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. 

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. 

The TLA Releasing DVD release of the 2017 Mexican drama "Seeds" (nee "Cuernavaca") shows both that everything is relative and that relatable growing pains can be traumatic. The accolades for this Dickensian coming-of-age tale include the Best International Feature Award at the 2018 Borderlands Film Festival and three honors at the 2018 Films Infest. 

The following YouTube clip of a "Seeds" trailer provides a sense of the angst of central character Andy; the glimpse of the wonderful cinematography reinforces the hope of a future Releasing Blu-ray of the film.

Tween Andy is a Dickens stereotype in that he is small, quiet, pale, and classically blond. Sadly, nothing about him even early in the film supports the theory that people with that hair color have more fun.

Andy literally is clinging to a connection with his absent father in the opening scenes; his early interaction with his essentially single mother is very reminiscent of the parent-child relationship in "The Sixth Sense." This is down to Mom picking up a despondent Andy after a typically depressing day at school.

Rare mutual joy in the lives of Andy and his mother is short lived. Their grand afternoon out is continuing with ice cream when a "sliding doors" moment leads to Mom, rather than Andy, becoming the victim of a violent crime. This contributes to especially strong survivor's guilt.

The Dickens vibe initially picks up on the authorities being unable to locate the father of Andy to care for him during the hospitalization of his mother. This leads to the boy travelling to the titular rural suburb for a temporary relocation to the guava orchard of his firm but fair (functioning alcoholic) grandmother Carmen. The DVD liner notes state that Carmen portrayor Carmen Maura has a history of collaborating with Pedro Almodovar.

The eccentric members of the household include an aunt with Down's Syndrome, who provides a herd of cats with unnecessary ongoing medical care. There also is young fieldworker/kitchen helper Esmeralda, who essentially is child labor. 

The guava of the eye of Andy is teen gardener Charley. Part of the artistry of "Seeds" is ambiguity regarding whether the younger boy sees the older one as a cool guy, a brother figure, a substitute father, or an object of carnal affection. Similarly, the feelings of Charley toward the boy are not very clear for much of the film. 

One clear aspect of the Andy/Charley relationship is the latter taking advantage of the other. The boy being relatively wealthy, lonely, smitten, and otherwise vulnerable paves the way for Charley to con him. The aforementioned susceptibility to being taken includes Andy being desperate to reach his father to rescue him from his unfortunate circumstances. This includes the very Dickensian threat of boarding school. 

Charley also provides context for the form of class divide that is common in Mexico and not unheard of El Norte. His modest home in his working-class neighborhood is just beyond a symbolic gate in an equally symbolic wall on the estate of Carmen. Further, Carmen heads an unofficial group of "respectable" members of the community that is seeking to run Charley and his kind out of town.

Twin drama ensues as Charley persuades Andy to fully betray his grandmother at a time that the prodigal son at least is back for a short visit. The two lessons here are to not invite the beast into the parlor and that a leopard never changes his spots.

The impact of all this on caring and trusting Andy is adequately heartbreaking to set "Seeds' apart from more cookie-cutter coming-of-age stories. Those films typically have the boy with at least strong gay tendencies end up with the right person and come out the other end of a traumatic experience wiser but not permanently sadder. 

The first difference here is the nature and nurture combine to make Andy much more delicate than the typical emo twink boy next door who is starting to look at either his childhood friend or the new guy in school in "that way." Our lead seems destined either to spend his teen years locked in his room reading or shooting up the cafeteria at lunchtime. Either way, you cannot help feeling very sorry for him and hoping for the best.

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 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 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.
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"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.

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 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  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. 

The Dekkoo Films October 9, 2018 DVD release of "Testosterone Volume One" aptly depicts treats and actual and figurative tricks regarding modern gay life, This scope of these four short films includes the bittersweet aspects of any first love, the agony and the ecstasy of being a boy who likes other boys, and a dark comedy about regicide of a queen.

The following YouTube clip of the Dekko trailer for "Testosterone" is a music video that provides a sense of the highly stylized and equally emotional themes of the films. 

The first film "End of My World" by Kamil Krawczycki is notable both for being the first gay-themed short film from Poland and the most relatable movie in the group, Dreamy 20-something Filip is very despondent regarding his recent break-up with arguable soulmate Eryk. Some of the angst relates to Eryk disappearing without a trace immediately after pouncing on an opportunity to end the relationship.

Filip claiming a mental health day leads to a montage of despair that prompts flashbacks of his life with Eryk. These scenes particularly ring true regarding all forms of first love but also apply to every relationship. Associated aspects are one person being more in love than his or her counterpart and failed efforts to salvage what no longer is a great thing.

The title of "World" reflects the feeling associated with a relationship ending; other themes are one ending leading to a new beginning and whether Mr. Right Now can become Mr. Right. The latter ties back to the issue of one person being more in love than the person with whom he or she makes the beast with two backs. 

The bigger picture this time is Poland being roughly 20 years behind the United States regarding gay rights. Societal acceptance seems to be at toddler stage, and young gay men are struggling with the extent to which they are comfortable coming out; we see how this option being so new can strain a relationship in which one boy is comfortable walking down the street holding hands and the other is at the stage that spending the entire night together is a big deal, 

"The Surf Report" is the most odd of the films. It continues the theme of a literal lost love. In this case, surfer "K" apparently hitches a ride to Rock Rock Rockaway Beach in New York where he has very surreal experiences. Meanwhile, the efforts of boyfriend to find this little merman aptly include visiting a psychic who has shades of Whoppi Goldberg in "Ghsot."

The time shifts and very creative cinematography in "Report" make the film especially compelling. 

Dekkoo continues  doing a good job with the continuum in having "It Gets Better?" This one starts out ambiguously with a clearly distraught middle-aged man watching a streaming video of a younger guy pouring out his heart regarding his distress related to being gay. A highly probable interpretation of all this is that the older man is the father of the younger one. 

We soon learn the story of the older man. The theme generally is that he is older, wiser, and somewhat happier than the Millennial. This narrative includes the most erotic (rather than pornographic) scenes in any "Testosterone" film. 

Dekkoo chooses wisely in breaking from the trauma, drama, tears, and recriminations in the first three movies by ending things on a light note. Describing the dark comedy "Killer Friends" as being student-film caliber merely refers to the indie and micro-budget vibe. Even before watching it, you know that writer/director Zach Noe Towers casts himself in the starring role.

One puzzle is why Dekkoo includes this not-so-good movie with the others. It seems that there must better comedic options than this short by this YouTube star, who is an unambiguously gay version of Jake Paul.

The premise of this film by Millennials for Millennials is that 20-something Jill is so fed up with former college friend/current roommate Scott that she recruits her boyfriend Brian and their mutual  friend Heather to kill Scott during a camping trip. A major plot hole is why Scott warrants this treatment rather than ending his roommate agreement with Heather and she and her friends merely becoming the ghosting trio,

The biggest flaw in this vanity project for Towers is that he both plays it so over the top that he way out Paul Lyndes Paul Lynde. Further, most of his line are very predictable regarding things such as repeating an absurd insult or revealing a secret just as the subject of that remark falters in  his or her conviction to kill him. One spoiler is that Scott is such a flamer that it seems that the others do not need to douse him in a combustible substance to Michael Jackson/Richard Pryor him.

This perhaps last-day-in-the-life-of film quickly becomes a Looney Tunes cartoon in that every attempt to snuff Scott boomerangs on the attacker. One fully expects Brian to order a cannon from Acme, to have that weapon arrive within seconds, and then to have the barrel flip around and fire in his face when he aims it at an oblivious Scott. 

The bottom line regarding "Testosterone" is that three out of four truly is not bad. Further, good intentions exist regarding including "Friends." As mentioned above, it ends things on a light note that contributes diversity.

TLA Releasing artfully combines travelogues and universal love stories with the recent DVD release of the 2018 drama "Grimsey." The spoiler is that you will ache to board the next flight to Reykjavik on seeing this one. 

The following YouTube clip of the Releasing trailer for "Grimsey" reflects the awesomeness of promos for indie films in that they consistently accurately reflect the themes and the tone of the film., In this case, the scenery and the angst of lost love receive equal attention.

The largest theme this time is the long tradition of a gay man abruptly ending what his boyfriend often thinks is a stable and mutually loving relationship. Combined cowardice and justification that simply vanishing is kinder than confronting everyone from a fuck buddy to a genuine partner with the awful truth prompts simply not returning messages and never seeing the person again. Learning that the love is one-sidedl without discovering why can devastate the rejected boy.

The hut guy in "Grimsey" expresses the above sentiments this in highly relatable voicemails to the one who ran away. Not knowing for sure that the other person is alright and not being told the reason for the radio silence is torturous for a man who has the sensitivity that being boyfriend material requires. 

Bruno in "Grimsey" has it even worse than usual. Photographer boyfriend Norberto simply does not return from a trip to Iceland, A police investigation confirms that Norberto never boards his scheduled flight home, However, there is no indication of intentional or accidental bodily injury.

A distraught Bruno flies to Reykavik to find his boo but meets local tour guide Aranu, who joins the quest. This being a gay-themed movie ensures that Bruno is the object of the affection of Arnau. However, another truth of gay life comes in the form of Bruno being so obsessed with his mission that he is oblivious that the handsome and sweet guy next to him may be his actual Mr. Right. Most gay men can relate to being on both sides of this type of relationship.

Amusing support for the theory that every gay man knows each other leads to Bruno travelling several hours across Iceland in search of Norberto; although he initially is reluctant to let Arnau tag along, a sweet gesture indicates that Bruno is open to the idea of moving on.

That journey leads to the titular island that literally and figuratively is the end of the road. It is equally apt that this is the point at which Bruno must decide whether he is going to fish or cut bait, The final word on this subject is that the outcome may be that Norberto is the one who gets away.

The relatability of "Grimsey" continues to the the final scenes. The lesson here is the same as the one throughout the film in that a good man is particularly hard to find when your dating pool is limited to 10-percent of the population and many eligible candidates are married. This makes it important to go the extra mile to find Mr. Right. 

The TLA Releasing DVD release of "French Kisses" provides a good chance to see a variety of styles and themes related to gay boys (and men) in love. These shorts also support the theory that the best movies are the ones with the strongest live-stage vibe.


The films about teen boys have their merits that extend beyond seeing seeing attractive young guys either often in deep thought or extreme joy. They reflect the angst that most boys who like boys experience when they discover that aspect of themselves. Mainstream cinema increasingly addressing this theme reflects its importance in society.


The films that focus on males who are adequately physically developed to shave at least every other day shows the wisdom of not sending in a boy to do the job of a man. In the case of the selection in "Kisses," the movies with the more mature themes in every sense have the most depth and the most compelling stories.


"Herculaneum," which is a  highly symbolic title, arguably is the most relatable film in the set. It revolves around two 30-something guys who repeatedly hook-up through a web-based cruising site. The largest theme is the disparity that often exist regarding the attitude as to a sex act, especially when it comes (no pun intended) to gay men. No one should expect that a casual encounter will lead to a long-term relationship, but what is merely a bit of fun to one guy may have even a little more significance to the other.


The real truths come out in the climatic (pun intended) scene in "Herculaneum." Our boys finally are enjoying the intimacy of sharing a bed for the night after having at least two home runs. The pillow talk includes learning basic information such as the professions of the men that typically is shared before the genitals of one person are inserted in the orifice of another. A related aspect of this is the reasonableness of the expectation that a man whom another man allows him to penetrate him in the most intimate manner possible will have lunch with the pentratee.


The next most relatable movie is "Ruptures," This one initially seems to be a documentary by and about 20-something Gabriel largely is about relationships in the context of the relationships of his peers.


A "chance" encounter with ex Andre while these guys were boys in Brazil dramatically shifts the narrative in every sense of that term. Gabriel literally turns the camera on Andre to ask about his feelings regarding their relationship; the gist is that Gabriel hurts this nice guy, real bad.


Gabriel falsely stating that the camera is off allows the audience to witness the sex, lies, and videotape associated with the reunion of the young lovers. we further witness Andre turning the tables on Gabriel.


Most of us lacking personal experience regarding the final film in the set is a good thing. An evening in which a middle-aged man host a younger man for dinner proves that visits like that are fun until someone ends up duct-taped on the floor while the other guy tries to break into your safe. The surprising part is that this is in not the end of this tale of a rent boy turned rough trade.


A teen experience of a friend of a friend (REALLY) shows that such occurrences relate to some. The price that this closeted high school boy pays for bringing a hookup home while his parents are out for the evening includes the trick (pun intended) of being left tied naked face down on the bed in the master bedroom and the house being robbed. A valid perspective regarding this is that something that is devastating if it happens to you can be hilarious when someone else is the victim.

The TLA Releasing June 12, 2018 DVD release of the 2017 drama "Al Berto" is among the new generation of Millennial-centric period pieces that center tales set in game-changing eras around groups of 20-somethings. In this case, the titular writer/trust fund baby converts his family mansion in Sines, Portugal to a Bohemian-style commune where he and his friends create their art and practice freeish love in an era in which the nation is transitioning from a dictatorship.

The numerous accolades for this film include the Best International Award at the 2018 FilmOut San Diego festival.

The numerous relatable international and timeless themes in "Al Berto" greatly contribute to its appeal. The titular character represents a trifecta of ill will regarding providing the locals a focal point for their general frustration and adjustment to the new normal. He is an outwardly lazy rich kid, spends his days in idle pursuits that include writing poetry, and is gay. The object of his affection being fellow trust fund baby Joao does not help matters.

A member of the group coming from a modest background and having a mother who regularly reminds her of her roots provides an interesting perspective. The issue here is whether the poor girl down the hall is a member of the inner circle or merely either a mascot or a charity case. 

Writer/director Vicente Alves de O does equally great jobs with the two related  primary themes of "Al Berto." Our sensitive soul is simultaneously contending with coming to terms with the world actively fighting his effort to create a Utopia while also trying to have a first real relationship with a guy. Having limited people skills does not help matters. 

The drama predictably amps up in unpredictably ways. This includes attacks on two fronts after some hope of lives of peace, love, and understanding. A great aspect of that hope for the future is the arrival of an adorable group that really help get the party started. 

"Al Berto" further speaks to teens and 20-somethings from 2018 by showing that having passion and a large group of like-minded folks has a long tradition. It also reminds those of us with a few more years on us that we both used to have those ideals and act on them in a manner that illustrated that we did not care about the narrow-minded views of the adults who were the same age as our current one. 

​"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.

Anyone with questions or comments regarding "Fine" is encouraged to email me; you also can connect on Twitter via @tvdvdguy.

As the Unreal TV review of the recent tla releasing DVD of the 2016 gay-themed Mark Bessenger film "Confessions" notes, that release roughly coincides with this site learning of the tla DVD release of the 2014 Mark Bessenger film  "The Last Straight Man." "Man" is much more revealing than "Confessions" both visually and in terms of titular breeder boy Cooper meeting up with his boi Lewis once a year for a night of passion. Suffice it to say, ample proof exists that Bessenger knows that of which he films and writes.
"Man" opens with the hotel suite bachelor party for Cooper on the night before his wedding to a woman; Lewis begging off when the stripper offers him a lap dance provides the first clue that he is not like the other boys in attendance.
Things take a stereotypical gay porn turn when Lewis hangs with Mr. Cooper after the party, and the latter prompts the two of them watching gay porn. A game of truth in which the dares come later further bring newly admitted biboy Lewis (who tells a tale that deserves a place in "Confessions") and clearly curious Cooper closer to the climax of the evening.
A good time being held by all leads to our stars meeting in the same suite every year for a night in which the boys catch up, reveal more about each other, and Cooper increases his knowledge of the joys of gay sex. The latter is fully in line with the theory that every man who has sex with another man has a "gay age" that reflect the timing and degree of his experience in that area.  Suffice it to say this time, an off-screen scene in which Lewis guides Cooper through having an enema is one of the most amusing in this highly entertaining film.
Bessenger expertly combines the erotic, the pornographic (suffice it to say that Lewis portrayor Mark Cirillo speaks softly and carries a big stick), the serious, and the silly. Our characters awesomely address this in a scene in which retail store owner Cooper suggests that romance novelist Lewis base a book on their story, and Lewis responds that that plot is better suited to a melodramatic play or a movie.
On a larger level, Bessenger awesomely presents issues of the Kinsey scale of sexuality, the related complicated aspects of feeling love for another man while being far enough at the gay end of that scale to have sex withhim but not far enough to abandon a heterosexual life style to be with him, and denying happiness for what you think is the greater good.
Having characters who are past their doe-eye days further adds substance to this story far beyond it being one in which Lewis lusts after Cooper based on high school showers and Saturday night sleepovers only to have a hairless emo Cooper bring him to Heaven only to later break his heart. Our heroes are big boys in every sense of the word and have spent enough time on the street corner to know the score even if they will not admit it to themselves.
The special features include (what surely are terrific) interviews and deleted scenes.
Anyone with questions or comments regarding "Man" is strongly encouraged to either email me or to connect on Twitter via @tvdvdguy,