned spectators is that the boys are just doing their job. They only pretend to be interested in our lives in hopes of liberating our bills from our pants; folks who hope to pull something else from their jeans will be disappointed. An amusing aspect of this is a scene in which we see how a boy who looks as if he may have a roll of quarters in his working clothes uses that state as a "seduction" technique.

The real star of "Johnsons" is 26 year-old Alexander, who spends his days entertaining at children's parties dressed as fanboy characters and his nights entertaining the dads at Johnsons. It is highly likely that watching Alexander make superhero-style costume changes in parking lots in broad daylight and do back flips in a skintight Spider-man suit will cause some viewers to shoot a sticky white substance out of their personal web slingers. 

A more generally amusing aspect of this is the "Z Rock" pattern of some wannabe American Idols playing toddler events during the day and dive bars at night. Former Del Fuego (and Kitchenette) Dan Zanes now being a kiddie singer is a prime example of having the best of both worlds. 

We also get a look at the business end of things that include the bureaucratic battle that Colunga endures just to open his club. We also see that no good deed goes unpunished and that some people can be not-so swinging Richards. It is reasonable to speculate that some naysyaers have left Johnsons blue in a part of their anatomy other than their faces. 

"Nude" and "Johnsons" reflect the documentary ideal of being equally entertaining and educational; the nature of the subject makes it difficult for the insights to equal the prurient enjoyment. We do learn that many male strippers are nice guys who reasonably utilize their good looks and other blessings as a shortcut to a better life. The fun that they have along the way is a bonus for both them and their biggest and more average fans. 

The DVD bonus features include videos by Corey Tut. 

The Breaking Glass Pictures DVD release of the 2017 Irish horror movie "Red Room" shows that former films about imprisoning 20-something women have barely broken the surface regarding the potential for the depth of depravity regarding this sub-genre. The essential theme is that the lasses who are guests of the state of terror stay chained up and brutalized as they await their close-up in the titular chamber. 

The accolades for this creative success include Best Independent Feature Film and Special Jury Prize honors at the 2017 Underground Cinema Film Festival Awards. 

"Room" centers around a single mother who pays a heavy price for a rare indulgence of her girls just wanna have fun side. This also relates to her learning that Mother does not always know best in that our future web star allows Gran to convince her to spend an evening at a club 10 minutes from their home.

Proving that no good deed goes unpunished, our new parent bends down to pick up an apparently lost mobile phone that is ringing on the ground in front of a white-panel van. This leads to the inevitable. 

On arriving, the new girl meets her chum. The orientation includes a recitation of "Fight Club" rules.Of course, each guideline gets violated during the film.

The audience soon leans both that this for-profit and perverse fun enterprise is a father-son operation with Father (and Mother) remotely calling the shots and Son running a small crew from the house that serves as an operations center. The rest of the story is that the dark webmaster is a slave to his work. 

An inventory control problem coinciding with an expansion of the business in a manner that should be a cautionary tale to every annoying toddler out there combine to make things a bad day at the office for father and son alike. One lesson here is that good help is hard to find. 

Much of the appeal of "Room" relates to perverse pleasure associated with seeing how deranged some seemingly average people are and discovering the callous viciousness regarding the behavior of folks who are willing to meet the need of that segment of the public.

The copious DVD special features include behind-the-scenes interviews and a deleted scene that is roughly the same length as a typical Bugs Bunny short. 

Breaking Glass Pictures provides horror fans a missing link regarding the recent DVD release of the 2016 film "Obsidian Curse." A fairly clever concept regarding an evil hex, adequate acting, and decent production values put this one many steps above the student-film quality of many lower-budget blood-and-gore movies. 

"Curse" begins with a bit of a non-sequitur. Party girls are living it up while a demon who looks like something out of the "Buffy the Vampire Slayer" television series is feasting on a sacrificial lamb.

The action quickly shifts "One Year Later." Ex-con Blair Jensen is freshly sprung from the big house after serving a sentence on a drug charge. Baby daddy Roberto picks her up. His bad news for her is that new wife Yvonne is taking care of their daughter.

Blair having to go beyond being clean-and-sober extends to requiring that she obtain gainful employment. Desperation regarding a need for a job leads to trying to join the underground economy. That results in her obtaining the titular stigmatism, which makes her a babe-eater magnet.

The scene in which Blair meets the first member of her new fan club does a good job with many tried-and-true horror film cliches. A creature reaching out from under the bed and a comforter and sheet being pulled off a sleeping woman provides some sense of this portion of "Curse."

Blair going on the run sets the stage for other creatures of the night trying to get a piece of her; this results in her becoming the captive of an unexpected monster. Good dark and gory humor enters the picture in the form of "for tat" revenge for a betrayal. 

All of this comes back somewhat full circle in that assistance comes from an unexpected source; this creates a sense of the lesser of two evils. 

The middle-ground approach throughout "Curse" makes it fun for the whole family; you are spared chessy effects and deplorable performances.

The Breaking Glass Pictures DVD release of the EXCLUSIVE unrated director's cut of the 2017 gay-themed romcomdram "Everything is Free" has so many relatabele themes to folks other than those at the far hetero end of the Kinsey Scale that knowing where to begin is tough. Further, giving everything its full due as to this film about an out-and-proud gay 20-something developing a friendship with benefits with the younger brother of his best friend is beyond the scope of this post. 

A full-frontal (and full arousal) shower scene in which writer-director-star Brian Jordan Alvarez of "Will and Grace" illustrates why Speedos are called banana hammocks illustrates a segment that apparently is exclusive to this unrated director's cut. This also dispels both clauses in the expression that there is no such thing as a small part, only small actors. 

Speaking of Alvarez, his wonderfully flaky and clearly ad libbed introduction to the film that Breaking includes as a DVD bonus is must see.

The following trailer for "Free" perfectly captures the themes and the tone of the film. We get plenty of scenes of our trio of 20-something AF model looking guys loving, laughing, and emoting. 

One of the nicest surprises as to "Free" is that it is an anomaly as the mostly universal truth that an inverse relationship exists between the amount of erotic content and the quality of the film. This one has plenty of adult themes but still has a talented successful cast tell an interesting story that stimulates the organ that is best equipped to guide men in their decision making.

An overall issue is the dynamic of a close platonic friendship between a gay man and a straight man. One aspect of this is the degree to which one or both of these guys want to be physically intimate. This can involve a mixture of love, lust, and curiosity. A related element is the extent to which the straight guy can accept his desire to expand his range of sexual activity.

The same genre of gay-themed films that heavily suggests that a hetero buddy is eager to see how the other half lives just as frequently suggest that the younger brother of that dude is just as available. The reality is that the friend/brother may have trouble accepting that his male sibling is gay or bi or may feel jealous that this relative is willing to act on feelings that run in the family or merely gets to bond with his friend in a way that is too scary to explore. 

The bigger (and more realistic) picture is that EVERY straight guy has a line that a gay guy often does not know about until he crosses it. The possibilities are too numerous to explore. A real-world example is an extremely liberal guy who is an active member of the Green Party getting upset on his gay friend clearly joking when saying at a wedding venue that the two of them are engaged. 

In true gayromcomdram style, American Ivan (Alvarez) is living the good life in Colombia before subsequent events fairly literally bring his world crashing down. He makes enough as an artist to have a nice home in Colombia and keep a second place in Los Angeles. He also seems to be a poster boy for the concept of happy-go-lucky.

The beginning of the end is when straight college buddy Christian (Peter Vack) visits and makes the arguably ill-fated decision to bring (presumably) straight little brother Cole (Morgan Krantz) along for the ride. 

Glances and an arguable "teasing" in the form of late-night bed hopping only to retreat when things heat up lead to a friendship with somewhat covert  benefits between Ivan and Cole. Meanwhile, Ivan has met a man who may be Mr. Right despite the presence of Cole affecting what is occurring right now. 

The next major development starts out as the fulfillment of what may be a fantasy for a combination of Ivan, Christian, and some audience members. Christian makes Ivan a well-received offer to take their close long-term friendship to the next level; this takes an unexpected term that also may be a fantasy to guys with issues. This intercourse ends with Christian angrily warning Ivan to stay away from Cole.

The heart (and other body parts) wanting what the heart (and other body parts) wants leads to Christian catching Ivan and Cole with their pants down. The ensuing trauma and drama leads to Christian and Ivan cutting their trip short. 

A heart-broken Ivan bonds with two new buddies; discovering that they also know "quirky" and androgynous Eli (Jason Greene) validates the theory that the gay world is a small one; it does not necessarily support the related belief that most of these guys have also had sex in various combinations. 

Ivan further follows the textbook for young idealistic guys all along the Kinsey scale and visiting LA with his new entourage. His optimistic belief is that Christian will accept his relationship with Cole and that Cole will realize that Ivan is his soulmate at least until someone younger and cuter comes along.

It is predicted that the course of true love is not that easy; suffice it to say that things do not end with Ivan and Cole tying the knot and Christian being the best man. 

The resolution of all this remains true to "Free" and the "queer as folk" reality that it depicts, 

The Breaking Glass Pictures DVD release of the 2017 film "Pinsky" provides a chance to see the best movie about a hipster Boston 20-something lesbian with a domineering Russian immigrant grandmother having a quarter-life crisis that you will see this year. The accolades for this quirky indiecom include the Best Narrative Feature at the 2017 Santa Fe Independent Film Festival.

Much of the appeal of this dysfunctional Jewish family film relates (pun intended) to it evoking thoughts of the Neil Simon semi-autobiopic "Brighton Beach Memoirs." That one tells the tale of an adolescent Simon living in a full house with his parents, his brother, and the rest.

"Pinsky" opens on a terrible, horrible, no good day for titular Millennial Sophia Pinsky (producer/writer Rebecca Karpovsky). Her grandfather drops dead in the street within hours of the live-in girlfriend of Sophia leaving her a Dear Jane letter. All of this is on top of Sophia still working at the Jewish grocery store that is her college-era employer. 

These worlds initially collide due to the death prompting Sophia to attending Shiva at the apartment of her grandmother (a.k.a. Bubbie). This is the first interaction of these women in several years after Bubbie cuts Sophia out of her life for moving in with her girlfriend. 

The rest of the story in this regarding is that family rabbi Bob Stern (Alan Blumenfeld of the Marion Ross Jewcom "Brooklyn Bridge"). We subsequently learn that Bob has a very personal interest in the activities of the Pinskys.

Bubbie first exerts her Yenta side in coercing newly single Sophia to move back into Temple Beth Pinksy. The fellow members of the congregation are Sophia's father, who is obsessed with his ballroom-dance partner, and aimless sibling Victor, who has delusions of qualifying for the Boston police force. One can give Victor credit for realizing that he lacks the right stuff for the BFD. 

The unavailability of an eligible Jewish doctor prompts Bubbie to aggressively promote the next best thing. She coerces Sophia into dating long-time family friend/medical researcher Trevor. Trevor agrees to play along despite having no romantic interest in Sophia and knowing that she prefers her phallic items to be of the plastic variety.

The final piece of the puzzle comes in the form of Sophia beginning a friendship that she apparently hopes reaps benefits. This object of her affection is Jessica Elliott, whose black skin is one of a few characteristics that distinguish her from the other patrons at the aforementioned Jewish market.

Jessica being an open-mic night regular introduces Sophia to the world; that leads to her aspiring to become a hipster lesbian version of Jerry Seinfeld; not that there is anything wrong with that. 

Families of every religion and nationality can relate to the developments in the wake (pun intended) of the death of the grandfather leading to comically extreme trauma and drama at a Shabbat (a.k.a. Friday Night) dinner. The Mogen David freely flowing may be a factor regarding the gefilte fish hitting the fan. 

Part of the gist of the listing of grievances is Bubbie laying the mother of all Jewish maternal figure guilt trips regarding her heavy sacrifices for her ungrateful family; we also learn that Trevor has his limits. 

The biggest picture is that "Pinsky" illustrates the truth of the expression that you can pick your friends but not your relatives. It also brings to mind a foreign film from a few years ago in which a nice young Parisian Jewish man is planning to move to Israel; his sister reminds him that his planned destination is full of people who are like their parents. A third perspective is the Seinfeld joke that Jewish men marry shiksas because they want a wife who does not remind them of their mother.

The always excellent Breaking DVD extras this time are an interview with Blumenfeld and a short clip of Karpovsky doing stand-up. 

Best friend of edgy off-beat films Breaking Glass Pictures embraces the spirit of the 2018 quirky indie comedy "Wobble Palace" by releasing the DVD of it on October 30, 2018. This praise relates to "Palace" occurring over the October 30-31, 2016 weekend just ahead of the presidential election that year. 

Breaking does another solid by providing a spot-on synopsis of "Palace" in the press materials. This makes life easier for over-worked reviewers everywhere who welcome any chance to half-ass it. This brilliant prose that aptly begins with the phrases "auteur-driven," "hyper-independent," and "Millennial anti-rom-com" is below.

"WOBBLE PALACE takes place on the eve of America's most traumatic election, where a couple on the verge of a nervous break-up decide to split their house up over the weekend. Desperate to make new connections, Jane and Eugene find themselves in a series of unpredictable misadventures, sexual escapades and emotional traumas. From this simple premise we delve into a manic and hilarious world of lust and mistrust, revealing the identity crises and narcissistic self-loathing at the core of the millennial experience."

This adventure begins with easily the most divisive narrative technique in modern film. A series of texts establish the context for Eugene (producer/director/writer Eugene Kotlyarenko) and Jane to divide their shared abode that artist Jane has decorated in early Pee Wee's Playhouse for the Halloween weekend. Folks who have good eyesight and embrace all innovations apparently love this popular exposition tool. Those of us whose eyes are less-than-perfect and who are less fond of copycat gimmicks do not embrace this method as much.

The real action begins on the morning of Saturday, October 30. This is the day that Eugene has the house. Seeing more of his morning routine than we need to includes watching him create the worst comb-over in a LONG history of cinematic bad efforts to hide a receding hairline,

The day of Eugene starts well before rapidly picking up momentum that leads to an epic crash-and-burn that deprives him of every last shred of dignity. This nottie surprisingly gets a hottie blonde photographer that he meets through a dating app. to come by. It is even more surprising that she sticks around after uncovering the truth about his relationship with his "roommate." 

Eugene soon putting himself in a literally and figuratively compromising position proves that all men are stupid. His learning the extent to which an angry woman hath fury provides the audience great entertainment and our boy intense anguish. His relationship with Jane being much closer to hate than love at this point does not help matters. 

The primary action then shifts to Jane, whom we join on Sunday morning after a wild Saturday night party. This starving artist trying to hold her own with one who lives in an expensive loft is very amusing. 

For her part, Jane is spending her day at the house with a member of the Millionaire Boys' Club who is a regular booty call. Watching this horny pair have a room but needing to wait for a bed is both relatable and hilarious. This two-pump chump making an ill-advised dump adds more comic drama to their intercourse.

Kotlyarenko augments this study of the mating habits of Millennials with apt flashbacks that establish how they get to where they are at the present of the film.  This includes the more traditional rom-com style segment that can be considered when Eugene met Jane. These scenes not only depict the joy of new (if not true) love but the cyclical nature of everything.

All of this wraps up with Jane and Eugene reuniting after their weekends of freedom. This leads to them determining if their flame is reignited, has burned out, or simply is a Hanukkah light that adequately is keeping the relationship going until they either fall back in love or experience enough hate to call it quits. Real and reel life allow accurately predicting which of these is the outcome. 

The special features include a separate audio commentary by Kotlyarenko and his entertaining four-minute introduction to 15 minutes of deleted scenes. The elan with which this aforementioned auteur describes his film, the support of Breaking, and the context of the footage that ends up on the editing room floor communicates his tremendous love for the art for which he bares all.

The breaking news regarding all this is that "Palace" presents a compelling portrait of a modern man-child clown who receives a harsh wake-up call on starting his day alone in bed. 

Breaking Glass Pictures goes wonderfully old school regarding the May 2019 DVD release of the 2019 thriller "Dark Sense." The well-executed tried-and-true premise is that 22 year-old Scottish psychic Simon is on the trail of a serial killer, who has extreme prejudice against folks with the sixth sense. "Sense" further shows that Breaking remains committed to making edgy films (be it thrillers or artfully erotic gay-themed movies) that makes it so awesome.

The reason that the concept of "Sense" seems familiar to some folks who still read books is that it is based on the best-seller First and Only by Peter Flannery. Flannery presumably discusses his book in his DVD audio commentary.

On a broad level, "Sense" evokes thoughts of the tried-and-true joke that someone who is psychic should have seen something coming. This applies both to the peers of Simon who run afoul of our villain and to Simon, who should have foreseen the negative response that he received on contacting MI-5 to join forces. 

The following YouTube clip of the "Sense" trailer offers a good glimpse of the story and the UK style narrative,

We meet Simon as an eight year-old lad trying to save the family priest/friend from a fate equal to death. Although Simon arrives in time and states the nature of the threat, he does not prevent the crime. The nature of the killing and of the presence of Simon is part of the copious religious symbolism in "Sense." We also see throughout the film that everything is relative, 

The action shifts 14 years into the future, Simon knows both that the killer is out there and that Simon has big bullseye on his back. He does not know the identity of that psycho.

The extreme extent to which Steve connects with both the killer and his victims sets "Sense" above less creative psychic amateur-detective films. This aspect also perfectly ties into the other themes of the film. 

Humor related to Simon making a senior MI5 official look foolish is a highlight of "Sense." Less humor relates to Simon first-hand learning that one of the three big lies is that I'm from the government; I'm here to help you. We do not learn if Simon has had experience with someone falsely telling him that the check is in the mail or asserting the third big lie.

Simon hiring a private contractor in the form of former soldier-of-little-fortune Steve also is very true to form regarding government activities. The job of Steve is to protect Simon from experiencing a fate equal to death. 

It is predictable that Steve and sympathetic MI5 agent Sonia Chatham team up to come to the rescue when Simon finds himself in a perilous situation. How things ultimately unfold provide wonderful twists that provide a nice bonus in the form of social commentary. 

The best part of all this is that "Sense" and SO MANY indie films prove time and time again that art and commerce need not be mutually exclusive. Hollywood MUST recognize that an audience exists for a film that is not part of a franchise, is not a vanity project that allows the inner-circle of an actor whose looks surpass his or her talent to play dress up, or that resorts to cheap thrills, gore, or broad humor to get butts in the seats at the multiplex.  

The Breaking Glass Pictures May 7, 2019 DVD release of the 2019 mockumentary "Strawberry Flavored Plastic" again shows the Breaking talent for finding art-house films with mainstream appeal. A combination of "Strawberry" broadly following the formula of "The Blair Witch Project" and being set in real-life upstate New York town Peekskill, which is the setting of the sitcom "The Facts of Life," allows dusting off the 20 year-old joke "The Blair Warner Project." That humor relates to the name of a "Facts" character.

"Facts" also inspires a joke that sums ups a theme of "Strawberry." Fictional documentarians Errol and Ells do not think of a their film subject as a serial killer; they think of their film subject as Noel.

The following YouTube clip of the Breaking trailer for "Strawberry" shows how well that the mockumentary genre can succeed in the right hands. 

Errol and Ellis initially think that Noel is a one-trick-pony as to a murder of passion for which his debt to society is paid. By the time that they realize that their subject is a natural-born serial killer who still actively pursues his hobby, they are in very deep. They ultimately put both art and commerce forefront by continuing to make the movie.

Aidan Bristow does a wonderful job playing Noel as a guy who seems a little off but adequately harmless. This performance partially makes it believable that Errol and Ellis continue to hang around even after learning the awful truth. 

A "bad dog" moment is a game-changer in that the filming of the show goes on in a revised manner. This rude awakening also increases tension that real-life writer/director Colin Bemis portrays so well that digging up his basement and checking out his refrigerator is not entirely unwarranted. 

In true 21st-century film style, the beginning of the end is relatively anti-climatic. The best is yet to come in the final few scenes. This reinforces the "peace, love, and understanding" principle that everyone has something to offer and touches the lives of everyone with whom he or she makes a connection. We also get a sense of imitation being the most sincere form of flattery.

The special features include deleted scenes.

The Breaking Glass Pictures June 18, 2019 DVD release of the 2018 "coming-of-age age war musical" period piece "Kanarie" fully demonstrates the regard of Breaking for the spirits of both Pride and the '80s. The film also shows that not learning the lessons of apartheid and government-condoned homophobia back them are condemning us to repeat aspects of both 35 years later. 

The following YouTube clip of a "Kanarie" trailer does just as well highlighting all of the three seemingly incompatible elements of the film as writer/director Christiaan Olwagen does blending them.

"Kanarie" opens on a high note; 18 year-old Johan is having great fun wearing a wedding gown and clowning around with his sister. This glee leads to a dare for Johan to walk down the street of his small conservative town in that garb. The rest of the story is that the parents of that excitable boy/fan of Boy George and Depeche Mode are prominent pillars of the community. 

All starts out well and leads to one of a few fantasy musical numbers that are straight out of the MTV of the era. Things come crashing down in a way to which all of us who have shed off our repressions and expressed pure joy only to have the real world provide an abrupt rude awakening can relate. 

The expression "out the frying pan, into the fire" is very apt regarding the news that awaits Johan on his return from his walk-of-shame. He learns that his number has come up and that he must enter the South African army for his two years of service. The rest of the story is that this is an era in which the actual battle regarding apartheid is at a peak. 

Johan receives less-than-anticipated relief when his musical talents earn him a spot in the titular South African Defense Forces Church Choir. That group travels around performing for the folks back home. The rude awakening this time is that the military is very effective at reminding the songbirds that they still are soldiers.

The next scenes evoke strong thoughts of the 1988 Neil Simon semi-autobiographical non-musical war movie "Biloxi Blues." That film has Brooklyn draftee Jerome (Matthew Broderick) traveling to the titular Southern city for basic training before being shipped off to show Mr. Hitler that the nephews of Uncle Sam have something to say about how The Little Corporal is running things. 

Like Jerome, Johan boards a train for his first military home away from home. Both boys also travel with those who at least will be near (if not dear) to them for the foreseeable future. In the case of Jerome, this is rotund high-voiced hyper-active (queen?) Ludolf and their (not-so-little) corporal, whose behavior screams for him to become a victim of friendly fire. 

One difference is that Johan and his band (pun intended) of brothers is headed to the Valhalla Air Force Base in Swartkop.

Beyond that, the similarities between "Biloxi" and "Kanarie" are so strong that one must think about whether come elements are from the former or the latter. An example of this is a white soldier in "Biloxi" concealing that one of his parents is black. Another "Biloxi" scene has two gay soldiers getting caught in the act prompting a witch hunt. 

Johan and Ludolf soon meet and bond with Wolfgang Muller, who shares the enthusiasm of Johan for the pop music of the day.

Much of the good humor of "Kanarie" comes courtesy of scenes with the stereotypical host families with whom they stay while on tour. These include a motherly type and a Mrs. Robinson who clumsily tries to seduce the lads.

It is during this period that Johan and Wolfgang truly become brothers at arms. The problem is that Johan is uncomfortable about even accepting (let alone embracing) that he is gay. He puts this in the context that Boy George is keeping at least one foot in the closet. 

Of course, all this leads to final act drama as Johan faces the dual pressures of being in the military and singing in a church choir. The means by which he receives at least a quantum of solace shows that there was more enlightenment than generally considered in the mid-80s. 

The bigger (and highly relatable) picture this time is that virtually all of us experience a first or second coming-of-age on concluding our high-school career. We experience the larger world by entering college, enlisting in the military, or immediately becoming a wage slave. The common lessons that come with these experiences is that we must adapt or perish and that that does not always come with the luxury of to thine own selves be true. 
'
Olwagen nicely expresses the times that are a changing in the South African in the '70s and '80s and what makes his characters from that era tick in an insightful DVD extra, This feature also provides good behind-the-scenes secrets. 

Breaking Glass Pictures and filmmaker Michael Fisher team up for the sugar daddy of films that embrace the Pride spirit regarding the 2018 Fire Island documentary "Cherry Grove Stories." Queer as folk cinephiles and other friends of Dorothy who missed this movie on the pink film-festival circuit can get it on DVD. 

The broadest relatable bit of this film is the recognition that Pride is about much more than hairless anorexic 18 year-olds only wearing Speedos and roller blades and hirsute far-from-anorexic middle-age men in drag that makes clownesque Mimi from "The Drew Carey Show" look like a natural beauty. Pride primarily is about community and showing that guys who connect with Mr. Right or Mr. Right Now are just as respectable as breeders. 

A similar note that is even more in tune with the theme of "Cherry" is it evoking memories of hearing stories of regulars at JRs Bar in Washington, DC fully toning it down to watch "The Golden Girls" on the bar TV every Saturday night. To those guys at that time, friends as flawed as you in their own way somehow forming a family presents an ideal that endures 30 years later. 

A related tale of the capital city is even the '90s being a time that hearing your named called out in a gay bar can cause angst, especially when the performers provide entertainment that prompts recent crackdowns.  The rest of that story that involves a surprising impromptu high-school reunion is not fit for this family friendlish forum. 

The following YouTube clip of the "Cherry" trailer barely scratches the surface as to the copious vintage clips and titular boys-to-men tales by the guys who enjoyed the heyday of the scene.

The opening scenes consist of the scores of talking heads, who share the dates of their first trip to Cherry Grove. These begin in the post-war years and span to the recent past. 

Our panel of experts also speculate about the origins of the name of the island; one theory is that pirates would set fires to attract prey. Although there does not seem to be definite proof of buccaneers ever calling the island home, it is indisputable that a certain form of pirate favors that locale and will continue doing so for the foreseeable future.  

The titular lore closely reflects societal attitudes toward gay men. The early days especially were a period of liberation during which the guys could more easily socialize, dance together, and do everything else that gay men do together mostly free of legal repression and almost universal disapproval of friends, family, and employers. This is akin to the next generation who could enjoy the community and the celebration of the early days of Pride parades. The classic Lisa Simpson quote "we are used to it" shows that all of us have come a long way, Baby,

Speaking of repression, the folks who were there tell of the distressing ways in which the real world invaded one of the few places that men could openly express their friendship (with or without benefits), love. and lust for each other. Milder forms of this included quickly having to change to a dance partner of the opposite sex when the cops came by.

Worse tactics relate to an aspect of Cherry Grove that be considered the best of times and the worst of times. Men who wanted to hook up in the pre-Grindr era would cruise the Meat Rack just off the beach. (Tales of the lesbian equivalent the Doughnut Rack seem to merely be rural legends.) That cruising area dying off in the Internet Age is one of the many examples of Cherry Grove reflecting the times.

The cops would go beyond well-orchestrated raids. They would handcuff the arrested man (some of whom presumably still were in various states of undress) by the dock for early risers to see. The humiliation would continue with publishing the names, addresses, and telephone numbers of theses boy who just wanted to have fun in the newspaper in an effort to ruin their personal and professional lives. 

On a lighter note, an amusing story that involves the perspective of two persons with a role in a "blocking" incident at the Meat Rack is a "Cherry" highlight. This one comes very close to literally being a case of biting the hand that feeds you. 

The award for best story essentially involves the raconteur discussing essentially having a monkey whom he shocks on his back. The rest of the story involves a form of trauma and drama that is typical of most gay friendships. The pattern is offense provided, offense taken, and then adequately forgiving to maintain the relationship but never forgetting. 

The relate bigger picture is that this labor of love by Fisher helps ensure that this important aspect of gay history never will be forgotten.

A pink film-festival Q & A with Fisher is a highlight of the always special Breaking bonus features. This includes discussing the very apt genesis of the project. 

The Breaking Glass Pictures October 17, 2017 DVD release of the 2017 gay-themed thriller "B&B" provides thrills and copious candy corn for thought ahead of the gay Christmas known as Halloween. It also is notable for being a film that truly warrants the subtitle "Ginger Snaps."


The accolades this time include a special mention Award of Excellence at the amusingly titled 2017 Accolade Competition. Other honors including a Best Actor and a Best Director win at the 2017 Horrible Imaginings Film Festival.


The following You Tube clip of a SPOILER-LADEN trailer for "B&B" does a good job summarizing the plot; it also provides a good look at the related suspense.

The central story/catalyst in "B&B" is that recently wed couple Marc and Fred return to the scene of the crime a year after seeking lodging at the titular inn. Homophobic innkeeper Josh (Paul "The Doctor" McGann) refusing to give the then-unmarried couple a room with a double bed leads to a lawsuit that leads to a legal victory for the boys.


The underlying dispute seems to be a factor in the decision of Marc to make an honest man out of Fred; it definitely motivates that couple to return to the inn and to taunt Josh. Although the sentiment is putrid, one must give Josh his due for asserting his beliefs by placing only twin beds in every guestroom.


These early scenes provide strong indications that Marc is the top in the relationship; Fred being sympathetic regarding (allegedly pure) red-headed 16 year-old gay son Paul of Josh provides further proof of the nature of the Marc-Fred dynamic. This good heart apparently is an additional factor regarding the seeming sexual interest of Paul in Marc.


The arrival of large menacing Russian Alexie provides the newlyweds further fodder for debate. Cynical Marc is convinced that this newcomer is a neo-Nazi gay-basher, and Fred is equally sure that Alexie is focusing on taking any remaining innocence that Paul possesses. The discoveries that these amateur sleuths make on investigating their fellow guest remove any doubt that he is not there for the scenery.


The tone of "B&B" fully shifts from gay drama to Hitchcockian thriller on Marc and Fred seeing Paul and Alexie head to the local gay cruising area; this ultimately leads to Fred pursuing them to protect Paul.


The ensuing confrontation leads to a death that leads to twists galore that sadly reflect on society and slightly less so on the extent to which a father will go for the love of a child. The scarier part is the realistic risk that any of us face regarding running afoul of the legal system even if we are have not committed a crime.


Writer/director Joe Ahearne particularly shines as things fully spiral out-of-control as the surprise villain shows his true colors in a manner that makes anyone who challenges him at chess a fool. The bottom line is that our central couple pay a high price for the satisfaction of rubbing their legal victory in the face of Josh.


The epilogue provides (not necessarily) full-circle closure; the cynicism that Ahearne expresses regarding public perception is distressing because it is true.


The special features include highly entertaining cast-and-crew interviews that validate the excellent choices all around and that make viewers wish that they were on set for the filming.

Breaking Glass Pictures takes a short respite from releasing provocative in every sense edgy fare to offer the charming 2018 German family film "The Little Witch" on DVD. This joins the (reviewed) Disney Channel-like film "In the Doghouse" and the (also reviewed) tween-friendly scifi movie "Watch the Sky" as kinder-and-gentler items in the Breaking catalog.

The titular sorceress is the tender age of 127 in witch years and looks like a roughly 20 year-old muggle. Her Rudolph syndrome at the beginning of the film is that the adult witches are not allowing her to play their reindeer games. The issue is the determination that the witch is too young to join in annual festivities that include dancing.

Ignoring the advice of her talking raven friend Abraxas, the witch straddles her broom and flies off to crash the party. Everyone has fun until the powers-that-be discover the interloper, This leads to old-school punishment in the forms of giving the girl with something extra one year to learn the thousands of spells in a massive book "or else" and by essentially confiscating her wheels.

The comeuppances immediately lead to the ultimate walk-of-shame and more long-term transform our heroine into a more studious individual. Mild hilarity ensues regarding some of her efforts to cast spells going awry.

The literal rest of the story is that the rhymes-with-witch villainous Rumpumpel pops in several times intent on finding cause to cast out the little witch. This includes an equally amusing and child-friendly tense scene in which this unwelcome visitor shows up during the commission of the dual sins of entertaining children and casting spells in their presence. The general idea is that children should be scared (if not eaten) and not delighted. 

Our rogue spellwoman further digs her figurative grave on using her powers for good, rather than evil, on another occasion on which Rumpumpel is lurking about.

This leads to the climax that is a year in the making; the little witch proves during her final exam that every little thing she does is magic. This leads to awesome in that she shows her tormentors to not fuck with her. Stating that this a game-changer is a massive understatement. 

The first moral of this story are that being cruel to children and dictating your values to them is not the way to win their hearts and to keep the old ways alive. The second moral is that no one ever is to old to enjoy a cute movie. 

The Breaking Glass Pictures DVD release of the 2018 micro-budget horror film "Epidemic" contributes to the proof both that Breaking has good instincts for edgy art-house fare and that there are seemingly endless variations of the deadly plague sub-genre of fright flicks. The additional fun of dysfunctional relationships in this on-location movie filmed in Allentown, Pa. provide the best entertainment.

The following YouTube clip of a SPOILER-LADEN trailer for "Epidemic" highlights the aforementioned aspects of the film.

The upcoming 30th birthday party of everymillennial Dana provides the main arena for the carnage in which far few who enter leave. Concluding that inviting remarried alcoholic father Rufus regarding whom Dana has a long-term estrangement makes sense is the most puzzling and unbelievable aspects of the film.

An amusingly unlikely coincidence that sets the primary action in motion involves the preparation of gal pal Mandi for celebrating Dana reaching an age that she no longer can be trusted leading to discovering a not-so-concealed secret room. The exploration of Mandi leads to a mishap that equally can be considered letting the genie out of the bottle and opening Pandora's box. 

The secret room also requires a brief detour into Blogland. Videos of people discovering a door in a floor, a secret passage, etc. in their homes are catching up with footage of frolicking felines on YouTube. A personal experience somewhat validates the authenticity of such assertions and includes the bonus of potential creepiness regarding buying a house. 

The seller of my current house being tremendously supportive regarding a move to unfamiliar territory had the side effect of learning that he was obsessed with this dwelling to the extent of going out of his way to drive past it after the sale; he likely continues doing so more than three years later. This validates the decision independent of this to change the locks and the alarm code within a few days of moving. 

The seller repeatedly referred to leaving a time capsule and bragging that I never would find it. Concluding that it merely was buried in the yard, I was inadequately intrigued to undergo a treasure hunt. 

A leaky pipe a year after moving led to opening up a drop-down basement ceiling; that led to discovering a creepy cache of report cards, old newspaper articles, photos, and other family treasures but nothing of monetary value. The spoiler this time is that one man's treasured mementos are another man;s trash. A related amusing part of this is that the layout of the cellar and finding several niches down there had already earned it the title of "serial killer basement."

Returning to our main topic, Mandi having an immediate and severe reaction to exposure to a substance in the previously sealed room does not deter her from attending the party. This leads to  predictably infecting the people who are most near and dear to her by spewing all over them. This, in turn, leads to spreading the love. 

Rufus indulging in liquid courage before arriving at Ground Zero makes him literally late to the party. This, in turn, proves that stupid is as stupid does. Rather than try to help the party goers or report the incident, this concerned father grabs the ailing birthday girl and brings her to the sterile environment of a no-tell motel. The feverish Dana makes it a literal hot-sheets lodging establishment. 

Although everything largely plays out predictably, ambiguity regarding whether horrific visions and a semblance of a happy ending are real or Memorex keeps things interesting. The bigger picture is that justified paranoia regarding the spread of a literal or figurative plague adds an iota of credibility that keeps things interesting. 

Breaking excels just as well regarding the extras that most of its releases include. These include a lively and amusingly self-deprecating interviewer with Rufus portrayor/Breaking insider Andrew Hunsicker. We also get outtakes from this film about an outbreak. 

The Breaking Glass Pictures DVD release of the unrated director's cut of the 2017 HIGHLY erotic drama "Adonis" greatly pushes the envelope even regarding the edgy and often explicit Breaking films. Like the (reviewed) film "Utopians" (2015) by Scud, "Adonis" pulls off the tough trick of successfully combining erotic, pornographic (i.e., appealing to prurient interests), and artistic elements. This gay-themed film joining the ranks of comparable straight films is another example of the expression "You've come a long way, Baby" applying to people all along the Kinsey Scale. 

The following YouTube clip of the Breaking trailer for "Adonis" provides a strong sense of the erotic and the stylized artistic elements while including a tantalizing taste of the pornographic aspects.

A scene in "Adonis" in which star Adonis He, who plays opera singer turned porn star/nude male model/high-rent boy in upscale bro thel Yang Ke, is confronted with his appearance in "Utopians" removes any doubt regarding the connection between these two films in an apparent indirect trilogy. The character whom He plays in the earlier film is a young man who meets a professor who uses the Scud mixture of eroticism and pornography to help the boy realize his true self and be comfortable with his sexuality.

The life of Ke is more turbulent then his younger self/counterpart in "Utopians." He is raised by a single mother and apparently follows a family tradition regarding the nature of his birth. He first literally takes to the streets when the opera company for which he is singing for his supper goes bankrupt., This indicates the truth of the statement that it is over when the fat lady sings.

The opening scenes of "Adonis" perfectly illustrate the combined themes of the film and portend of things to come that also have already come to pass. Scud pays homage to both "The Lord of the Flies" and "A Midsummer Night's Dream" (not to mention "Seven Brides for Seven Brothers") by having Ke awaken naked in a lush forest. We see equally naked masked post-adolescents peer out from the foliage and descend from the trees to surround this visitor,

Much of the rest of this highly symbolic movie centers around a film shoot in which Ke spends his 30th birthday laying on a cross while a large group encircles him and takes their turn at center stage topping this star. The extent of the brutality of each penetration varies according to a combination of the aggressiveness of the top and the degree to which he succumbs to the goading of the director. The nature of the film, the camera angles, and one money shot all indicate that at least some of the sex acts are real.

Although it is somewhat ambiguous, it seems that Ke is taking a "lay back and think of England" approach to losing his cherry in a few different ways, This apparently is the narrative context for the scenes that show what led to this.

We see Ke living an unconventional but happy childhood; like the rest of the film, this ties into what is to transpire. 

We also see how Ke goes from being an opera singer to a sex worker. This begins with posing for nude pictures on a city street. The response of viewers to the aftermath of that photo shoot state a great deal about the personality of that individual.

Ke then quickly meets his mentor/protector/agent/pimp. This leads to the aforementioned job catering to the needs of wealthy men. A movable feast and a private party are highlights from that period in the life of Ke. 

This employment leads to a houseboy gig for a creepy older perv. and ultimately to the film shoot that Scud has unfold throughout. A highlight there is one of the boys getting a little rough from the start shows that at least Ke (if not He) realizes that he is not ready for the rough ride ahead. The lesson here is that you sometimes must take 20 or more for the team. This leads to a very symbolic payment that disappoints viewers who anticipate several money shots that would have been even more symbolic. 

Ke survives the central ordeal to follow the porn star path of banking on his celebrity and his savings to truly become a respectable businessman. This leads to a strong probability of achieving the American dream only to learn that some people will always consider him a piece of meat despite his quitting the business.

All of this ends with everything going back full circle that puts the opening scenes in perfect context. The overall theme is that all of us are our own worst enemy, and that even people willing to literally and figuratively prostitute themselves may have more worth than believed. 

As indicated throughout this post, "Adonis" is notable for appealing to higher and baser sensibilities. The story is well-written, all play their roles well, you will respond consistently with your own essence, and your thoughts will be equally provoked. 

The DVD extras begin with entertaining clips of the aforementioned gang of 20 or more. This naked men figuratively sing their thoughts on topics such as where they see themselves at 30. The other extras are a series of "making-of" features. 

KBreaking Glass Pictures continues its limited dickumentary series with the April 9, 2019 DVD release of the 2019 non-fiction film "Bigger Like Me." This self-described extended director's cut of the 2014 film "Big Like Me" further chronicles the efforts of comedian Greg Bergman to remedy endowment-based angst. 

"Bigger" is most akin to the (reviewed) 2013 Breaking DVD release "Unhung Hero." That one involves actor Patrick Moote dealing with the same anxiety as Bergman and taking comparable remedies to improve the Marco Rubio-sized hand that he is dealt. Comparing the two films is akin to the decades-long "Bewitched" v. "Jeannie" and "Munsters" v. "Addams Family" debate, One thing that can be stated with certainty is that Moote is much safer than Bergman in the f**k, marry, or kill game. 

Although Moote is less crude and explicit in discussing his endowment and in showing what he is packing than Bergman, it seems clear that the latter has a couple of inches in both length and width than his "little buddy" at the start of their journey.

Another difference is that a size-related humiliating rejection of a marriage proposal motivates the desire of Moote to transform his earth worm into a water moccasin. Bergman being in an overall happy marriage at the beginning of "Bigger" shows that he is packing enough heat to  adequately satisfy his wife. That relationship becoming rocky later in the film reflects the wisdom of gay columnist Dan Savage in "Unhung." He states that angst about not measuring up can harm a relationship more than falling on the lower end of the bell-end curve. 

We also see that 32 year-old Bergman is his own worst enemy; he explicitly states that his natural endowment respectably falls in the "average bear" category regarding both length and width. This guy who spends much of the film naked or only wearing tiny briefs never addresses that losing 50 pounds both would make his junk look proportionately bigger and make him overall more attractive. This is not to mention how manscaping would benefit him. His aforementioned unduly assertive personality is another matter. 

Noting the SPOILER that Bergman succeeds in becoming a bigger man is done to show that this prompts him to fully embrace the "if you got it, flaunt it" philosophy. He repeatedly drops trou to his ankles in very public settings without receiving any encouragement to do so. A silly aspect of this is that having to artificially enhance size is not a point of pride. This sincerely is not to say that the chosen people should go around showing passers-by and new acquaintances how either God or heredity has blessed them.

Another way of thinking about this is that most men whose endowment is a valid point of pride generally follow the "speak softly and carry a big stick" philosophy. There is something to be said for providing Mr. or Ms. Right (or Mr. or Ms. Right Now) a (hopefully pleasant) surprise during an initial unveiling in the boudoir. 

On a similar note, Bergman shows very poor taste regarding repeated displays of dildos. Having one frequently sticking out of his backpack is bad enough. Numerous woman on the street interviews in which he uses three of these devices in a "Goldilocks" style survey is more creepy than funny. 

A DVD bonus deleted scene in which Bergman engages in the above poll in an interview with a surprisingly willing and candid 16 year-old Mennonite girl clearly shows why this exchange does not make the cut even in the extended version. 

Scenes in which Bergman and his college-aged little brother openly discuss their endowments and repeatedly wave around the aforementioned marital aids is only slight less creepy than the aforementioned exchanges. 

A bigger pet peeve relates to statistics. Early in the film, Bergman joins an organized group of men who formally identify themselves as being among the 55 percent of the male population that is unhappy with their penis size. Bergman goes on to state the goal of every man becoming a one-percenter. The obvious flaw regarding that statement is that virtually every man packing a Magnum would make that size the norm, rather than the except to the rule. 

The bottom line regarding all this is that Bergman is sure to entertain fans of Howard Stern and other abrasive raunchy humor. He is a cautionary tale to the rest of us in the form of showing the perils of obsessing about a perceived physical flaw. Our "average Joe" would have been much better off accepting his lot in life and understanding the concept of "TMI."

Briefly returning to "Hero," Moote succeeds where Bergman fails because this presumed member of the "Fantastic Four" has a more legitimate issue than his fellow comedian. Further, Moote displays better humor and perspective. As the aforementioned reference to the game of three indicates, size is not the only thing that matters. 

The Breaking Glass Pictures March 12, 2019 DVD release of the 2018 neo-"Deliverance" film "Devil's Path" helps get horny gay sluts in the mood for spring; remember that (easily pulled down) short shorts and mesh belly-shirt season only is a few weeks away. On a higher level, this no-reason-to-feel-guilty pleasure tells an intriguing story and has some depth.

The accolades for this tale of two boys looking for a climax include a Best Supporting Actor award for Patrick portrayor JD Scalzo and a Best First Narrative Feature for writer/director Matthew Montgomery at the 2018 FilmOut San Diego festival, 

The following YouTube clip of a "Path" trailer provides a good sense of the style and the themes of our central lost boys.

The setting of a wilderness area that gay men frequent in an effort to find Mr. Right Now is familiar to guys who look for love (or lust) in all the wrong places and in too many facials. Country mouse Noah and the city mouse currently known as Patrick meet near the trailhead (pun intended) of the titular danger zone. This provides early depth in the form of Patrick representing the common gay stereotype who quickly shares his sexual fantasies and almost  as rapidly gets down to risky business but either lies about or refuses to tell less personal information such as his name and the general nature of his work.

Noah and Patrick then go into the woods with full knowledge of two men who enter that dark and forbidden area but never come out. The subsequent intercourse of our leads adds additional depth in the form of the declaration by Noah that he desires more than wham-bam-thank-you-Sir (or Daddy) and Patrick responding that the bears and the other woodland creatures are only there to hit it and quit it.

The plot thickens on Patrick about to dump Noah in favor of a good-time boy when Noah asks his new friend with potential benefits to hang back while he answers a call of nature. Patrick soon discovers Noah on the ground bleeding; the immediate aftermath of that incident prompts the local Yogi and BooBoo to take off in hot pursuit of Patrick and Noah.

Our boy in the hoodie revealing more about himself as he and Patrick play hide-and-seek for their lives provides additional depth. The lesson here is that the seemingly nice guy who is out cruising may have a not-so-hidden dark side, 

We learn of the almost literally dog-eat-dog tortured childhood of Noah; this relates to his being in the forest to get to the bottom of the disappearance of his brother who took one for the team. A related reveal is that Noah likes to watch.

The truth that fully comes out is genuinely surprising and once again proves that you never really know the guy whom you meet in the woods to get you some. Of course, this adds a new dimension to the head games that that often involves.

The bigger picture this time is that "Path" validates the theory that the degree of sexual content in a film is inversely related to its substance. Virtually nothing about the Noah/Patrick relationship either is erotic or sensual. Further, any flash of naughty bits is of the "blink and you'll miss it" variety.

The special features include extended interviews with the cast, the crew, and crew members who are in the cast. Crew member Steve Callahan gets the best line in referring to his Park Ranger Tom being horrible at his job. Another spoiler is that our leads are as endearing in real life as they are on the screen. 

The Breaking Glass Pictures February 12, 2019 DVD release of the 2018 supernatural mystery "Beyond the Night" shows that there sometimes is much more below the surface regarding himbos. Adrian Grenier of the hilariously rude, crude, and socially unacceptable HBO comedy series "Entourage" produces this small-town drama about a cold case heating up.

The bigger picture is that "Night" is part of a supernatural subgenre in which a youngish member of the military experiences eerie angst on returning to his or her rural working-class town. The review of the Breaking film "Lost Child"  on this site describes it as a Gothic tale from the trailer park.

The seemingly obligatory dialogue-free opening scenes of "Night" has 30-ish soldier Ray Marrow rushing through hospital hallways to the bedside of his recently deceased wife. The copious deleted scenes that Breaking provides as a bonus feature puts this in perspective,

Ray next goes into the hospital room of his young son Lawrence; the first sense of the large red discoloration on the face of the boy is that it relates to the incident that lands him and his mother in the hospital. We quickly learn that this feature is a birthmark. Writer/director Jason Noto reveals much later that that distinction may be the source of Lawrence being the boy with something extra, 

The first challenges that Ray faces on returning to the declining coal-mining town where he was born and raised are reconnecting with his son whom he barely knows and helping the boy deal with the loss of his mother. A kids say the darnedest thing moment provides further drama that drives much of the film. 

Despite the pressures on Ray, a scene in which he fails to pick up a small mess that Lawrence makes in a grocery store is bothersome. Particularly a member of the military should have the courtesy to conduct the clean up in Aisle Four.

Strike one against Lawrence occurs during the graveside "party for Mommy." The lad persistently tugs on the dress blues of his father during the funeral.

Strike two occurs during the reception following the service. On being introduced to the mother of a 15 year-old girl who went missing several years earlier, Lawrence spontaneously says the name of that gone girl. This is despite the boy never having met June Rain or being told about her disappearance. 

Those of us who have been on either or both sides of an "out of the mouths of babes" situation can relate to the "stuff" that hits the fan in the immediate wake (pun intended) of Lawrence invoking the name of she of whom one should never speak. 

The plot thickens on indications that Lawrence may be the incarnation of June Rain. This greatly distresses folks with a horse in the race and locals who simply do not want to relive the unpleasant past. Meanwhile, Ray is trying to be a supportive parent in the face of his already "original" son calling even more attention to  himself and making Dad the focus of the aforementioned scorn.

In the grand decades-long tradition of Lifetime movies, the powers-that-be with a role in June Rain evaporating already are nervous before Lawrence fingers one of them. The fact that the father of June Rain is well connected does not help matters. 

All of this leads to a climax that begins with a western staple. The sheriff takes the person-of-interest into protective custody only to have a lynch mob attack the local jail, This leads to a revealing trip to the scene of the crime. 

The bigger picture is that the truth reflects a few shameful tales as old as time about beauties and beasts. We see that the nature of man is not so respectable, that many wrongdoers would get away with it but for one or more meddling kids, and that those in whom we place out trust often deserve the level of trust bestowed on Rodney Dangerfield. 

Breaking supplements this intriguing film with wonderful bonus features that extend beyond the aforementioned deleted scenes. We see Noto and a couple of stars interviewed on the red carpet at the Los Angeles red carper premiere of the film. This not including Grenier and his entourage is disappointing.. 

The Breaking Glass Pictures DVD release of the 2017 drama "Longing" once again shows the talent of Breaking regarding separating the wheat from the chaff. Facially, this tale of 40-something businessman Ariel Bloch learning that he knocked up his college girlfriend back in the day is about coming to terms with not raising your child, This film being so much more makes it special.

The strong indie vibe, the quirky characters, and the increasingly bizarre situations evoke thoughts of the hit art-house film "Little Miss Sunshine." That movie has a dysfunctional family taking a hurried cross-country road trip. 

The Israeli Film Academy and the Jerusalem Film Festival both bestowing best screenplay awards on "Longing" reinforces the praise for it, 

Our story begins with baby momma Ronit ambushing Ariel with the big news at what he thinks is a casual reunion; Ronit becoming hysterical in both senses of the word makes the audience wonder what Ariel saw in her in the first place, Ronit naming their son Adam is very apt in the context of how well his birth father knows him.

The next big bombshell is that Adam is dead; this prompts Ariel to travel to see the grave of this teen.

This visit really sets the film in motion; the almost constant reveals should be relatable to even parents who discover that they really do not know even their kids in the hall, Watching Ariel increasingly getting involved in the former life of Adam and becoming protective of him is even more fascinating. This clearly extends well beyond guilt related to not being there and empty gestures that try to compensate for that failure. Ariel feels very strongly about fighting for his boy.

Writer/director Savi Gabizon artfully builds this part of the story on micro and macro levels. This begins with the partner-in-crime of Adam tracking down Ariel and telling him more and more things that he does not want to hear. This climaxes with that boy making unreasonable demands on Ariel.

We then meet the object of the obsession of Adam and get to know his live-in booty call. This is not to mention seeing a grand declaration of love that is not perceived well. 

Things really get weird when Ariel bonds with the father of a teen suicide victim. The men develop an unorthodox plan that they hope provides their offspring eternal peace. The execution of this scheme leads to a very bizarre confrontation regarding an assertion that Adam is not good enough for the daughter.

The"wait there's more" aspect of "Longing" is that we learn of a like father like son side of Adam; this only contributes to the sense that the boy is haunting his parents from the grave. 

Gabizon wraps all this up with a scene that concludes many more conventional films.  

This review wraps up with the observation that "Longing" has so many twists and wry humor that lovers of indie films and/or character studies are sure to love it.

Breaking Glass Pictures fills the need for a John Hughes style distressed teen in love with quirky outcast film in releasing the 2016 film "Honeyglue" on DVD and VOD on February 19, 2019.  The scads o' festival love for this "The Fault In Our Stars" with a transvestite leading boy includes a Best Feature award at Cannes, an award at the Newport Film Festival, and the "Best Director Award" at the Orlando Film Festival.

The following SPOILER-LADEN YouTube clip of the "Honeyglue" trailer does a good job presenting the story and those who tell it.

Though Hughes films are the granddaddy of "Honeyglue," more recent (and edgier) "teens with cancer" dramedies such as "Me and Earl and the Dying Girl" and "The Fault in Our Stars" are the older siblings of this story of girl develops fatal brain tumor, girl meets girl/boy, girl and girl/boy live happily ever daily.


The hook this time is that the girl is a conservative suburbanite presumably with grades that are as good as her manners. The bad boy is a drifter with an incredibly troubled past and a desire to express himself that is as strong as the forces that seek to repress it.


Our modern-day Frankie and Annette Morgan and Jordan meet at a not-so-wholesome night club where they strike up a conversation. On Morgan asking a made-up-in-drag Jordan about his sexuality, he grabs a seemingly random guy to kiss full on the lips only to turn around and do the same to Morgan. Other symbolism


This quickly leads to Morgan unexpectedly meeting the parents sans wig and with minimal makeup but clad in a kilt. One spoiler is that Jordan portrayor Zach Villa, who aptly is starring in the stage production "For the Record: Dear John Hughes," is more appealing as a very pretty boy than a not-so-pretty girl. He can be considered a feminine and darker cousin to "Austin and Ally" star Ross Lynch.


On the same subject, Adrianna Mather plays Morgan. She does a good job playing a quirky "All Grown Up" Ally to Villa's Austin. Mather is also a Zombot co-owner and a producer on "Honeyglue."


The courtship of Morgan begins with a "winner-take-all" bet; this in turn leads to a wonderfully awkward 'za feast with the 'rents and hilariously hyper and goof bro Bailey. "Twilight" veteran BooBoo Stewart excels at stealing scenes in this role.


Discovering the advanced stage of the brain tumor in the noggin of Morgan prompts our lovers to accelerate said courtship despite the opposition to said plans. This leads to the cliched road trip (very much ala "Earl") that has enough twists and humor to make it interesting. Suffice it to say that Morgan is a particularly bonnie lass during this leg of her adventure with the kilt-wearing Jordan.


Like all films of this nature, reality crashes down on our pair near the end. The nice twist this time is that it reflects the truly fantastical nature of the soul of Jordan.


This being a film largely geared to teen girls, the symbolism of the title is blatant but effective. It relates to a wonderfully illustrated children's book that Jordan is writing. This tale tells of a very cute dragonfly boy who literally and figuratively goes to great lengths to woo the bee princess whom he loves. Both the tale and the drawings create a strong desire for a copy of this book.


Bird injects more subtle symbolism in manners that include other cliches in modern "cancer" films. One example of this is Jordan shaving his head in solidarity meaning more than support for Morgan losing hers.


On a more personal note, the quality of the film overcomes pre-viewing negative feelings regarding the transgender element in it. This aspect of society seems done to death and does not appeal to your not-so-humble reviewer. Instincts that "Honeyglue" is far more than a boy in a dress or a desire to fully become a girl enormously pay off.