 The coincidentally timely aspects of these musings on the 2014 DVD of the live-stage performance "Del Shores: Naked. Sordid. Reality." make it an especially good place to start a "del"athon of posts on Shores films and performances. This begins with watching "Naked" overlapping with belatedly beginning to read the May 2018 David Sedaris collection of memoirs Calypso.
The film and the auto-biography make it clear that these brilliant minor gay celebrities storytellers do not hesitate to rip the band-aids from scabbed over and fresh emotional wounds for the enjoyment of their fellow friends of Dorothy as well as the general populace. The overlap extends to Shores discussing his painful divorce and Sedaris writing about his highly significant other telling Sedaris out of the blue that he has not loved him since 2002, The other coincidence is that particularly personal kindness and compassion by Shores comes at a time of announcing plans to shut down this site in late 2020 after more than 10 years trying to promote independent film and to prevent Millennials and Gen Zers from not knowing about Lucy Ricardo and Raph Kramden. This scheme to cease this genuine labor of love would not occur if not but for a Hall of Shame that includes arrogant young punks who should be grateful that they do not have to stand half-naked outside an Abercrombie and Fitch and a major studio that ironically knows Jack about not biting the hand that feeds its rapidly dying home-video businesses that should follow the Gospel According to Del. The rest of this story is that much can change in a year and that the credible rumors as the upcoming death of Matt Nelson may be premature. As indicated above, Shores gets much more personal in "Naked" than he does in his similar even more hilarious (reviewed) performance DVD "My Sordid Life." That one focuses more on tales from the set as to "Queer as Folk" and the Debra Messing Foxcom "Ned and Stacey." Further, a hazy memory is that Shores does not engage the "Life" audience nearly to the degree to which he makes the more intimate "Naked" fans part of the conversation, His very recent (reviewed) performance film "Six Characters in Search of a Play" falls in the middle of this Kinsey Scale, An early stop in this journey into the mind of Shores is the typical reminiscing about his "sordid" chldhood as the son of a Southern Baptist preacherman. In this case, we hear about eccentric elderly members of the congregation that include an otherwise loyal widow woman who is dragged kicking and screaming to her final service. The lesson in Southern justice is the perfect climax to this segment. We also get a story about the real aunt who inspires the HILARIOUS chain-smoking Sissy of the "Sordid" franchise. This one, which involves our favorite friend of Dorothy and his little dog too, is highly relatable to anyone with an elderly relative. Dishing about a Hollywood lunch with a successful producer/friend of Shores and two Silver Age (female) movie queens fills the quota for the gossip portion of this performance. In true Shores style, the climax is a sordid detail that is close to a page out of "Lives." Shores follows up with tales of two cities that perfectly illustrate the sordid scope of reality TV. Our host literally takes center stage to perform a one righteous dude show of an intervention of a hoarder who is a Mama June type; Shores particularly shines in his portrayals of the adult sons (and most likely nephews) of this woman whose riches are embarrassment. Shores wraps all of this with the aforementioned baring of his soul; this logically leads to a noteworthy (pun intended) musical performance that reasonably can be considered a song by A"del"e. The bittersweet conclusion to this that Shores leaves us wanting more; prior posts on his work and the remainder of this "Del"athon shows that he partially meets the bottomless demand for his wit and wisdom. Baby, you'r e the best.
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 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 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 TLA Releasing DVD release of the 2018 gay-themed surreal drama "The Skin of the Teeth" presents a well-produced compelling story that even breeders will enjoy. On a large level, "Skin" follows the pattern of a direct relationship between the quality of the film and the strength of the live-stage vibe and the small amount of nudity and/or sex.
The horrific "a night in the life of" story begins with NY hedge fund guy John Burstner preparing for a stay-in date with less successful Josef King. Their back story is that these guys are trying to transform a Mr. Right Now hook-up into a Mr. Right relationship. Josef being the younger and the cuter of the pair predictably leads to John being unduly grabby. John also makes the valid point that Josef having quickly given it up impairs the credibility of his claim that he wants to take it slowly. Things settle down until the party once again goes out of bounds. This leads to the end of the life of John and the beginning of a Kafkaesque nightmare for Josef. The well-staged constant blending of reality and drug-induced hallucinations make an already interesting story even more compelling. This textbook journey down the rabbit hole commences with the cops pounding on the door of Chez Burstner. these NYPD men in blue dragging Josef down the hall in front of all the neighbors, and our lead ending up in an interrogation room. Virtually all of the rest of the film occurs in that room as Josef fully gets caught up in the system while being questioned by a detective who has a hard on for him in not the nice way. The ensuing humiliations include being made to strip in front of this detective and his female partner, getting caught in a lie about his age, and being subjected to harsh questioning regarding his sexuality. The aggressive unwanted sexual advance is the icing on the cake. Film virgin Pascal Arquimedes does such a good job playing an innocent man who is on trial both for the death and every aspect of his life that we feel his pain. This extends to sharing his joy when it looks as the entire ordeal is merely in his head. The reality is that the perceptions of this date gone horribly wrong likely are a blend of fact and an altered state of mind. Similar to other tales of "innocents" in peril, the "it could happen to you" aspect provides much of the impact of this ordeal. The surface level is the leap of faith that any of us make entering the home of an absolute or relative stranger. Going just slightly deep, all of us are vulnerable to being at the wrong place at the wrong time. Plenty of prior and current guests of the state can attest to the validity of both statements. All of this leads to an out-of-the-blue conclusion that is just as cynical as the rest of the film; pulling an ace out of a sleeve is game changer.  The Dekkoo Films March 13, 2018 DVD release of the second season of the Brandon Kirby gay-themed web-drama "I'm Fine" provides fans a chance to see "what happens" after the tears and recriminations regarding the relationship-oriented cliffhanger at the end of (reviewed) S1. The focus in S2 on showing that seemingly NSA sex is not as casual as believed (or hoped for) nicely builds on the solid S1 foundation.
The beginning of S2 finds central 30-ish WeHo Nate in quiet contemplation after the aforementioned S1 events leaves him alienated from former best friend Joey and considered the bad guy among mutual friends. This nice-looking guy who already has a cute S1 coffee shop connection under his belt soon finds himself the object of the affection of an adorable somewhat innocent. Almost literally fresh-off-the-plane relatively pure younger man Mick strikes up a conversation and is ecstatic regarding the response when he asks Nate if he is gay. A politely persistent Mick shows up throughout S2 and often plays the role of "Mr. Right Now" in several senses of that word. Many of us can relate to both being the puppy pursuing the more worldly adult dog or being pursued. We also can relate to throwing the eager young thing a bone for motives all along the selfishness scale. Another early S2 development finds members of the Nateverse Andy and Brian attending a party with medium-high sexual heat on the cusp of moving in together. A reluctant Andy is going along with the desire of Brian to adopt a policy of what happens at the party stays at party. This works out well until the couple learns the principle that the problem with a threesome is that someone inevitably gets left out and experiences jealousy. Meanwhile, Jeff is dealing with a family crisis at the same time that he is contending with his falling out with Nate; this presents our lead with an almost classic damned if he does and damned if he does not situation. The comic-laced drama of Nate continues with ambiguity regarding a a job offer, having his family drop by for a forgotten visit, and his roommate providing literally last-minute notice that he is moving. On top of this, this every Millennial gets excited regarding a second bite of the apple regarding a college infatuation only to learn a couple of harsh lessons. This includes the logistical problem related to both players being willing to take one for the team. The season-finale ends things on a high note by tying in several S1 elements. Nate and those who remain on his team make the bad decision of attending a kickball game in search of closure only to have everything go comically awry. Bringing back the most shriekingly toxic member of this 'verse is a highlight. The appeal of this series is that most groups of gay men see themselves in these characters. Drama and/or sex of varying degrees of intensity regularly occurs among the members, and the folks on the sidelines must contend with the consequences of which side that they choose. Another way of looking at this is the valid theory that all adults experience the same emotions as children but largely better cope with them. The DVD bonus is a "making-of" feature.  The TLA Releasing October 2017 DVD release of the 2016 S1 of the dekkoo web series "I'm Fine" makes a perfect companion to the (reviewed) December 2017 release of the Dekkoo Films "Coffee House Chronicles: The Movie." Both projects take equally honest and amusing looks at gay dating in the 2010s. The following YouTube clip of a "Fine" trailer highlights the drama and the trauma of the queer as folk boys living in West Hollywood whose lives are the things of which the series is made. Fine" centers around 30-ish Nate, who is suffering the pains of being on the rough end of a tough break-up with kickball jock Joey. The love-hate relationships among his friends help (and hinder) his navigating these tough times and provide the audience great entertainment.
The shifting narrative begins in the wake of the aforementioned breakup and later establishes that Natey begins when Joey stands up for Nate during an amusing confrontation at a party from Hell. Subsequently entanglements hilariously ensue when Nate encounters Joey and a date in the immediate afternath of a disastrous hook up regarding which many gay man can relate. One lesson regarding that wham-bam-thank-you-sir is that taking one for the team is difficult when your heart is not in the game. The indications of writer-director Brnadon Kirby being in the head of the viewer are particularly strong in one scene. On arriving at a coffee shop to meet Joey, Nate orders a beverage with extra flavoring only to have the barista repeatedly harangue him; this is on the heels of a similar Starbucks experience in which being challenged about requesting extra peppermint syrup and then being asked if they should add a shot of insulin prompted changing the order (and disliking the drink). The ensuing events are equally relatable but more pleasant. The adorable young guy in line behind Nate concocts a cute approach and makes a charming sincere expression of a desire to get to know him better. This type of encounter is fairly common during the period that one is young and cute and is especially nice when it leads to a good relationship. Yet more relatabilty ensues when best friend Jeff confesses his attraction to Nate; suffice it to to say that the impulsiveness of Nate causes this tricky situation to explode in a manner that affects their entire group. As alluded to above, the importance of productions such as "Fine" and "Chronicles" is that it shows the vast numbers of gay men who lack many reference points that their experiences are typical for men who date men and yearn for sharing a dream home with Mr. Right. The bigger picture is that folks who are at the hetero end of the Kinsey Scale see that gay men do not connect as easily or as regularly as pop culture often suggests; these breeders further learn that hurt feelings when the one whom you love does not share those feelings and/or moves onto someone else lack sexuality boundaries. The one who got away still is the one who got away. vv "Fine" centers around 30-ish Nate, who is suffering the pains of being on the rough end of a tough break-up with kickball jock Joey. The love-hate relationships among his friends help (and hinder) his navigating these tough times and provide the audience great entertainment. The shifting narrative begins in the wake of the aforementioned breakup and later establishes that Natey begins when Joey stands up for Nate during an amusing confrontation at a party from Hell. Subsequently entanglements hilariously ensue when Nate encounters Joey and a date in the immediate afternath of a disastrous hook up regarding which many gay man can relate. One lesson regarding that wham-bam-thank-you-sir is that taking one for the team is difficult when your heart is not in the game. The indications of writer-director Brnadon Kirby being in the head of the viewer are particularly strong in one scene. On arriving at a coffee shop to meet Joey, Nate orders a beverage with extra flavoring only to have the barista repeatedly harangue him; this is on the heels of a similar Starbucks experience in which being challenged about requesting extra peppermint syrup and then being asked if they should add a shot of insulin prompted changing the order (and disliking the drink). The ensuing events are equally relatable but more pleasant. The adorable young guy in line behind Nate concocts a cute approach and makes a charming sincere expression of a desire to get to know him better. This type of encounter is fairly common during the period that one is young and cute and is especially nice when it leads to a good relationship. Yet more relatabilty ensues when best friend Jeff confesses his attraction to Nate; suffice it to to say that the impulsiveness of Nate causes this tricky situation to explode in a manner that affects their entire group. As alluded to above, the importance of productions such as "Fine" and "Chronicles" is that it shows the vast numbers of gay men who lack many reference points that their experiences are typical for men who date men and yearn for sharing a dream home with Mr. Right. The bigger picture is that folks who are at the hetero end of the Kinsey Scale see that gay men do not connect as easily or as regularly as pop culture often suggests; these breeders further learn that hurt feelings when the one whom you love does not share those feelings and/or moves onto someone else lack sexuality boundaries. The one who got away still is the one who got away.  beA Herculean sense that gay-themed "I'm Fine" web series creator/writer/director/producer/guest star Brandon Kirby has insight into the lives and loves of WeHos made a telephone conversation with him in conjunction with Dekkoo releasing the third season episodes on July 25, 2019 a special treat. A post on "Fine" S1 and an article on S2 provides a good overview of that series, Thoughts on S3 will follow the DVD release of that season in the next few months.
Mind Reading The chance to find out how Kirby gets everything so right prompted asking where he hid the camera that has been recording my life for years. He chuckled and replied "that close to home, huh?" He explained that the series started as highly auto-biographical and that S1 was really based on him. He added that friends of main character Nate were loosely based on his friends. More fun related to hearing about how the real friends of Kirby speculated about which individuals in his life inspired his reel long-time companions. Kirby made up for admitting that he had not read any of my posts about "Fine" by laughing and saying that he liked my using the name "Natey" in reference to a relationship between Nate and Joey; more atonement in the form of liking recent tweets on those posts is pending. Kirby described the evolution of "Fine" as "once the actors got ahold of it, it got beyond my own life." We "worked on it together." This topic required asking Kirby about the real-life inspiration for "Fine" character Jeff, who developed an "its complicated" relationship with best-friend Nate. Kirby merely stated that that "buddy" never explicitly acknowledged that character. This developed into Kirby sharing that "the hooking up with a friend is something I wanted to explore; I felt that it was something that gay men could relate to," Most readers see the truth in this, Kirby further noted that the third season was the final one, commenting that the series had reached a "natural conclusion." Queer Horror An IMDb credit for the upcoming anthology film "Deathember," which takes "a look at the dark side of the festive season" led to discussing the Kirby contribution of the "queer horror" short "All Sales Final." He added that he usually works on that genre when collaborating with "Fine" writer Michael Varrati. This pair also has "The More the Scarier" to their credit; IMDb describes that one as "What happens when a horny ghost haunts your apartment?" Kirby stated that "Scarier," which uses "I Love Lucy" style credits, is an "irreverent sitcom" with a laugh track. He laughed but did not respond when asked if the horny ghost was a Cuban bandleader. All of use will get a chance to see "Scarier" when it premieres on Dekkoo in October. More Than A Pretty Face Pre-interview research revealed that Kirby was a secondary-education grad, student at Marymount Loyola University in Los Angeles. He shared that he wanted to teach English when he graduated. When asked about which book that he would like to adapt into a film, Kirbrby responded The Emperor's Children by Claire Messud. He added that others had tried that project but had never gotten a movie made. Kirby additionally commented that the novel Adam by Ted Dekker was a "hot topic" and had recently been made into a movie. Neo-Modern Indie Getting to know Kirby made it clear that he epitomized the modern approach to independent film-making. He seemed surprised to asked why he produces streaming material and stated that he only has ever worked in that format. The clear implication is that he never will expand beyond that. It is equally clear that he is a bright well-educated guy who has succeeded in communicating his perspective and psyche in a manner that greatly entertains those of who have several barely started novels and even less-developed ideas for films and television series in our heads. This amounts to a future class of kids who will try watching the movie, rather reading the book, and will pass off downloaded papers as their own work being in for a treat when they get Kirby as a teacher.  Warner Archive awesomely illustrates the positive evolution of Hollywood films regarding gay-themed stories with the November 7, 2017 DVD release of the 1997 dramedy "Love! Valour! Compassion!"
As the text on the DVD back cover notes, the secret to Terrence McNally bringing his Tony-winning play to the rainbow screen is reuniting the band back and having Jason Alexander join the group as stereotypical middle-aged queen Buzz, whose quirks include believing that virtually every celebrity is gay. The warranted comparisons to "Golden Pond" and "The Big Chill" prove a primary point of "Love!" and other modern films centered around homosexual characters; boys who like other boys (and girls who like other girls) have the same highs and lows as everyone else. The biggest difference (especially until the recent past) is that estrangement from relatives, the AIDS crisis, and remnants of discrimination that include marriage inequality contributed to gay men like those in the play bonding in groups such as the one around which the film centers. Gregory is the center of the group in that he is their common thread and owns the country house in New York state where they gather over Memorial Day, July Fourth, and Labor Day one summer. Gregory is a successful middle-aged choreographer and is the partner of younger and cuter blind legal assistant Bobby. The standout in the cast is John Glover ("Smallville"), who plays aptly surnamed twins John and James Jeckyll. Accompanist pianist John is the unlikable pity friend of the group. He primarily is invited along out of sympathy for not having any place else to go for Memorial Day weekend. His bringing along hunky 20-something Latino dancer boyfriend Roman, who is not shy about stripping down to skinny dip and sunbathe, likely plays a role in this pair returning for the other two weekends. Kind and gentle AIDS patient James Jeckyll comes on the scene on the Fourth of July; his sweet nature and strong contrasts with his brother quickly earns him the hearts of the gang; this leads to an unlikely (but tender) relationship with incestuous elements. The remaining boys in the band are long-term couple/business consultants Arthur and Perry. The Memorial Day weekend sets the stage (no pun intended) for much of the drama to come. The largest theme is the AIDS crisis, which divides the gay community as much as it does this group. Some members feel that it is important to discuss this, and others want to pretend that this horrible disease does not exist. The positive members of the group fear what is to come, and those who are negative still dread the worst. Everyone in the group regularly thinks of people whom they have lost. An powerful aspect of all these elements is a character expressing resentment toward monogamous couple Arthur and Perry being spared the disease and these men responding in kind. This weekend also involves an illicit tryst with a highly symbolic act related to the practicality of crying. The second act over July 4th lets the audience and the characters catch up on the developments (including fall-out from Memorial Day) of the roughly six months since their last gathering. This also involves Bobby experiencing trauma to which most people can relate. The end-of-summer third act includes much more symbolism as we learn a great deal about the fates of the men and they essentially cleanse their sins.  The recent Olive Films Blu-ray release of the gay-themed dramedy "Partners" is a great example of the '80slicious titles that comprise a significant percentage of the Olive DVD and Blu-ray catalogs. The brat pack classics "Class" and "Making the Grade" are two of scads of bodacious examples of these films. The following YouTube clip of the "Partners" theatrical trailer nicely showcases the early '80s style of the film, the good performances, and the era-appropriate humor. "Partners" takes a nice twist on the odd couple theme by pairing hunky homophobe cop Benson pair with closeted desk jockey officer Kerwin for an undercover mission in West Hollywood to investigate the murders of young gay men. Dreamy funny Ryan O'Neal and very talented John Hurt play Benson and Kerwin respectively.
Veteran gruff character actor character actor Kenneth McMillian, who perhaps is best known as rough but kind costume shop owner Jack Doyle on the '70s sitcom "Rhoda," shines as the stereotypical commanding officer of the pair. His threatening to put police detective Benson back in uniform and on the beat in the worst part of the city and his aggressively pushing a very insecure Kerwin out of the closet to get the men to work together are highlights. The comedy cred. of "Partners" relates to James Burrows, who is behind "Rhoda" and too many other to mention classic sophisticated '70s and '80s sitcoms, directing the film. The street cred. comes from having Francis Veber, whose gaycom credits extend well beyond "La Cage Aux Folles" and the "Folles" American cousin "The Birdcage," scribe the film. The early scenes in "Partners" have Benson and Kerwin set up housekeeping in a West Hollywood apartment building. Benson stereotypically hurls slurs at Kerwin and is otherwise brutal. The submissive manner in which Kerwin reacts both reflects the less accepting '80s regarding alternate sexual orientations and is a perfect analogy for the verbal abuse that many black people passively accepted for years before expressing their own well-deserved pride. Other outdated prejudice comes in the form of both Benson and the commanding officer of the team discount theories of Kerwin simply because he is gay, Anyone who has been in the position of knowing that he or she is right but cannot get people to listen can relate to this. Benson getting his eyes opened on finding himself on the other end of sadistic gay bashing by the police is another positive message in an era in which even seeming to be gay can have serious negative consequences. An unduly brief cameo by Jay Robinson as the old queen landlord of the boys is a real treat for fans of the Sid and Marty Krofft '70s Saturday morning show "Dr. Shrinker" in which Robinson plays the titular madman with an evil mind who is as crazy as you'll ever find. Being able to joke "so that's what happened to Igor" in response to the landlord sharing the tale of the end of a 20-year relationship is some compensation for his very limited screen time. Much of the humor predictably comes from the assignment requiring that a devastatingly humiliated Benson wears revealing and/or fetish clothes and subjects himself to equally unwelcome groping by gay men. A particularly embarrassing bow-and-arrow "outfit" of an oiled-up Benson is a personal favorite. Seeing Kerwin and Benson grow as a professional and a personal team is very sweet; one especially endearing scene has Benson express great delight in having Kerwin surprise him with a homemade gourmet feast to celebrate their one-week anniversary. The supporting actors and the extras who play the members of the West Hollywood community representing a wide spectrum of the population is another awesome aspect of "Partners." A blond haired blued eye preppy who is attracted to Kerwin is one of the more likable secondary characters; others in the group are disco queens, leathermen, and just ordinary blokes. On a larger level, "Partners" is very far from being a documentary on the Stonewall riots or other significant moments in gay history but does provide an entertaining history lesson on the attitudes toward gay people in the early days of the pride movement. The strong probability that many gay men did not see the film in the theater out of fear of being labelled as homosexual is an aspect of this. Olive allowing the men to buy the Blu-ray and throw a fabulous fondue party to watch it is a good thing.  Uncork'd Entertainment takes a break from its always awesome dark and perverse fare to celebrate the true spirit of Pride. The Uncork'd June 14, 2019 DVD of the aptly titled 2018 documentary "Southern Pride" goes beyond rightfully asserting "we're here; we're queer; get used to it." This film shows that folks particularly in the Bible Belt sadly still have a long way to come, Baby. "Pride" is the follow-up (and equally labor-of-love) of director Malcolm Ingram to his multi-award-winning documentary "Small Town Gay Bar." Both films awesomely expand the perspectives of East and West Coast metrosexuals and homosexuals. The following YouTube clip of a "Pride" trailer aptly covers both the titular sense of self-worth and the opposing prejudice that can make things tough for folks who are part of the moral 10-percent. Much of the focus of "Pride" is on proud and partnered lesbian Lynn, who owns the Just Us bar in the small city of Biloxi, Mississippi. A surprising theme that gets virtually no mention is that the lesbians and the gay men get along very well. This interaction typically makes the average co-existence of dogs and cats harmonious in comparison.
The titular festival itself takes a backseat to the story of Lynn and of those most near-and-dear to her. These intimates include her Trump-supporting sister, who simply knows when to keep her mouth shut, and trans-gender bartender Daniela. It may well be that the support of Lynn saved the life of her employee. The inaugural organizing event for the first Pride celebration in Biloxi has the same element as any committee meeting. The practical folks for whom this is not their first gay rodeo strive to keep the expectations of the idealists in check. Meanwhile, an ill-conceived effort to cash in on Spring break is the first of several setbacks that befall an amazingly resilient Lynn. It seems that the fates constantly conspire to literally or figuratively rain on her parade. Meanwhile in Hattiesburg, a black gay bar is taking the lead organizing an explicitly black gay-pride event. This portion of "Pride" includes an explanation of the reasoning behind narrowing the focus in that manner. The related theme is the further division in the already small gay community. As stated above, the impact of "Pride" includes the reminder that many communities are less enlightened than those that haters think of being inhabited by the culturally elite. In many respects, Team Lynn and the guys in Hattiesburg must deal with attitudes that are at least 20 years behind those of most of us.  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 recent Dekkoo Films DVD release of the 2019 surreal drama "How to Get From Here to There" shows that a shoestring budget movie that blends a gay-theme, scifi, and an existential crisis can succeed. IMDb states it best in describing this largely silent movie starring filmmaker Kevin James Thornton as follows. "Upon the death of his mother, a gay man in blue collar America returns to his childhood home. There he discovers a cardboard time machine that he made when he was a boy. As he uses it to get glimpses of his future, he ponders the weight of his life's choices." The following YouTube clip of a "There" trailer highlights the art-house creativity of the film. Our main man, only known as Commander, essentially is rattling around in the aforementioned abode in the aftermath of the aforementioned death of his mother. The despair that extends beyond his immediate loss is written all over his face.
This leads to pulling out the aforementioned Calvin and Hobbes caliber time machine to see what the future holds. The voice in the head of Commander is that of the Queen of the Continuum. The obstacles include a shadowy menace that is threatening their power supply. This journey leads to an "its complicated" relationship with Future Boy. The lesson here is that even connecting with someone who may be Mr. Right is tough enough, the emotional baggage that we being to that (or any) relationship makes us wonder how anyone manages to get beyond the honeymoon stage. Calvin and Hobbes expresses this well by stating that finding someone whom you can tolerate is a very rare and that person being able to stomach you is almost impossible. All of this concludes with our Major Tom not being much older but being much wise at the end of "There,"  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.  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.  The Dekkoo Films March 12, 2019 DVD of the 2017 S1 of the Dekko network series "Woke" (nee "Les Engages") is highly relatable both to LGBT folks and anyone who has ever worked with a community organization. The broader perspective regarding this show about the lives. loves, and politics of the volunteers of the Lyon-based Point G gay-rights group is that it can be considered the French version of either the British or the American version of the gay-themed dramedy series "Queer As Folk.' The 16 European and American awards for the aptly titled "Woke" further reflect the international appeal of the series. It really is about the men and the women in your office and your neighborhood. The following YouTube clip of a "Woke" trailer emphasizes many of the international elements of the series. We see gayby Hicham poorly respond to a confrontation by "Mom" and get glimpses of the Kinsey Scale of lust-to-love that reflects the range of gay relationships. The focus of "Woke" initially is divided between our leads. Closeted Muslm student Hicham (Justin) is living a life of quiet desperation with his sister Hadjet. The love and support of this well-meaning mother figure includes encouraging him to contact a presumed female object of his affection. Hadjet subsequently showing up unannounced at the quasi love shack of Hicham also strikes a chord with roughly 10-percent of the global population.
Meanwhile, Point G leader/bookshop owner/gay slut Thibaut (Brian) is pursuing all his passions in Lyon. The crisis du jour is that the mayor is basing denying a permit for a Gay Pride festival on the argument that gay people already have enough rights. Of course, hypocrisy soon enters the picture. A later Point G campaign to locate witnesses to the beating of a volunteer who keeps his apartment by being a rent boy reflects the positive spirit of "Queer." An aspect of this is that discovering a strong gay community often fills the void left regarding lifestyle-based estrangement from blood relatives, The rest of the story is that Hicham and Thibaut have a history that apparently is comparable to frequent (also aptly named) camp-out behavior that a lack of official approval by the Boy Scouts does not deter. The results of a personal survey is that every gay man who was a scout had his first sexual encounter with another guy during a scout event, The past of Hicham and Thibaut involves the former hitting the latter in response to a request for a kiss during a non-scout camping trip. This is relatable to the many gay men whose early days of repression and/or ignorance manifest in cruelty toward teen friends who already know and accept that they like other boys "in that way." The prior encounter and being increasingly woke in the present prompt Hicham to run away from home to join the gay circus. His rude awakening includes a relatable moment in which calf dyke lesbian Murielle berates this guy whom she has never met before for his inadvertent intrusion into ladies' night at the Point G headquarters. The outrage of Murielle relates to male intrusion on the one night of the week that the boys let the girls use the clubhouse. Hicham soon thereafter has an uneasy reunion with Thibaut. What we know about our troubled activist and what we soon learn both show why he allows his former assailant to share his space, but not his bed. The aforementioned organizational conflict (not to mention a form of theft that also is not unheard of in the Boy Scouts) leads to politics that turn very dirty. The end result is that charismatic and compassionate Thibaut becomes president/puppet. He has not-so-charismatic or compassionate board member/drag queen/puppetmaster Claude to thank for the rise to power. On a more positive note, Hicham largely is a poster-child for the modern gay man. The aforementioned victories in the hearts and minds of the hoi polloi allow this nice young man to hold out for a loving and mutual relationship. The facts that he is seeking Mr. Right, rather than Mr. Right Now, and is not looking for love in all the wrong places or in too many faces show that we've come a long way, Baby. It further proves that gay men have achieved the worst nightmare of Brian Kinney of the U.S. "Queer As Folk" that fags have become boring suburban couples. This perfect storm (including a chance encounter with the one who got away) prompts season-ending soul-searching for Thibaut. The best perspective this time comes from a real-life publicist for a major US studio who states that he understands why artistic temperamental people are artistic and temperamental. All of this has fans of quality gay-themed dramedy eager for the Dekko DVD release of "Woke" S2.  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 TLA Releasing DVD of the 2018 film "Cola de Mono" likely wins the award for the most unusual and dark Christmas film ever. It combines the sexual awakening of teen boy Borja with heavy family drama and a very sad aspect of gay life.
The titular cocktail plays a major role regarding the central holiday celebration gone out of bounds in which secrets and repressed emotions come out. A few occasions on which text across the screen provides exposition includes a recipe for this beverage. Our story begins on a relatively happy note on Christmas Eve 1986; Hyperactive cinephile Borja is driving both mother Irene and slightly older brother Vicente crazy. One family issue is that Vicente is the golden boy, and both Mom and Bro are frustrated that Borja is so immature. This family moves onto a holiday feast at which Borja becomes a bigger nuisance in proportion to the number of Cola de Mundos that he consumes. This bratty behavior includes teasing Vicente about plans to go out to meet a "friend." The family then goes their separate ways as Ireme passes out, closeted Vicente goes to a woodsy gay cruising area, and our excitable boy continues drinking and getting restless. Borja shows that he hates closed doors more than cats by breaking into the room of Vicente. Surprising himself regarding his response to the porn that he finds makes him aware that he and his brother are more alike than he believed. Vicente coming back from a negative cruising experience and finding his brother both spent and red-handed leads to one form of sibling drama that leads to additional bonding. Things then taking a very dark turn provides more proof that "Cola" is not a Hallmark Channel Christmas movie. The movie breaks with tradition by ending with a scene several years after the depicted events, rather than by beginning with those events and flashing back to the aforementioned celebration. These scenes mostly are of the primary '90s venue for anonymous gay sex. They also show that things have come a long way since the '80s, We then move to a scene that provides a few forms of closure regarding arguably the most memorable Christmas in the history of the family. Aside from offering a compelling story, all this adds depth in the form of comments on the "nature v. nurture" debate regarding homosexuality and shows that history repeats itself.  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 recently released "The Drag Roast of Heklina" on the LGBTQ-themed streaming network Revry proves that boys who dress as girls just wanna have fun. It also saves people who wonder if '80s New Wave princess Julie Brown still is alive the trouble of looking her up on IMDb.
The titular woman of the hour-and-42-minutes is a San Francisco legend, Her current claim to fame is owning the drag club The Oasis where that fucker performs a show titled "Mother." The emcee for the evening is fellow tucker Jackie Beats. Revry delivers on a promise to provide an evening that shows that breeders do not have a monopoly on making vicious and harmful comments about those who are most near and dear to you; We also see that Hell hath no hilarious fury like a drag queen scorned. Personal experience involves fallout from sincerely mistaking a Cher drag queen for Fran Drescher. The following likely will incur the wrath of Heklina, but the roast warrants constructive comments that reflect many of the remarks during the evening. The most obvious aspect of the event is that every participant with the exception of Brown and (personally disliked) last-minute-substitute drag queen Alaska Thunderfuck generally looks alike. Personal perspective this time is having a Bette Davis drag queen hit my feet with a push broom for the offense of resting them on a stage before a performance. She did not take kindly to my jokingly telling her to go drink a Pepsi. Rather than paying homage to Golden and Silver Age actresses and movie stars, the roasters purposefully made themselves up grotesquely to the extent of "Drew Carey" era Kathy Kinney looking like a natural beauty in comparison. Several jokes about the lack of diversity among the group reflects that homogeneous quality. Similarly, the uniformity of jokes and targets of those barbs made it difficult to distinguish who said what about whom. One hilarious exception was a queen commenting that Alaska is hung like a horse and feeding her a carrot in a very suggestive manner The topper was Beats later expressing jealousy regarding not getting a snack and the other queen responding that Beats would not have wanted it because it was a vegetable., Many of the best jokes were directed at a queen who was not there to give as good as she got. The group ripped into Katya for a (possibly exaggerated) drug problem. A highlight was a pun on the word habit. Brown did just as well in commenting that the backstage area reeked of duct tape and balls. An unintentionally amusing moment was an assessment that a joke that involves "Citizen Kane" bombed because it was too cerebral, rather than because it was not very funny. Commenting that the target was even more obsessed than Kevin Spacey with pounding an American beauty would have been funnier, Aside from the obvious difference between this roast and most others, it is recalled that these events typically are for a charity; that does not seem to be the case here. Further, many traditional roasters end with nice comments and expressions of love. Those are few and far between here. The climax (no pun intended) of Heklina getting her chance to fight back is very odd. Her seeming to genuinely be tired and perhaps to only respect the first portion of the expression fuck 'em if they can't take a joke likely influenced her cursing out the audience for not laughing at her jokes. In fairness to the folks who attended, they already had sat through 90 minutes of repetitive jokes about being fat, sex, and aging, The act of rimming being a topic of the evening makes an analogy involving that act an apt way to end this post. Like the drag style of the party girls and their humor, eating ass is something that some people enjoy from the get-go and that is an acquired taste for others. A third group never finds anal secretions their cup of tea. Not that there is anything wrong with any of that. The bigger lesson is that you never know if you like something until you try it,  The recent TLA Releasing DVD of the highly erotic 2018 drama "M/M" proves both that gay-oriented films can successfully present the same themes as mainstream fare and that remakes can do a good job updating the source material, This tale of young Canadian (Matthew) in Berlin becoming obsessed with hot German stud (Matthias) is a highly stylized 21st-century version of the 1992 Bridget Fonda/Jennifer Jason Leigh thriller "Single White Female" ( a.k.a. "SWF"). "Female" center on the Fonda character fairly literally ending up with the roomie from Hell when she selects the Leigh character to share her digs. Like Matthew, the Leigh character transforms her new friend into the object of her obsession. The accolades for "M/M" director/writer Drew Lint include the "Best First Narrative Feature" and "Outstanding Artistic Achievement" awards at the 2018 FilmOut San Diego. The following YouTube clip of a trailer for "M/M" highlights the distinctly German surreal qualities of the film. Our story begins in the Apple Store style apartment of Matthew. This tightie-whitie clad guy with the best bed head (no pun intended) ever is waking up when Mom calls from Canada, This establishes that our boy is a lonely lad with an active dream life.
The story fully develops as Matthew checks Grind'r while on his job as a pool boy at what either is a bathhouse or a very cruisy aquatics center. Good humor ensues as the app. explodes with photos of numerous Mr. Right Nows. However, Matthew makes eye contact with a clearly interested (and aroused) Matthias, The especially strong indications at the end of "M/M" that all of this is an (aptly wet) waking or sleeping dream are a large part of what make the film unique. The courtship/stalking begins with Matthew following Matthias into the locker room; this leads to several other instances of trailing the prey. Things get even weirder as Matthew cuts his stylish 'do and changes his wardrobe to more closely resemble the man of his dreams. Taking things to the next level in a very modern fashion further fuels the obsession. A boyfriend in a coma development turn takes things in a new direction as Matthew gets a chance to more fully slip into the shoes (and the bed) of Matthias. A not-so-guilty confession is admitting to fully losing track of the action at this point; this is more the fault of your not-so-humble reviewer than of Lint. The old-school lesson is to not blink or you may miss something. Things become more complicated and tense as Matthew more fully immerses himself in the life of Matthias; the awesome ambiguity regarding all this is not knowing the extent to which reality splits from fantasy when (if not before) The Man From Atlantis steps into the shower. "M/M" definitely will satisfy viewers with an interest in the erotic adventure of hot twinks; it also has enough suspense and twists to hold your attention on a higher cognitive level, All of this amounts to the movie being a good choice for a solo or couples night in on a cold night. The extent to which it inspires a Midwinter's Dream depends on the viewer.  The TLA Releasing DVD of the 2018 film "Boys" once again proves that gay-themed films can have broad mainstream appeal. This mixed coming-of-age and belated quarter-life crisis tale of everyguy Jonas largely is relatable to males all along the Kinsey Scale of sexual orientation.
The timelines of "Boys" alternate between the present in which Jonas is an early-30s Grind'r slut with a long history of hooking up with Mr. Right Now that is catching up with him and his mid-teens in which he is coming to terms with liking other boys "in that way." An incident in the present often triggers a flashback that helps fill in gaps. The true beginning of our story is the first day of high school for freshman (in both senses of the word) Jonas. Comparable to many gay-themed coming-of-age films, the ninth-graders are gathered for an opening of the academic year assembly when new boy in school Nathan makes a grand entrance. Of course, he and Jonas lock eyes. This leads to older-man Nathan manipulating things so that he and Jonas share a desk in their history class; this involves an interesting bros before hos conflict that is relevant to the present of Jonas. The friendship without benefits between Jonas and Nathan goes to the next level when Nathan the corrupter convinces a willing Jonas to sneak a smoke and a smooch. This leads to a very cute romance complete with at least partial parental approval. Meanwhile in the present, Jonas is released from police custody only to find that his live-in boyfriend is less-than-pleased to see him. This leads to Jonas finding himself homeless but not himboless. The well-crafted extended climax (no pun intended) commences with Jonas seeking shelter at a local hotel. The cute and seemingly flirty desk clerk creates expectation of a room-service scene; however, what unfolds is much more compelling. We learn that the desk clerk is correct in stating that he and Jonas have a history; these boys heading out for an evening of fun does end up with Jonas waking in a strange bed with no idea of where he is; stating that he subsequently experiences a walk-of-shame is a tremendous understatement. This leads to the final pieces of the puzzle coming together in a manner that fully ties together the past and the present. We learn about how Nathan becomes the one who got away and hope that Jonas gets a variation of a second chance with him, Minimally, the aforementioned "morning after" provides our boy a wake-up-call that has potential to fully transform him from boyhood to manhood. The most awesome part of this is that the closing scene that provides the sense of redemption also symbolizes recapturing lost innocence.  The gay-themed Dekkoo streaming service adding the 6-episode inaugural season of the stand-up program "OUT on Stage: The Series" on January 17, 2019 is VERY refreshing because it is seemingly is the only current forum for performers are not afraid to go there. The career-ending "objectionable" humor of many performers makes it refreshing to see these comics boldly go where many men now fear to tread. This site describes this as society going from fuck 'em if they can't take a joke to fucked if you tell 'em a joke.
Host Zach Noe Towers is a queer as fuck funny man who clearly loves his job. An amusing aspect of his role is following the seemingly obligatory gesture in the gay world of greeting people with a hug. The sincerity of this ritual with each guest reflects both the regard of Towers for him and the quality of the humor from that person. Towers supplements his hosting privilege with a good set in the second episode. He shows good instincts regarding not beating a funny bit about "do overs" to death. His time on stage also includes a hilarious "trans-ginger" joke. The diversity and the quality of "OUT" starts strong with with the first set in the first episode. Asian-Jewish man Jared Goldstein is a gay man's Julia Roberts (whose appeal still remains puzzling decades into her career) in that he is so adorable that he can get away with saying anything. Unlike Roberts, Goldstein is actually likable and cute. The delight of Goldstein begins with this man who clearly has Asian features sharing that he is Jewish; he goes on to mine wonderful humor from his diverse background to the extent of commenting that his father is a typical Jewish man by marrying an Asian woman. An unexpected omission is Goldstein not making a Kevin Spacey joke when discussing being a child in an adult world while performing on Broadway at the age of 12. For the record, your not-so-humble reviewer has a long-term online friendship with Anthony Rapp and has high regard for him as a person and an actor. At the same time, one can imagine Spacey arguing in his upcoming trial for groping a bus boy on a Massachusetts island that he just wanted to see if that 18 year-old was THE man from Nantucket. Learning just now that that the Twitter handle of second performer Ranier Pollard is @RanierstheBest assuages any bad feelings about disliking his set. The question of whom does he have to fellate to get a spot may be literal in his case. Pollard comes out in a muscle shirt and makes an obvious "gun show" joke. He then flexes and kisses his biceps. Much (if not all) of his performance centers around white people being afraid of black people. This includes asserting to be notorious and then stating that he is partially joking. There is no memory of any gay-oriented humor. Good ole Southern boy Kyle Shire (who does not mention the Dykes of Hazard) is the first-episode clean-up act. His message that gay men come in all shapes and sizes arguably is the most positive message in the two watched episodes. Shire also provides amusing commentary regarding straight people simply being labelled as such and gay people not having it that easy. The breeders in the audience get educated about the wide category of animals to which gay men are assigned. This takes thing well beyond the hankie in the back pocket system of the '70s. The second episode of "OUT" ends with hard-to-pin down Brendan Scannell, who plays Heather Duke in the "Heathers" TV series. Even in this age of gender fluidity, this guy who has an overall twink appearance wears nail polish seems to directly straddle the fence. (Not that there is anything wrong with that.) He does a decent job, but Towers upstages him with a post-performance reference to a "pubes on the face" joke. A drum roll is apt in noting that Scannell should have seen that one coming (pun intended). An entertaining bit from an unrecalled "OUT" comic about the limited fish in the gay dating sea and the clarity of that ocean perfectly describes the challenge of finding performers for "OUT." There is a limited population of gay comics. This is further narrowed by the folks who are willing to restrict their careers by being so out and proud. The numbers shrink further when limiting the pool to folks with an amusing way of sharing an interesting perspective. The program does a good job separating this wheat from the chaff. As mentioned above, "OUT" provides a good chance to watch edgy but inoffensive humor from the comfort of your own home. Friends of Dorothy will relate to most of the performances; folks who pride themselves on not being narrow both will have cause to feel good about themselves and enjoy enlightenment.  The TLA Releasing September 11, 2018 DVD release of the 2017 drama "Sodom" is a textbook example of quality art-house gay cinema. It centers around a relevant relatable theme and has good humor. Other attributes include a strong live-stage vibe and most intimate scenes being much more erotic than pornographic.
"Sodom" commences with the highly symbolic scene of 20 year-old footballer (my people call it soccer) Will being the victim of a homoerotic prank by his teammates during a trip. He is heavily made up, stripped of even his socks, and handcuffed face-front to a lamp post on a relatively quiet street. This image prompts the first of many societal observations; the comment this time is that it is amazing that all-male organizations such as fraternities and sports teams that outwardly project aggressive masculine heterosexual images often involve at least copious naked horseplay and regulalry impose actual sexual domination on group members. A related aspect of this supports the gay fantasy that at least 50-percent of men desire sex with other guys; personal and societal pressures are the culprits regarding sublimating these urges into what they can consider acceptable outlets such as team showers and fraternity hazing. An amusing personal experience regarding the hang ups of guys who identify themselves as fully straight involves a high-school friend. This guy being a star wrestler and enjoying running naked in the gym hallways should have been a tip off back then. This buddy shared several years ago that he sees a dominatrix every week. Further pressing prompted confessing that these sessions involve a strap-on. Pointing out the enhanced pleasure and humiliation benefits of being on the receiving end of the real thing prompted a "he doth protest too much" freak out. Our regularly scheduled post continues with well-off 30-something man Michael discovering Will on his way home after an evening out. A team effort gets a still cuffed Will partially covered and into the apartment of Michael. Some of the aforementioned eroticism enters the picture in the form of a fully dressed Michael having a drink with a barely dressed and shackled Will. As expected, this leads to completely consensual sex with the restraints intact, Micheal and Will sharing not-so-intimate details of their lives after having sex reflects the odd truth of old-school gay hookups, It is amazing that a guy will volunteer every small detail related to sexual activity within minutes of meeting a potential "buddy" but will not even share general information about his work or where he grew up. Will literally and figuratively gets an out but quickly returns for another erotic scene, The rest of the story that comes out is that Will is not. The story that is familiar to most gay men is that Will has a history of messing around with a buddy, is engaged to a woman, and has mixed emotions. The initially revealed story of Michael reflects both the rushed nature of gay relationships and the sad experience of many couples all along the Kinsey Scale. Many years with a soulmate lead to things getting stale; this prompts Michael to look for love with too many faces in all the wrong places. This leads to the soulmate becoming the one who got away. The sweet portion of "Sodom" has the connection between the boys seemingly being strong enough for Will to realize the wisdom of "to thine own self be true" and to seriously considering uprooting his life to build one with Michael, This relates to several experiences that many of us have, Any positive new relationship is exciting and can produce a high; a strong connection greatly enhances that sense. On top of that, travel magically increases the impact of any experience and can make the impractical seem feasible. For his part, the prospect of a life with Will makes Michael believe that there is a way that he can recapture his past happiness. One spoiler is that "Sodom" not being a Hollywood movie and young and cute Will not being doe-eyed or completely hairless prevents the road to a happy ending from encountering more bumps. Will coming down from his high and starting to think more clearly creates some doubt regarding his willingness (no pun intended) to upset the Adam's apple cart in ways that include telling his teammates where he spent the night and informing his fiancee that he cannot marry her because he now plays for the other team. The final round of commentary in this post begin with the sad statement this time that staying in the closet has such a long tradition because it allows many men to adequately have their cake and eat it as well. The collateral damage from that is that the "other woman" is denied the desired relationship. The rest of the story is that one cost of the tremendous advances in gay rights is the form of angst of guys like Will and men like Michael who fully embrace the idea of literally or figuratively putting a ring on it. NONE of the advancements should EVER be reversed, but this requires that guys who suppress their desire for intimacy with guys man up and choose a side in a manner that minimizes the emotional pain of those whom this affects. 'Brotherly Love' DVD: Entertaining Gayma Answers Whether Catholic Brother Can Get Some Lovin'12/27/2018  The Breaking Glass Pictures DVD release of the 2017 gay-themed drama "Brotherly Love" offers insight into the mind of a nice 20-something guy on the cusp of taking his final vows as a Catholic brother. His dilemma is the extent to which his love of God conflicts with his love for his fellow man. Another interesting aspect of this one is that it follows the pattern regarding the inverse correlation between the quantity of male nudity and the quality of the film; in this case, the limited amount of lewdness corresponds to this film having a solid mix of heart and humor. The festival accolades for "Love" include writer/director/star Anthony J. Caruso taking home the Best Actor and the LGBT Film honors at the 2017 IndieFEST Film Awards. This 30ish guy plays Brother Vito Fortunato, who spends his days preparing to fully devote his life to God and his nights hitting gay bars with wild manchild best friend Tim. The following YouTube clip of the Breaking trailer for "Love" nicely summarizes everything that makes the film entertaining in ways that include taking a moderate tone regarding a subject with which many devout Catholics struggle. At the heart of the matter, "Love" addresses an unfortunate side effect of relatively new societal and legal equality for gay men. Vito being able to be openly gay presents him with the issue of reconciling his option of having a full life with Mr. Right (or a night with Mr. Right Now) with his desire to fully devote himself to the man upstairs. His supervisor and his two peers accepting his sexual orientation is nice to see.
A related theme is that Vito knows that God does not hate fags; the issue is that this deity requites that those who fully commit to doing his work downstairs take vows of chastity, poverty, and obedience. Vito, who has tasted his share of forbidden fruit, is having the most trouble with the first two requirements. The internal struggle of Vito ultimately distresses him to the point of reverting to his old habit of consulting with his former teacher Sister Peggy. Her nun sense solution is for Vito spend his summer working at a Catholic facility for AIDS patients. The manner in which the stars perfectly align regarding this trip either is divine intervention or movie magic. Caruso does especially well portraying the relationship between Vito (who brings tons of baggage on his trip) and cute volunteer gardener Gabe Rimes (whose last name seems to have an extraneous letter). Gabe is a sweet and relatively wholesome guy who is a stranger to the alleys of Austin. Whether having a full life is something that he can do without Vito (make it without him) takes center stage. The prelude to Gabe inviting Vito to see his double wide involves the boys engaging in friendly bantering as Vito engages with the clients inside while Gabe spends long hours hoeing out back. Many of us can relate to the Saturday night of Gabe consisting of watching "Golden Girls" reruns alone. An aside regarding this is that that series provided a bonding experience for gay men in the '80s. They would gather at bars to watch it during that not-so-enlightened era. Watching Gato have a low-key first date is equally sweet and charming. Although "Love" does not address it, this courtship reflects that relationships in which sex does not immediately happen have the best chance of long-term success. We also get to see a relatable senior-citizen gay couple; their bickering is hilarious, and they follow the pattern of many committed couples across the Kinsey Scale in that they show that opposites attract. The story of how they met is a "Loving" highlight. We further get a twofer in terms of the tried (but not always true) methods of persuading someone to share a shower and to sleep in a bed rather than on the floor. A related note is that sometimes an act of kindness just is an act of kindness. The best news is that this Summer of Love shows that some form of guiding influence provides two righteous dudes the opportunity for a happy ending. Breaking almost always includes at least one bonus feature; they do especially well this time with a Caruso-hosted "behind-the-scenes" look. A highlight of this is a festival trailer with several alternate scenes that include some actors and sets that differ than those that appear in the final version.  The Breaking Glass Pictures DVD release of the 2016 drama "Play the Devil" combines the two best genres in the Breaking catalogs; edgy indie films and gay-themed movies about mutual objects of affection facing strong internal and external pressures. The copious symbolism and social commentary are icing on the cake. The accolades for this one include major wins at the Nashville and Woodstock film festivals. The following YouTube clip of a festival trailer shows how tone and style perfectly convey the nature of the central relationship. "Devil" begins with the mother of all non-sequiturs that writer-director Maria Goven artfully ties into the final moments of the movie, which qualifies as the mother of all symbolism in films. These opening scenes are of two young guys apparently engaged in a rite.
The action then shifts to teenage prodigy/thespian Gregory stealing the show with his starring role in a high school non-musical with an aptly strong "Equus" vibe. This leads to successful middle-aged businessman James (who has a daughter in the cast) coming backstage after the performance to nag (pun intended) James to attend a party at his house. The combination of the overture and this being a Breaking release makes it abundantly clear that James wants to get Gregory on his casting couch and that that effort will succeed. The early scenes further establish that Gregory fits several stereotypes in both his impoverished community on Trinidad and in inner-cities in the United States. He is a bright, ambitious, likable teen living with his loving grandmother because his parents are not equipped to raise a child. Gregory also has an older brother with a drug habit and a live-in girlfriend. The pure methods of James regarding his relationship with Gregory include a desire to mentor him and to use his resources to help him pursue his dreams, which clash with the aspirations that his grandmother has for him. The impurity comes via desiring benefits from the unlikely friendship. The not-so-subtle seduction escalates to James luring Gregory to his luxury beach house for a sleepover. The more subtle response of our boy clearly shows that he accepts with full knowledge that the older man wants something other than gas or grass for that ride. Getting Gregory into bed does not require plying him with wine (drugged or otherwise). At the same time, our innocent seems to be acting mostly out of obligation and has serious regrets the next morning. Gregory wanting to end things, but James wanting more relatively free milk drives much of the conflict in the remaining portion of "Devil." Multiple desperate times leading to desperate measures in the form of accepting further assistance from James does not help. All of this occurs in the period leading up to the annual Carnival festival, which centers around a confrontation with a symbolic devil. The nature of the event this year is particularly personal for Gregory. The drama this time begins with the two worlds of James colliding in a manner that may end him up in divorce court and estranged from his daughter. We also see that he once again makes a misdirected civic-minded gesture. This leads to the inevitable final confrontation between James and Gregory. Even folks who are unfamiliar with the nature of Breaking releases know that this conversation will either end with a kiss, bloodshed, angry words, or some combination of the three. The final outcome is more surprising. The appeal of "Devil" is the aforementioned substance of the film. Most of us want someone younger and cuter; many upstanding members of the community with an outwardly ideal life that includes a loving wife and offspring feel repressed in one or more ways, and help always comes at least with a sense a obligation. The almost impossible challenge relates to achieving a measure of joy in a manner that does not leave scars. The DVD bonus features include a "making-of" film and a separate extra that has interviews with Gowan and producer Abigail Hadeed. |
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