 The TLA Releasing DVD of the 2020 gay-themed romdram "Are We Lost Forever" has two characteristics that distinguish arthouse films about boys who like other boys from Logo dreck. "Forever" has a strong live-stage vibe and keeps nudity to an (overall) tasteful minimum.
The underlying theme of "Forever" is that the accelerated pace of gay relationships often contributes to them progressing from love at first sight, to domestic harmony, to indifference, to animosity, to a break-up that ultimately leads to trauma and drama within roughly the period that a solid hetero relationship reaches the stage of annoying unmarried friends with constant photos of "the baby." A relationship in "Forever" that goes from locking eyes to locking lips within five minutes perfectly illustrates this. Our story begins with central engaged couple Adrian and Hampus lounging in their bed that drips with symbolism. This begins with the role that a "have" being in a relationship with a "have not" plays when it comes to dividing up what once was considered mutual property. Past and present issues result in Adrian being sure that Hampus, who already took one break from the relationship, is planning another run for the border. This is soon confirmed. This encounter introduces an element of the best viciously bickering couple film ever "Who's Afraid of Virginia Woolf." Adrian subsequently sniping that Hampus never expresses an opinion and Hampus replying that doing so when your opinion always is criticized does not make sense amps up the "Woolf" vibe. The rest of "Forever" chronicles the aftermath of the end of the relationship. This involves our leads coupling a couple of times for a couple of reasons, separately looking for love in all the wrong (and some of the right) places, and hoping to put right what once went wrong. One of the most honest scenes has Adrian hooking up for what he knows is a wham. bam, thank your sir but his "dump" thinking that giving it up earns him at least a little pillow talk. We get additional keen insight regarding the extent to which Adrian is willing to take one for the team. This wonderfully channels the cheesy Liberace biopic "Behind the Candelabara" in which the boy of the titular closet case comments as to the circumstances under which the relevant act is repugnant, We also see the "Forever" boys try to move on, which predictably works better for one of them than for the other. An equally universal aspect of this is the mixture of learning from the past and repeating some of the same mistakes that put them back on the market. A blatant example of this is Adrian prompting his latest at least Mr. Right Now to change his shirt. Writer/director David Fardmar continues to keep things true to the end in that our main boys are a little older and wiser at a time that they enjoy relative serenity regarding their pasts and their presents.
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 The TLA Releasing DVD of the criminally under-rated 2018 gayromdram "Love Blooms" is the epitome of a film about a guy trying to figure out every aspect of his life. The anti-Logo elements include a lack of doe-eyed smooth-skinned twinks and an absence of over-emoting in response to the slight bump on the road to either Mr. Right or Mr. Right Now.
The story commences with adorkable main man Martin couch-surfing at the Parisian apartment of his cousin, the girlfriend of the cousin, and their bundle du joie. Aspiring film director Martin is on a break from his studies in a quest to rekindle the flame with former girlfriend Leah. Leah is putting her perky hip personality to good use as a tour guide. The first speed bump that Martin encounters is not being welcome with especially open arms (or open legs) by Leah on showing up at her "office." It is very clear that the one who got away is enjoying her freedom. One of the best scenes in this charming and entertaining film soon follows. Martin is ready to take one for the team by moving into a flophouse when he has a chance (fateful?) encounter with (presumably younger) high-school acquaintance Tristan. Tristan comes to the rescue by offering to let the clear object of his affection share his pied-a-terre. Any viewer at any point along the Kinsey Scale who has a heart will immediately hope that these guys enjoy happy endings that last ever after. Another memorable scene has Tristan convincing Martin to share his cozy bed. A way in which "Love" shows its quality is by not having this immediately leading to Tristan taking another one for the team. The relationship does more fully deepen (truly no pun intended) on Martin confessing to his new bedfellow that he has a history of sex with men. The endearing response of Tristan provides another reason to grant him fan-fave status. Meanwhile, the new man in the life of Leah is old enough to be her father, The other recent addition is roomie Alicia, whom Leah is distressed to discover merely is a cash cow. All of this, and other events, prompt Martin and Leah to ponder their pasts and to seek future happiness. Of course, this reflection prompts their paths to cross again in a manner that makes them and those in their orbits at least a little wiser if not happier. The bigger picture this time is relevant both to those who recently graduated college and folks who have senior status at school reunions. The conflict between what the heart wants and what society expects can result in the wrong person sharing your bed and another bad fit (again, no pun intended) occupying the cubicle next to yours.  A Pacific Northwest streaming service that shall remain shameless helps fill the void as to a dearth of live theater by offering the Leslie Jordan ("Will and Grace") one-man show "My Trip Down the Pink Carpet." This recap of several decades in show business evokes good thoughts of the similar fare of Jordan BFF (and righteous son of a preacher man) Del Shores. Neither out-and-proud dude is afraid to tell it like it is. The following trailer highlights the elfin effervescence of this member of the Screen Actors' Guild who would qualify for membership in the Lollipop Guild. His use of the oversized boxes on the minimalist stage may as well be the large rocking chair of Lily Tomlin's Edith Ann. The hilariously candid Jordan quickly establishes that he clearly is the voice of gay men of a certain age who grow up (but do not come out) during a not-so-enlightened era. This includes the tale of his mother taking him to the movies for the first time when he is four.
The rest of this story is that the film is "Darby O'Gill and the Little People," which results in Sean Connery being the first crush of Jordan. The additional hilarity that ensues involves Jordan using the backseat of the family woodie as the stage for his first concert on the way home. "Remington Steele" era Pierce Brosnan playing the same role for the next generation of gay men indicates that the "Bond" folks know their secondary audience. Another story that is relatable to roughly 10-percent of the male population is how Jordan first comes to get his groove on at a gay bar, The manner in which he is literally and figurative embraced seems par for the course. This one evokes thoughts of the perfect performance of Jordan in the (reviewed) filmed performance of the Shores play "Southern Baptist Sissies." This time, Jordan is the veteran taking the gayby under his wing. Jordan further regales the audience with his fresh-off-the-bus tale of (inexplicably) being cast as a tough G-man on an '80s-era Robert Urich series. Everyone on the set making a (presumably failed) effort to get Jordan to butch it up is a "Trip" highlight. Jordan discussing this mission impossible while bouncing around the stage with the velocity of a pinball channels his tour-de-force performance as aging drag queen Brother Boy in the (reviewed) Shores tour-de-force film "Sordid Lives." A highlight of that film has a hilariously agitated Brother Boy telling Cruella De Vil caliber villain psychiatrist Dr. Eve (Rosemary Alexander) of his limited success with an exercise that involves forcing himself to think of women while pleasuring himself. A surprising omission as to the reminiscing about this part of his life is Jordan not saying Jack about his two-season supporting role on the John Ritter/Markie Post/Billy Bob Thornton sitcom "Heart's Afire." Many of us would have loved to have been a fly on the wall of that set. The arguably best story involves Jordan buying panties for high spirit Beverly D'Angelo during the filming of the Shores lost cult-classic "Daddy's Dyin' Who's Got the Will." Thanks to Jordan, many people know the intimate details as to what comes between D'Angelo and her Calvins. Another highlight is a monologue about being an Emmy presenter with Cloris Leachman, This one involves Leachman, who stated in the '70s that she has a third nipple, keeping her cool after a wardrobe malfunction. Jordan wraps all this up with grand self promotion by promoting the book version of "Carpet;" in this spirit, your not-so-humble reviewer will state just as shamelessly that having Jordan sign a copy would be an appreciated act of Southern hospitality.  The term "uncut and uncensored" fully applies to the DVD set of the sublimely ridiculous Del Shores joint "Sordid Lives: The Series" and partially applies to supporting cast member Jason Dottley. Disdain for Dottley does not preclude speculating that the camera adds 10 inches; another possibility is that Shores got his hands (pun intended) on the famous Dirk Diggler prosthetic. That full-frontal and other racy content suggests that these versions of the episodes did not air during the top-rated run of "Series" on basic cable.
This new addition to the catalog of DelShores.com provides a good chance to add a DVD of a series that is not widely syndicated to your home-video library. The general cred. of this one extends beyond auteur Shores putting his Freddie Mercury Players to good use. "Series" additionally has a strong live-stage vibe, and Shores has enough faith in the intelligence of the viewer to not include a laugh track. The series highlights include GROSSLY obese convenience store clerk Vera of "32.09" fame falling on the floor and Shores doubling down by the next shot being the legs of Vera flailing above her counter. All of this illustrates the Rule of Three as to television and film. The theory is that a single individual cannot produce, direct, and act well. Shores shows that there are exceptions to that rule, Shores does follow the rule of Brticoms; that wisdom is that making 12 exceptional episodes a season is better than producing 22 mediocre ones. The wish fulfillment aspects of "Series" extend well beyond providing a prequel to Shores' (reviewed) opus film "Sordid Lives." Both works depict the trials and the tribulations of the working-class rednecks of Winters, Texas whose local dive actually is called Bubbas. Their story continues with the (reviewed) "Lives" film sequel "A Very Sordid Wedding." One can only hope for "Sordid Lives: Electric Boogaloo." Delkies know that the entire "Sordid" franchise is based on the life of son of a preacher man Shores. Delkers know enough to cringe when the pet of the neighbors of chain-smoking Aunt Sissy (PERFECTLY cast Beth Grant) gets the goat of that ripped-from-the-headlines "Mama's Family" caliber character. The same principle applies as a reference to a little person. Soapcom "Series" aptly begins its continuing story, complete with episode-ending cliffhangers, on April 6, 1998. This death date of Queen of Country Tammy Wynette has a large impact on Queen of the Mental Institution Earl "Brother Boy" Ingram (Leslie Jordan). Brother Boy constantly dresses in drag as Wynette and amuses the maddening crowd by lip-synching to Wynette records. It all comes together when Wynette daughter Georgette Jones sings along. That relates to a transvestite in a coma storyline. I know; I know; its serious. "Lives" removes any doubt at whether he will pull through. We all would hate anything to happen to her, "Lives" provides the full exposition as to how Brother Boy finds himself to be a decades-long guest of the state. This cult classic also allows Jordan and Rosemary Alexander (as "Shrinkie Dearest" Dr. Eve) to fully play off of each other when Brother Boy fully digs in his stilettos regarding his "failure to participate in his own recovery." Whether resistance is futile as to this Bugs Bunny and Elmer Fudd dynamic remains to be seen. Another strong prequel element occurs as to family matriarch Peggy Ingram engaging in a long-term sordid affair with Nolette spouse GW, whom Beau Bridges masterfully portrays in the stage and film versions of "Lives." Shores does friends of both Dorothies a HUGE solid by casting "Maude"/"Golden Girls" star Rue McClanahan as Peggy. The icing on the cake is Shores helping McClanahan get a leg up (pun intended) on co-star/rival Bea Arthur, who is known for saying that she has done everything except rodeo and porn. The salacious content of "Series" warrants giving McClanahan, who has a few PG-13 sex scenes, the win as to one of those genres. Considering that a swan dive that McClanahan takes in "Series" is highly significant to the franchise, it is apt that this show is her swan song. It is beyond awesome that Golden Boy Shores writes her such a well-suited role for her final regular gig. Additional star power comes in the form of Shores recruiting his fan Olivia Newton John to reprise her role as honky-tonk singer/convicted arsonist Bitsy Mae Harling, who (like Sissy) has a cute and sassy real-life namesake. Seeing that Bitsy-Mae and Peggy are two-of-a-kind and that Heaven can wait because they're gonna get it right this time is another of the plethora of Southern-fried treats that Shores dishes out. The "and the rest" fun of "Series" includes a prescription drug addiction, hilarious mutual spousal abuse between GW (who does not have a leg on which to stand) and Noletta, and a crazy ex-girlfriend, We also get Shores friend and confidante Emerson Collins (who is must-see in the (reviewed) Shores opus"Southern Baptist Sissies") as a hilarious psycho one-night-stand to the max whose money shot comes in the series finale. All of this makes for an awesome marathon (rather than "binge") viewing accompanied by Lone Star beer, pork rinds, and deep-fried Twinkies.  The Breaking Glass Pictures DVD release of the 2018 Hong Kong drama "I Miss You When I See You" follows the pattern of similar gay-themed Breaking films. The sad global truth is that teen (and older) boys who like other boys have it rough much more often than living a fairy tale (no pun intended) that precedes their (often) happy ending. The following YouTube video of a highly stylized trailer for "Miss" showcases the art-house quality of this film about an "its complicated" relationship. "Miss" opens in the 1999 school year of adolescents Jamie and Kevin. The former is a popular well-adjusted kid, and the latter is an awkward loner. The proper context for their character and friendship is a less extreme (and even more homoerotic) version of Zack Morris and Screech Powers, who have high-school sleepovers, of "Saved by the Bell" fame.
Opening scenes revolve around Jamie sneaking out of class to meet Kevin in a boys' room stall apparently only to discuss the new book in a pulp fiction series. We also see that their classmate named Wong is a wang. The action then moves ahead 12 years as Jamie travels to Australia to visit Kevin at the long-term residential facility where he lives due to his depression. This leads to a boys' night out that is a treat for both guys. Unbeknownst to Jamie, his visit prompts Kevin to follow his friend back to Hong Kong. The two become co-workers at the tutorial center that Jamie owns and operates with former classmates. They also become roommates at the apartment of Jamie. The especially creepy behavior of Jamie in the apartment shows that he has fond memories of a tender moment that experiences interruptus soon before his high-school-era move to Australia. The rest of the story is that Jamie apparently is fully converted as his present-day relationship with girlfriend Elaine indicates. However, female intuition and a valid reason for asking Jamie to either fish or cut bait creates tension. One aspect of this is the price that giving the heart what the heart wants can cost. History also is starting to repeat itself in the form of Kevin increasingly bonding with a troubled male student, who openly admits to being hot for teacher. This leads a a very bizarre and uncomfortable sitch for characters and audience alike dinner for Kevin, Jamie, Elaine, and the student. A more sweet aspect of this is that the boy feels real love, rather than merely lust, for his "daddy." The artistry of "Miss" continues with a relatively anti-climatic climax. There are no tears and recriminations; Jamie, who is facing Kevin moving back to Australia, seemingly ends up with the one with whom he is fated to share his life until someone younger and cuter comes along. Time constraints are behind not watching the almost-always included and always insightful and entertaining "making-of" featurette and cast and crew interviews in Breaking releases. The good folks at Breaking must determine if this warrants the still-used Chinese punishment of a bare-bottom caning. If so, it requires learning how to say "please Sir, may I have another" in Mandarin.  Being a HUGE fan of the public and private personas of writer/director/monologist/activist/chihuahua-lover/son of a preacher man/righteous dude Del Shores of (reviewed) "Sordid Lives " fame provides a good perspective for sharing thoughts on the Breaking Glass Pictures DVD of the 2012 Shores one (awesome) man show "Del Shores: Sordid Confessions." One spoiler is that this hilarious nowhere-ready-for-primetime special is far raunchier than the other Shores performances, all of which are subjects of posts on this site, that are available on DVD.
Shores discussing in "Confessions" that he is observed mentally filing away a sordid tale during a lunch largely sums up his style. His material is funny because it tells the truth about what fools these white-trash mortals be. This is especially true as to the latest (reviewed) Shores project "Six Characters in Search of a Play." A sincerity and a willingness to name names when warranted are another large part of the appeal of Shores. A prime example of this is a "Confession" about working with gorgeous young actor Randy Harrison during the tenure of Shores as a writer on the Showtime gay-themed drama "Queer As Folk." Shores gives Harrison credit for being co-operative on the set but dishes about this thespian regularly publicly criticizing the writing on the series. Shores discussing the writers getting their revenge evokes thoughts of a QAF scene in which a nearly naked Harrison is drugged and placed in a sling during an orgy. The only personal criticism of Shores is that the writers do not have that incident lead to what should have been the inevitable conclusion. The raunch element particularly comes out (no pun intended) as to Shores, who has two wonderful daughters with his compassionate ex-wife, discussing his "slut" period in the wake of his marriage to a sordid man who majorly dun him wrong. The highlight of this part of the show is the tale of taking a relationship with a man glacially slow from the gay perspective only to discover that this guy has a cringe-worthy defect that will prompt every gay viewer to immediately Google images of that condition. Being the righteous dude that he is, Shores still tries to please this Mr. Right (as opposed to Mr. Right Now) despite the seeming impossibility of turning a corner. Additional hilarity ensues as Shores confesses his macro and micro (no pun intended) fetish regarding short people as to whom he uses the non-pc term "midgets". The account of one such man with a long "third leg" but short temper provides additional entertainment regarding this topic. The big picture this time goes back to the same era as the filming of "Confessions." A timely post on a DVD of a stand-up performance by British comedian Russell Brand SLAMS Brand for "sins" that include his act being an extended highly whiny therapy session as to which Brand not only saves the co-pay for that treatment but likely makes millions from folks who pay him to endure that almost unbearable catharsis. Shores openly and constantly admits that his "Mama's Family" style upbringing has provided him a career. The difference between him and lesser performers is that he knows how to tell his Bible Belt tales in a way that both entertains and lets us feel his pain. Breaking does its usual stellar job as to DVD extras. We get a "behind-the-scenes" feature that includes Shores showing his inner circle what comes between him and his Calvins. This bonus further provides an inspiration for December 7 birthday gifts. A more "naughty" extra is footage of the photo shoot of the "Confessions" poster, which also is the DVD cover. This both allows hearing the beloved dogs of Shores and proves that he is hands-on regarding getting things right in a manner that makes one want to scream "me too".  The Breaking Glass Pictures DVD release of the 2018 gay-themed drama "Marilyn" joins the long list of docu-dramas that prove that you cannot make up this stuff. A "making-of" DVD special feature fully explains how fact and fiction merge in this tale of a teen boy whose interest in cross-dressing contributes to the woes of his hard-knock life.
The accolades for "Marilyn" include a "Best Feature Film" award at the 2018 Milan International Lesbian and Gay Film Festival. The ways in which our titular teen (nee Marcos) is not like the other boys in his rural town begins with his caretaker father Carlos and his older brother doing most of the heavy lifting while Marcos spends much of time inside with his mother and dreams of taking computer classes. Extremely blatant cattle rustlers already are making the demanding life of Carlos even more challenging when the arguable climax of the film occurs. Marcos fulfills his grandest desire by taking advantage of the anything goes Carnival spirit by having the time of his life attending that event dressed in drag. He obtains his titular nickname courtesy of a song to which he particularly shakes his groove thing. The party fully ends with a foreshadowed confrontation by a local bully and his gang. Their brutal attack on Marcos is one of seemingly countless cases of boys who like boys being subject to unwarranted hostility, especially in small communities. Another sad aspect of this is that Marcos is relatively resigned to his fate until the pack fully asserts its dominance. Marcos not returning home until the next morning further strains life back on the ranch, It also arguably sets up a downward spiral that leads to an extended reversal of fortune for the family. The one bright spot for Marcos is mutual love at first sight regarding new friend with benefits and convenience Federico. Sadly, what should be a reasonable expectation for Marcos regarding the "meet the parents" moment does not go well. The arguable point here is that the timing of Marcos is not great regarding reminding his family about his not-so-embraced sexual orientation fresh off of that being a factor regarding the aforementioned stressful existence. The final moments of "Marilyn" are very impactful and fully make the real story worthy of a film. It is tragic to see things get to the point that prompts Marcos to act as in the manner that he does, It truly should have been avoidable. The always special Breaking DVD extra this time is a 30-minute making-of feature. It begins with clips of the film and the thoughts of director Martin Rodriguez Redondo. Redondo discusses how he learns of the story, why he does not tell the story in pure documentary form, and his efforts at authenticity. We next hear from star Walter Rodriguez. An especially interesting aspect of that casting is Redondo commenting that he almost did not select Rodriguez to play Marcos because that actor gave an animated audition. A compelling aspect of the film is the numerous scenes in which a miserable Marcos and his equally unhappy family simply sit and stare without any expression on their faces. The strongest endorsement of the film comes from the real Marilyn, who offers a wonderful perspective on the film. All of this amounts to a well-produced and acted movie that speaks to most audience members either as a coming-of-age story, the tale of a rural gay teen having a very rough life, or a family on a fast ride to rock bottom.  Breaking Glass Pictures amusingly is a good buddy to film reviewers regarding the DVD release of the 2018 Argentinian gayish-themed coming-of-age film "My Best Friend." Writing about movies that hold your interest and that include proper portions of humor and drama is a nice contrast to sometimes literally losing sleep over how to state something nice regarding films that you would not feed to a dog. The big picture (pun intended) about this film by Martin Deus is that it follows the pattern of a correlation between the amount of nudity and other sexual content and the quality of the film. The most prurient element in "Friend" is brief full rear and very partial frontal nudity in a high-school locker room. The more narrow perspective is that "Friend" (and the similar (reviewed) "Speed Walking") indicate that Breaking is softening its awesome edge as it enters its mature stage. A negative aspect of this development is that these films and others like them may give gay teen boys false hopes about getting in both the hearts and the pants of their best friend. A related element is that lovers of the full spectrum of indie fare from Breaking hope that any embarrassment of riches does not deprive of us the good, the lewd, and the brutally honest that characterizes many films from that distributor. The two wins for performances and additional awards for "Best Narrative" and "Best Screenplay" at the 2018 OUT at the Movies Int'l LGBT Film Fest perfectly reflect what makes "Friend" special. The following YouTube clip of a trailer for the film validates those honors. Our central character is everyteen Lorenzo, who is living a comfortable middle-class life with his loving parents and his adorable little brother Lucas. Lorenzo also is well-liked by both girls and boys and gets to hit it and quit it with the female object of his affection.
Trouble comes a knockin' when Lorenzo arrives home one afternoon to find Caito waiting outside with an expectation of a long visit. The rest of the story is that the father of Caito is a former football (my people call it soccer) star/ex-con, who is a childhood friend of the father of Lorenzo. This presumed defensive midfielder had called a few days earlier to ask if Caito could stay with the other family for a while because the step-brother of Caito was recovering from a bad motorcycle accident. This conversation did not seal the deal regarding Caito essentially becoming a foster child. Lorenzo and the 'rents accept the situation and have Caito literally bunk with Lucas, who is surprisingly chill regarding the matter. This response also includes asking Lorenzo to subtly keep an eye on his new bro. Said dude not taking long to show that he is a bad seed prompts more surprising understated reactions regarding this development. The rest of this story is that Lorenzo is quiet and studious; Caito is a tattooed relatively tough and sullen guy who is into sports. The boys connecting over a few common interests supports the theory that opposites attract. A bonding scene that involves literal pillow talk creates high expectations for at least 10-percent of the male viewers; another tender scene creates ambiguity regarding whether Caito is demonstrating mercy or is playing for the same team as Lorenzo. These moments and others like them provide good context for the behavior of Caito. Another memorable scene is between Lorenzo and his mother; she puts most other reel (and real) moms to shame in gently inviting her son to come out the closet if he is in it. This awesomeness includes respecting his wishes and not pushing the matter. This conversation further is contrary to the theory that every gay man has "a mother." The most cute moment comes via the 'rents essentially telling Lorenzo that they are going to get rid of the bad puppy, whose misdeeds include running feral, unless Lorenzo agrees to take more responsibility for this pet. Watching the younger and smaller boy assume control over the willing older and larger guy is very amusing. This warm-and-fuzzy film with an edge stays true to the spirit of the movie by ending with a whimper (and perhaps a bang) after a final round of trauma and drama. Mainstream Hollywood may not have presented the ending, but everyone at least is a little older and wiser. Breaking further outdoes itself regarding the extras of which it always is proud. The highlight is the 24-minute Deus film "The Prisoner." This tale of high school boys slightly notches up the homoerotic meter from "Friend." "Prisoner" begins with two boy scouts waking up with a pup tent. One of the lads, who is breaking his back, consistently calling his mountain companion "Sir" seems to be insincere until we soon learn that the expression of military-style protocol is genuine. The action picks up on the boys finding a nearly naked younger guy tied up and leashed. This newcomer (no pun intended) literally plays for the other team in that he is on the side of two groups that are playing war games. The pair becomes a trio as the new captors bring their prisoner along with them. This leads to additional adventures that relate both to trust and to the Stockholm Syndrome. An apparent betrayal of that trust concludes with scenes that show that boys will be boys. Breaking also includes interview with Deus and his cast; a "Behind the Music" extra pays homage to the great soundtrack of "Friend."  The High Octane Pictures DVD of the 2019 gay-themed psychological thriller "Crisis Hotline" (nee "Shadows in Mind") shows that the fact that that it is not safe to go back in the theater is not a problem at all. This one has edgy fun for all ages and gender identities. The following official trailer for "Hotline" provides a strong sense of both the style and the substance of this tale of an innocent young farmboy who realizes that he is not in Nebraska anymore. This neo-modern gay soap opera/fable centers around member of The IT Crowd Danny, who gets a series of rude awakening on relocating to Silicon Valley for a dream job that turns out to be another day at the office.
As we learn throughout the almost film-long telephone conversation between Danny and support center staffer Simon, the reality is that the apparent embarrassment of riches as to the tech. job only allows for living in a shamefully shabby studio apartment and commuting an hour each way each day on the company bus. The trauma that leads to the drama conveyed in the discussion with Simon begins with desperate times leading to Danny varying his method of his desperate measure of taking things into his own hands by going on either Grind'r or a reasonable facsimile thereof in search of Mr. Right. This effort leads to meeting fellow keyboard kid Kyle. This pair waiting four dates to seal the deal either is a fairy tale (no pun or offense intended) or shows the new normal in the world of gay dating. It is realistic that waiting makes the intimacy more special. The rest of the unfolding story is that Danny shares his plan for a murder/suicide with Simon. The spidey sense of viewers is triggered more quickly than that of Danny as to Kyle being cagey regarding his clients who pay him well enough to live a lifestyle to which Danny would like to become accustomed. A subsequent "meet the parents" scene has Danny as the man who came to dinner with Kyle to meet 30-something gay couple/pornographers Christian and Lance, who pay the rent for their boy Kyle. The evening starts out creepy and takes a darker turn that reasonably causes Danny to feel uneasy. Danny becoming increasingly aware of the nature of the dirty business in which his highly significant other is involved proportionately prompts him to encourage Kyle to change professions. Anyone who has seen any film even remotely similar to "Crisis" knows that the odds are not forever in the favor of the young lovers as to their great escape plan. At the same time, that is a chance that they have to take. The predictable last-minute obstacle to a happy ending comes in the unpredictable form of Kyle bringing his work home that is a Cos for concern. This triggers the events that lead to the call announcing plans to pull the trigger. Writer/producer/director Mark Schwab pulls off the neat trick of pulling a rabbit out of his hat in the form of an 11th-hour plot twist that puts a completely new perspective on the entire film. The bonus is that it is a clever and realistic development that supports the theory that confession is good for the soul. Thematically, the bigger picture is that the experience of Danny is relatable across the Kinsey Scale. As addressed early in the marathon call, every first love is almost certain to end in tears and recriminations. Further, in the immortal words of Keith Partridge, doesn't somebody wanted to be wanted like me? This is especially true when you are living a solitary existence in a shabby broom closet thousands of miles from home. The bigger picture as to "Crisis" itself is that Schwab holds true to the modern style of indie filmmaking by keeping things real and having the performances largely be stoic even in the face of heavy turmoil. On a more narrow note, this film that borderline qualifies for a PG-13 rating reflects the rule in gay cinema that the amount of nudity has an inverse relationship with the quality of the film. The DVD extras include commentary by Schwab and film expert Tim Sika. We also get DVD exclusive interviews with the cast and the crew.  The broad appeal Breaking Glass Pictures DVD release of the 2018 gay-themed coming-of-age drama "Socrates" relates to it including several highly relatable themes. These include growing up rough, the pains of first love, and intense trauma related to the 'rents. The back cover synopsis shares that "Socrates" is the first feature from the Quero Institute in Brazil. The rest of this story is that it is co-written, produced, and acted by at-risk teenagers from local low-income communities. The remarkable 16 wins for this sensitive but not saccharine tale reflect the exceptional nature of each aspect of this film. The accolades include Best Film, Best Director, and Best Actor wins at the 2018 Festival Mix Brasil. The following Breaking trailer for "Socrates" expertly achieves its purpose of touching on each of the aforementioned themes that leaves the audience craving more. The trauma and drama begin with the opening scenes; our hero finds his mother dead. This discovery sets all of the events in "Socrates" in motion beginning with a social worker telling Socrates that he must live under adult supervision.
Already desperate times that include being behind with the rent lead to desperate measures that include Socrates taking over the job of his mother cleaning a bus station, His search for gainful employment also includes working at a construction site. It is loathe at first site there as to a young male co-worker who quickly becomes a friend with benefits. That its complicated relationship, which likely is the first love of Socrates, includes highs and lows. On of the latter is a bashing while enjoying an otherwise enjoyable day at the beach, This ends with a rude awakening that involves Socrates discovering that he is the dirty little secret of his man. The rest of the life story of Socrates is an estranged relationship with his father. One of the more dramatic scenes in the film is a hard-to-watch confrontation between these two. As stated above, there are several big pictures here. Growing up almost always is difficult under even the best possible circumstances; having just about every odd stacked against you makes surviving adolescence almost impossible. "Socrates" stays very true to this by keeping things real in ways that include not having a last-minute miracle that allows the titular lad to live large, Breaking supplements this with a few features on this successful inaugural outing.  The TLA Releasing March 10, 2020 DVD release of the cute and charming 2019 animated film "Top 3" is an amusing tale of the course of the first relationship of a young gay romantic. This amusing creatively drawn movie from Sweden with love tale clearly shows that love may not be enough to keep us together.
Anton, who is a student in his early 20s, has a habit of composing the titular short lists. These include things such as whom to tell the first time that you do not go home for Christmas, excuses for not going out on a Friday night during a low period, and the notable things to not do on your last night with your future ex-boyfriend. Anton experiences love at first sight on meeting younger-man David at the library near the end of the undergraduate studies of our hopeless romantic. This leads to a sweet courtship despite the resentment of Anton's hag Miriam. David turning Japanese when his mother moves to Tokyo is the first trauma that causes drama for our leading queen, This leads to a summer of love at the rural home of the grandmother of Anton. This honeymoon period ending is the second bump in the relationship of these nice young men. Although these guys presumably have plenty of happy endings, the primary obstacle to them enjoying happily ever after is their different outlooks. Anton speaks for many of us all along the Kinsey Scale in stating that he does not want David to make a significant sacrifice today only to deeply resent his highly significant other a decade from now. This being a Swedish film and (presumably) not being one that airs on Logo results in there not being a guarantee of a Hollywood ending. It is guaranteed that the boys (and many viewers) will be older and wiser.  The Breaking Glass Pictures January 21, 2020 DVD of the 2018 documentary "Church & State" provides a look at an early days of the campaign for marriage equality. It also reminds us that the religion of the Osmonds and Katherine Heigel is evil. The below trailer for "State" reveals the flaws that prevent loving it. Two of the biggest issues are that it does not break (pun intended) new ground and does address a (for now) moot point. A related observation is that the fight for marriage equality is so recent that the 10-percent have not forgotten the prelude to going to the chapel where they're gonna get married. Further, as the film points out, marriage advocate Mark Lawrence is not a very appealing spokesperson. He acknowledges this in the context of the literal poster boys whom he chooses as the face of the campaign. Additionally, directors Holly Tuckett and Kendall Wilcox provide PLENTY of talking heads and archival footage but no entertaining graphics or amusing clips from films and television shows. This does keep things dry. On a broad level, "State" focuses almost exclusively on the passage of an anti-marriage-equality law in Utah and the subsequent legal battles to overturn it. Some mention is made of Hawaii legalizing same-sex marriage, but nothing is said of the lawsuits in Massachusetts and other states. Further, Team Tuckett does not touch on the numerous valid reasons that civil unions are not an acceptable option to marriage.
"State" deserves more props for addressing the need for a rush to the altar (or city hall) on the Utah court decision legalizing same-sex marriage. A related issue is legitimate concern as to having those marriages declared illegal either pending the outcome of an appeal of the decision or a reversal of it. Personal experience is being on alert in Massachusetts to attend a wedding within minutes of a favorable judgment in the state in that case. Discussing the principle of states' rights is another positive aspect of "State." On a more narrow level, it is difficult to imagine anyone being surprised to hear either that the Mormon church is ant-gay or that it is controls the Utah legislature. This is reprehensible but is no different than any other "largest employer" in a state dictating the policy in that jurisdiction. A clip of the Mormon pope does nicely illustrate a main point of "Church," This latter day saint has a huge smile on his face and is laughing while telling the tale of a Mormon elder who is physically beaten for propositioning his partner during their missionary position. The mouth of the Mormon says no no regarding this punishment for the guy attempting to get into the magic underwear of his friend; conversely, the eyes of that chosen one say yes yes. A very sad aspect of this is that the Mormon faith holds that that guy will go to Heaven. For the record, your not-so-humble reviewer wants his next existence either to be in Dog Heaven or to be a vengeful spirit. The bottom line is "so far, so good" regarding the Trump Administration not trying to undo marriage equality; as such, "State" is not so timely in any regard.  The TLA Releasing January 28, 2020 DVD of "Leave it to Levi" fully embraces the modern tradition of gay-themed documentaries that fully show the naked truth. The titular model/porn star is Levi Karter; "Levi" is a production of Karter boss/CockyBoys co-owner Jake Jaxson that builds on amateur video by Karter that depicts his life.
The highly explicit opening scenes of Karter engaged in vigorous phone sex is misleading in that much of the film relates to more respectable aspects of the life of Levi. The latter, which is not the most "blue" content in "Leave," reflects the common theme of many films of this genre; the (usually young) pretty boys that we get to know largely are like everyone else with the exception that they use their good looks and sex skills for fun and profit. Karter largely is a momma's boy, who loses Momma on her learning how her boy pays the rent; these developments are told in a highly amusing manner that has shades of the conspiracy theories regarding the JFK assassination. This dynamic further sets the stage for Momma to deliver arguably the most memorable line in the film; she states that she cannot imagine any parent wanting his or her child to grow up to be a porn star. Aside from the incredibly adorable dog of Karter, the scene stealer of "Leave" is Karter roommate/colleague Liam Riley. This guy who personifies youthful exuberance adds incredible energy to the film. His most memorable moment revolves around discussing outdoor sex. Things take an unexpected turn halfway through "Leave" when we meet Karter drag-queen alter-ego Sassy Frass. This reflects the gay-lesbian dynamic that is akin to cats and dogs. The basic conflict is that dressing in drag generally is consider the polar opposite of the dominant masculine theme of gay porn. This element of the life of Karter already strains the tolerance of Momma before Sassy has a sort of a homecoming; a scene in which Momma and son bra shop for the latter does lighten the mood. The parental relationship and the fact that the Karter can be considered the Hannnah Montana of gay porn is a compelling angle that sets "Leave" apart from the more typical fare that shows that the guys go make a career out of going Full Monty truly are the boys next door. We also see how those distinguishing characteristics impact the "day job" of Karter. The copious DVD bonuses include behind-the-scenes footage at the "Leave" premiere that shows that Karter also is a Daddy's boy who likely enjoys a good spanking.  The Film Movement DVD release of the documentary "Coby" provides teen girls who are at any stage of transitioning to male a good guide for what to expect. This film also offers a helpful perspective for parents who are having trouble accepting this desire.
The title refers to the name by which rural Ohio teen Suzanna wants to be known during the period in which she is transitioning from female to male. She later becomes early-20s paramedic Jacob. The starting point regarding this film is that it serves the documentary purpose of enhancing the knowledge of the general population about a topic of interest. As mentioned above, "Coby" also presents a relatable story to folks dealing with the issue at the heart of the movie. French filmmaker Christian Sonderegger alternates the focus of "Coby" between the transition period and the present in which Coby and life-in girlfriend Sara share their home with a couple of dogs and a flock of chickens. This footage consists of both interviews for the film and YouTube posts by Coby and Jacob. Our story begins with Coby chronicling the early days of ingesting testosterone. His excitement regarding his voice getting deeper and the first hair appearing on his chin mirrors the glee of most people who are born male on achieving those milestones. The discussion of the impact of testosterone on personality helps everyone with that substance in his body understand personal forms of aggressive tendencies, We also hear directly from Coby and his mother about her difficulty related to accepting this child changing genders. This includes discussing a conversation when this pair first talks about then-Suzanna being attracted to girls. The issue of legal identity is an especially interesting topic. Most of us who do not change gender never think about the name on our license or our credit card not reflecting our outward appearance. This is not to mention the issue of having to present a birth certificate as a form of proof. The only criticism of "Coby" is the larger issue of online fame. A teen transitioning is relatively rare, and the film provides plenty of food for thought on the topic. However, maintaining a vlog on YouTube or other social media is annoyingly narcissistic. Coby admits in one such video to providing TMI; another post on the removal of his breasts is a little gory. The bottom line this time is that "Coby" shows that even the kid next door may desire to transition and that he or she has the potential for a full and happy life in a body that is more comfortable than the one in which that person is born.  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.  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. |
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