Wrecked (2009)

Wrecked ( 2009 )

Director: Bernard Shumanski, Harry Shumanski
Scenario: Bernard Shumanski, Harry Shumanski
Genre: Drama
Country: USA
Year: 2009
Duration: 73 min
Rating: 2/10

Actors: Benji Crisnis, Forth Richards, Peter Peterson, Theo Montgomery, Womack Daryl

Description:
An edgy drama about a gay teen’s tumultuous decent into drugs and anonymous sex, Wrecked is a twink-lover's wet dream. Explicit and nearly pornographic, this indie from debut filmmakers/brothers Harry and Bernard Shumanski forges new territory in the realm of plot-driven erotica. Ryan is an earnest 18-year-old trying to develop a career as an actor and getting his life on the right track. This course is quickly threatened with the sudden arrival of his sort-of ex, Daniel, who arrives at Ryan’s door wanting a place to stay and offering the promise of a normal, loving relationship. But Daniel’s drug addiction and his perpetually slutty top-man horniness derail any hope for normalcy and soon ensnares Ryan in his own downward spiral of sex and drug addiction. There are solos, passionate drug-induced lovemaking scenes and even a hot threesome. Check out our gallery for lots of juiciness. Handheld cameras, a hot young cast and a boldly upfront approach to sex combine to make Wrecked a uniquely orgasmic film experience.

Shortbus (2006)

Shortbus (2006)

Director: John Cameron Mitchell
Scenario: John Cameron Mitchell
Genre: Drama, Romance
Country: USA
Year: 2006
Duration: 101 min
Rating: 6.7/10

Actors: Sook-Yin Lee, Paul Dawson, Lindsay Beamish, PJ DeBoy, Raphael Barker, Peter Stickles, Jay Brannan, Alan Mandell, Adam Hardman, Ray Rivas, Bitch, Shanti Carson, Justin Hagan, Jan Hilmer, Stephen Kent Jusick

Description:
VARIETY.COM
By TODD MCCARTHY

"Shortbus" is the cinematic equivalent of a relationship that begins with sex on the first date and then wants to get more serious when you'd rather just have more sex. Unquestionably the most sexually graphic American narrative feature ever made outside the realm of the porn industry, John Cameron Mitchell's ambitious attempt to merge his characters' active sexual lives with more conventional emotional content is playfully and provocatively entertaining for roughly the first half, but loses staying power thereafter when investment in the uncompelling characters' problems is requested. The lubricious action, which comes in a lively and varied set of permutations, puts this way over the line for most distribs and exhibs, so while pic will be an immediate must-see for certain audiences, especially gays, in limited theatrical release, it will find its true and lasting home on DVD.

Mitchell, in the wake of "Hedwig and the Angry Inch," has finally fulfilled a dream that a number of filmmakers had in the early 1970s, that of plausibly working hardcore material into a legitimate dramatic picture. From the eye-popping opening scene, sex pervades the action, and it is clearly the writer-director's intent to start outrageously so that, after the second or third time the actors get it on, it won't seem so unusual anymore.
Still, the polymorphous couplings are more inventive and entertaining than the emotional content. Mitchell's exuberant, playful approach and unfailing good humor feel far better matched to the characters' experimental probings than to their purported anxieties.
The central figures here are embarked upon problematic sexual quests; the main woman is a relationships therapist desperate to experience her first orgasm, and one of the men is suicidal, but there's far too much fun in Mitchell's sexual wonderland for such negativity to last.
Pic's intro may be the coolest movie welcome to New York City since the opening of "West Side Story." In the shadow of a looming Statue of Liberty, a beautifully abstracted animated model of the city is swooped down upon and through to locate the scenes of the action, and some vigorous intercutting to jazz accompaniment shows there's lots going on.
In one apartment, a young man starts playing with himself and does some contortions to orally finish the job. A straight couple seems intent upon re-enacting much of the Kama Sutra in one session. A dominatrix does her thing on a wimpy guy in a room over Ground Zero, and it all climaxes with a nifty joke at the expense of the Jackson Pollock school of painting.
The fellow in the tub was James (Paul Dawson), a former hustler who's been going with the dense but hunky Jamie (PJ DeBoy) for five years. Now they're dickering with "opening up" their relationship, so they visit therapist Sofia (Sook-Yin Lee) to discuss the possibilities.
In the process, they learn her secret, that she's been faking orgasms with her husband Rob (Raphael Barker), so the boys invite her to a "Shortbus" party, a sort of downtown bohemian sex mixer where music and campy chit-chat prevail in one room, lesbians convene to chew things over in another, and whoever wants to dives into the action in the orgy cafeteria. "It's just like the '60s except with less hope," intones the event's sardonic ringmaster, Justin Bond.
Hunky James and Jamie have little trouble finding a third, a lad named Ceth (Jay Brannan), for their branching out experiment, a move that culminates in a memorable daisy chain with the threesome, just for a change of pace, singing "The Star Spangled Banner" while doing things that were no doubt long illegal in many states.
Despite a ready welcome mat, Sofia decides the Sapphic crowd doesn't do it for her, bonding rather with the dominatrix Severin (Lindsay Beamish), whose own barriers to intimacy are broken through only with great difficulty. Pic's theme overall has to do with the problem modern city dwellers, at least, have in feeling genuine emotion and letting other people "penetrate" them in ways other than physically, which is easy.
But Sofia's dilemma is in the end one-dimensional and hard to dramatize meaningfully, while the boys, despite James' closely held angst, scarcely seem tormented once they break the ice by sharing Ceth and never become multi-faceted enough to generate sincere interest.
Secondary characters such as Rob and a voyeur (Peter Stickles) who eventually joins the action aren't nearly as arresting as Bond and an old gay gent who says he was once mayor of New York.
So it's fun while the fun lasts, which will vary for different viewers. But despite the variable outcome, Mitchell earns major points for daring such a project, finding a cast willing and able to carry it off, developing the story with the thesps so the sex integrates with the general flow of events (while remaining dominant), achieving a smooth and nimble visual style, and suffusing everything with an intense curiosity and generous spirit.
All craft elements feed into the vibrant vibe, as do the energizing and sometimes witty musical elements.
Camera (DuArt color), Frank G. DeMarco; editor, Brian A. Kates; music, Yo La Tengo; music supervisor, Michael Hill; production designer, Jody Asnes; set decorator, Sara McMillan; costume designers, Kurt and Bart; sound (Dolby Digital), Ken Ishii; sound designer, Ben Cheah; re-recording mixers, Lora Hirschberg, Brandon Proctor; animation, John Bair; associate producers, Morgan Night, Neil Westreich, Richard Wofford; assistant director, Karen Kane; casting, Susan Shopmaker. Reviewed at Cannes Film Festival (noncompeting, Midnight Screenings), May 20, 2006. Running time: 102 MIN.
Also
With: Alan Mandell, Adam Hardman, Ray Rivas, Bitch, Shanti Carson, Justin Hagan, Jan Hilmer, Stephen Kent Jusick, Yolonda Ross, JD Samson, Daniela Sea, Miriam Shor, Rachael Cyna Smith, Paul Oakley Stovall, Lex Vaughn, Justin Bond.

 

Lonesome Bridge (2005) short

Lonesome Bridge (2005)

Director: Brian Rowe
Scenario: Samantha Marazita, Brian Rowe
Genre: Short, Drama
Country: USA
Year: 2005
Duration: 12 min
Rating: 6.5/10

Actors: Ben Gaetanos, Austin Beckford, Aimee St. Piere, Amanda Lund, Nick Puliz

Description:
Worth Seeking Out, 13 February 2006
8/10
Author: JonB-2 from Los Angeles, CA
A nice small film that manages to avoid being a stereotypical "gay boy loves straight boy" story, and with a very interesting (and earned) twist at the end. Proof that simple stories with real characters work well, no matter the length.
The performances, camera-work and editing are above average, and unlike many low-budget short films, the music is nicely integrated into the story. Expect more from lead actress Aimee St. Pierre -- she exhibits a sweetness with an edge here reminiscent of Alyson Hannigan; and definitely expect more from producer/director/writer Brian Rowe. If he can do this in twelve minutes, I'd love to see what he can do with a feature.

Speedway Junky (1999)

Speedway Junky (1999)

Director: Nickolas Perry
Scenario: Nickolas Perry
Genre: Drama
Country: USA
Year: 1999
Duration: 104 min | Germany:102 min | USA:105 min
Rating: 3.6/10

Actors: Jesse Bradford, Jordan Brower, Jonathan Taylor Thomas, Daryl Hannah, Tiffani Thiessen, Patsy Kensit, Justin Urich, Adrienne Frantz, Patrick Renna, Erik Alexander Gavica, Timothy McNeil, Brian Stark, Warren G., Richard Balin, Jaime Bergman, Susan Gayle Clay, Lucy Dawn, Kaleb Dixon, Shevonne Durkin, Jason Ellsworth, Bill Farmer, Stephanie Granda, John Jett, Bill Cho Lee, Angela Little, Faith McDevitt, Sam Menning, Del Monroe, Cynthia Palmer, David Parker, Michael Roddy, Neil Ross, Nafisah Sayyed, Steve Schirripa, Benjamin Shelfer, Peter Thomas, Milo Ventimiglia, Nick Whelan

Description:
Movie Review by Zara
June 7th, 2007

When I got to the part where Tiffani Thiessen appears onscreen, I realized that I had stumbled upon this movie on late night cable at some point back, but only watched it for her bit role.
This time I Flixed it based on a search that I did of her movies (I have this thing that I do... don't ask) and figured I'd give it a chance. And it's a rough film to watch. There's so much bullsh*t being thrown at you by an incompetent writer/director that it's easy to miss the rare moments of genuine emotion that are conveyed.
True, the majority of them are buried deep under this light weight examination of street hustlers in Las Vegas. For a movie that mentions having sex for money, no sex is shown and nothing gets very dirty or scary. Doesn't sound like the kind of hustling that actually goes down on the strip to me.
In any case, it's a train wreck. But oddly enough, it's a train wreck that's hard to look away from. I blame Brower, a little known actor who manages to do the best that he can with the material that he's given. Most of the good scenes come from watching his face, green with both the inexperience in acting and the inexperience with what his character is going through.
Crappy movie and yet... I can't bring myself to hate it.

Bradford and Brower are terrific together, 3 January 2005
4/10
Author: wadeboi from Hollywood, CA

Novice director Nikolas Perry who made a fine debut with the short film "Must Be the Music" attempts to create another trendy Hollywood skid row druggie film but with a twist as a "buddy" film. And this one is set in Las Vegas. Jordan Brower is appealing as Eric and has particularly good chemistry with Jesse Bradford. These two would be worth casting together in another "buddy" feature. Beyond that one gets the sense that we've seen this all before including the obligatory death of the gay character. Perry explains, in his directory's commentary, that the death is an act of love--a sacrifice. Perhaps, but this film never sets the right tone for such a deeply symbolic conclusion. Like so many rookie writer- directors, Perry suffers from making the film too "busy" with endless characters, no sense of momentum, and endless clichés. Or perhaps the money people took over and made the film by committee? It has that look. Happily we are spared from the peek-a-boo nudity that is typical of these films: where the director goes to great lengths to get the actors naked then hide their nudity through awkward posing, clever placement of props, and so on.

It's My Party (1996)

It's My Party (1996)

Director: Randal Kleiser
Scenario: Randal Kleiser
Genre: Drama
Country: USA
Year: 1996
Duration: 110 min
Rating: 6.7/10

Actors: Margaret Cho, Bruce Davison, Lee Grant, Devon Gummersall, Gregory Harrison, Marlee Matlin, Roddy McDowall, Olivia Newton-John, Bronson Pinchot, Paul Regina, George Segal, Eric Roberts, Steve Antin, Dimitra Arliss, Christopher Atkins

Description:
VARIETY.COM
By EMANUEL LEVY

An MGM/UA release of a UA presentation of an Opala production. Produced by Joel Thurm, Randal Kleiser. Executive producers, Robert Fitzpatrick, Gregory Hinton. Directed, written by Randal Kleiser.

Nick Stark - Eric Roberts
Brandon Theis - Gregory Harrison
Amalia - Lee Grant
Daphne - Marlee Matlin
Tony - Paul Regina
Charlene - Margaret Cho
Monty - Bronson Pinchot
Paul Stark - George Segal

 

Mixing comedy and drama, Randal Kleiser's "It's My Party" is an emotionally candid chronicle of a young gay man with AIDS who decides to terminate his life while still in control of his faculties. Though not as accomplished or emotionally satisfying as "Longtime Companion," the landmark 1990 AIDS drama, this star-studded studio release will probably do better than other indie pics about AIDS, but there's still a question about its crossover appeal.

Pic feels like a highly personal work but is severely flawed because its narrative consists entirely of background detail, with no dramatic core to contain its multiple subplots and characters.
Nick Stark (Eric Roberts) is a successful young architect engaged in a long-term relationship with Brandon (Gregory Harrison), his handsome lover who's equally devoted to his filmmaking career. When the story begins, Nick finds out that he's HIV-positive and has a short time to live. His healthy companion freaks out, and after a series of fights they break up, though clearly they're still very much in love. Rather than succumb to the disease's debilitating effects, Nick decides to take charge. As a prelude to his death, he hosts a two-day farewell party to which he invites all his friends and family members.
With its loose-knit screenplay, dozens of characters (some actors play themselves), overlapping dialogue and sound and other devices, "It's My Party" boasts an Altmanesque structure, but without Altman's savvy or wit -- it's more "Ready to Wear" than "Nashville" or "Short Cuts."
There are some wonderfully spontaneous and humorous sequences, but ultimately this movie of moments suffers from too much colorful periphery and not enough center. Once the core situation is established, the picture has nowhere to go, and what unfolds onscreen is a continuous parade of friends and guests who wander around the house, each getting a snippet of dialogue or a bitchy one-liner.
Pic's only dramatic interest is to see at what point Brandon, who arrives uninvited, will apologize for his misconduct and declare anew his love for Nick. During the two-day event, the two cross paths several times, with the audience waiting impatiently for the big scene, their reunion. Once it arrives, the scene is emotionally effective: Observing Brandon carrying Nick in his arms to his deathbed will reduce many viewers to tears.
One of the yarn's most interesting aspects is the contrast between Nick's biological family and his "real" family, a group of friends that includes Tony (Paul Regina), a former b.f., and Charlene (Margaret Cho), the loyal friend who insists Brandon still belongs to the inner circle.
It may be a tribute to superlative acting that Nick's blood family comes across as a loving, most caring unit, especially Nick's divorced mother, Amalia (Lee Grant), and his sensitive sister, Daphne (Marlee Matlin). Some tension prevails when Nick's father (George Segal), who had never accepted his son's homosexuality, arrives and has to deal with his still bitter wife but very forgiving son.
Kleiser has managed to construct a tale that's emotionally uplifting and, in moments, inspiring, without being overly sentimental. The lead characters are extremely engaging but two-dimensional -- particularly Nick, who seems to accept his fate without any bitterness or anger. About half an hour of the film's time is spent on Nick's delivering personal farewells -- and personal gifts -- to his family and friends, with prolonged hugs and kisses.
In what seems like a comeback after a decade of mostly straight-to-video movies, Roberts acquits himself with a decent performance in the difficult role of a saintly man who has no rough edges. The highly photogenic Harrison does a better job of acting, though one wants to know more about his character, particularly during the breakup.
To his credit, Kleiser adds some unexpected dimensions to the couple's split so that Brandon won't appear utterly villainous. But devices like brief flashbacks are routinely and disappointingly used to sketch the couple's happier times together.
Tech credits, particularly Bernd Heinl's fluid camera and Ila Von Hasperg's smooth editing, make for an intermittently enjoyable film, which in the hands of a different director could have been solemn and dreary.
Camera (Deluxe color), Bernd Heinl; editor, Ila Von Hasperg; music, Basil Poledouris; production design, Clark Hunter; costume design, Danielle King; associate producer, Dessie Markovsky; line producer, Harry Knapp; casting, Joel Thurm, Steven Fertig. Reviewed at MGM screening room, Santa Monica, Jan. 11, 1996. (In Sundance Film Festival -- premiere.) MPAA Rating: R. Running time: 110 MIN.

 

Intermezzo

Eating Out 2: Sloppy Seconds (2006)

Eating Out 2: Sloppy Seconds (2006)

Director: Phillip J. Bartell
Scenario: Phillip J. Bartell, Q. Allan Brocka
Genre: Comedy, Romance
Country: USA
Year: 2006
Duration: 79 min
Rating: 6.8/10

Actors: Jim Verraros, Emily Brooke Hands, Rebekah Kochan, Brett Chukerman, Scott Vickaryous, Mink Stole, Marco Dapper, Adrian Quinonez, James Michael Bobby, Joseph Morales, Michael Serrato, Sarah Lilly, Andrew Ley, Jessie Gold, Larry Laboe

Description:
Slant Magazine
by Ed Gonzalez
Posted: November 1, 2006

Since Eating Out, Kyle (Jim Verraros) and Marc (Brett Chukerman, standing in for Ryan Carnes) have had their problems. One isn't trusting, the other has a wandering eye, and when they split, the stage is set for more absurd configurations of sexual interplay. The highlight of Eating Out is a scene in which a fag hag, Gwen (Emily Brooke Hands), sexes up a straight dude on the phone while Marc gives him a blowjob.

 

 

Gwen's determination is less imaginative this time around, but let's cut  the girl a break—by the looks of her, she's seen better days. After Kyle and Marc split and Kyle, Gwen, and Tiffani (Rebekah Kochan) set their sights on a hot piece of man meat of dubious sexual orientation who poses nude for one of their art classes, Gwen unofficially teams up with Marc to seduce Troy (Marco Dapper) while Kyle and Tiffani go for the muscle stud under the pretense that Kyle is an ex-gay and Tiffani is his girlfriend (Kyle's argument: "He'll let me have sex with him if he knows I'm not gay"). Sloppy Seconds is something of a misnomer because the many messes these characters get into are not very spontaneous, but in spite of the schematic setup that leads to a naive Troy sucking his first cock and the whole gang outing the head of Homo No More, the film relishes in capturing those fluid days of youthful abandon when everyone's sexual agency was up for grabs. The film's appearance is close to embarrassing, but the funny-because-it's-true humor is stinging, getting off on the twisted lengths people will go to in order to get their groove on. Of course, the film also has a message: Appearing as Kyle's mother is Mink Stole, who realizes before everyone else does that "different rocks."

Between Places (2005)

Between Places (2005)

 

Director: Amir Jaffer
Scenario: Amir Jaffer, Richard Schimpf
Genre: Drama
Country: USA
Year: 2005
Duration: 90 min
Rating: 7.1/10

Actors: Isaac Benjamin, Silvia Sweidan, Jakob Bokulich, Jennifer Beck, Desi del Valle, Joyce Lee Kinney, Juana Samayoa, Carissa Weir

Description:

After arriving from Egypt to work as a software engineer, Nagib (Isaac Benjamin) falls for his beautiful co-worker Aisha (Silvia Sweidan) and his handsome neighbor Jeff (Jakob Bokulich). September 11 terrorist attacks and the arrest of Nagib’s closeted gay friend in Egypt make matters worse. Business dries up at the software firm and his job is the first to go. Nagib is caught between being true to himself and the ones he love, as he tries to survive in the U.S. after 9/11. Between Places is an intricate story about love, deception and the choices one makes in hope for a better life for oneself.

Between Places
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