sugarfreepeppermint Reviews

Into It (2006 Video)

Irreverent

[7/10 · 3 November 2022]

I love about this film:

• handsome young fit blond protagonist having a fetish for being raped and complaining he can't find a real man who will really do so.

• his roommate / landlord / friend whose every social interaction always circles back to scoring drugs via them, and it being fully relatable
• misogyny: fat girls being treated dismissively, unless they can provide drugs
• a subtle barely recognizable slowed down music track: Olivia Newton John - Magic - underscoring a build up of a scene where a seemingly commonplace encounter develops into the magic of falling in lust / love.

• late 90s early 2000s underground visuals / experimental photography and editing

Not so good: the beginning and ending of the film are a bit too abstract for my liking.

Crystal City (II) (2019)

Crystal Meth Documentary in New York

[5/10 · 20 August 2022]

This documentary is not as good as previous real life anecdotal films relating this topic such as: "Meth" (2006) or "Chemsex" (2015), but still somewhat interesting. This film deals mostly with the aftermath of the crystal amphetamine addiction of various homosexual men of different ages. From those who grew up, in the AIDS torn 1980s, to those who are currently very young and have fled to New York to make it, and get hooked to meth. The film comes across a little puritanical and guilt based for my taste.

From the anecdotes told and shown, it is obvious that there is a causality between someone's lower socio economic status and the manner in which crystal meth is used to escape from the stress of surviving in a city, New York, that can be a brutal, dystopian, existentialist vacuum. If one cannot afford a decent home, one cannot begin to have a sane life. That is the core reason why most people in this film, can not kick the habit. But it is not explicitly stated as the core problem. Instead a therapy based solution to the problem is offered up. Those offering the therapy are some of the more malevolent characters that cities have to offer; for example, an ex meth head turned drug counselor with a chip on his shoulder, or a sour younger "coach" that is blatantly gaslighting his doting client. They are the very toxic component of the gay community that make so many vulnerable young hopeful homosexual men turn to drugs. Where they would need friends and mentors with a heart and a helping help, they meet with with a resentful cold sarcastic glance of an abusive predator. The director has managed to catch the body language of these unsavoury characters very well (whether intentionally or not).

The most impactful scenes of this documentary are those of a young blond rent boy who uses crystal methampethamine in real time. He is filmed whilst slamming. The visceral effect it has on his body and state of mind is fascinating and harrowing to witness. This young man is (at) the very heart of the documentary. It was worth watching this film for his scenes. He shines through his candour. The camera catches his beautiful pale complexion that resembles that of a dying crucified Christ in classical paintings.

This film offers interesting visuals and observations that have value beyond the more insipid official narrative that it tells.

Cut! (2021)

Neo Almodovariana

[8/10 · 13 July 2022]

This is a film made in the spirit of 1980's Spanish underground film Pepi, Luci, Bom that was the first film of Pedro Almodovar. Throughout the film, other themes and scenes from Almodavar films are referenced, such as Ley del Deseo (film director being stalked by ambitious young handsome actors), Kika (ruthless sensationalist paparazzi), as well as soundalike Bernardo Bonezzi music from Que he Hecho Para Merecer Esto, as well as its aesthetics. There are also drag / punk song performances in the style of Laberinto de Pasiones , with current drag artists such as Samantha Hudson, Marina (from Drag Race Spain series 2) and La Prohibida. The latter plays her real life alias Amapola in this film, to add to the meta-cinematic punch line; she is a real scene stealer.

It is worth watching this film alone to marvel at all the interesting Almodovar vignettes. A very refreshing film, in a world gone mad with political correctness. (although, the film would have benefited from completely distancing itself from any political standpoint to truly be politically incorrect).

The Extinction of Fireflies (2021)

Drew Droege is the Star of this Film

[6/10 · 9 July 2022]

Drew Droege has appeared in many gay films before, and always managed to create the best scenes in those films. In this film, he is one of the main characters, and certainly is the most charismatic of al of them. He plays an older playwright who is ridiculed by his friends behind his back, until a young man appears in his life, whom resuscitates sorely lacking sensuality and love back into his life. Drew Droege plays out this character's inner transformation with great nuance. The cross reference to the classical Greek love history of two gay lovers is also very cleverly incorporated.

Breaking the Cycle (2002 Video)

2002 Internet Dating and Erotica

[8/10 · 2 February 2022]

This film has an array of buff young male characters who all act very well. They have great comedic timing and have that extra bit of charisma that separates them from just being simple jock meat. The dialogue and internet dating chat is exhilirating.

This film presents us with many layers of narrative: what the characters communicate verbally, their non verbal body language, their longing gazes, a voice over narrating what they think secretly, and of course what they confess about their desires in the online chat room. There are a few softcore erotic scenes, which present us with another language that the characters use to express their distinct sexual identities.

They just don't make uncomplicated films like this anymore. Great film.

Brummi (2020)

Middle Aged Berlin Homosexual Love Story vs Agenda21

[7/10 · 21 January 2022]

The lives of two men in Berlin, whom both are outsiders to a normie society, become intertwined. One of them grew up in the DDR, the other has become increasingly aware that the Western socio-economic sytem he lives in, is not operated much differently than the previously communist East Germany. The two men feel sexually attracted to each other, and seem to inspire one and other to dig deeper into parts of their lives and minds and hearts that they may seem to have neglected over time.

It is suggested that 2019 Germany has deteriorated into an Orwellian society. This film was funded completely independently from government or corporate subsidies, so the subject matter is spoken of with no censorship. When later it is suggested that the 1984 climate may be attributed to paranoia, I feel a little defrauded. Nevertheless, it remains sufficiently ambiguous for me to not give up on the film. At the heart of the narrative runs the tender love story The awakening to a conspiracy "reality" and how to deal with that, is the other driving force.

Both actors play warm affable idiosyncratic characters. The interiors of the characters' homes in this film are analogous to their personalities and helps visualising these tidily and in an aesthetically pleasing manner. The few scenes in the streets, shops, metro and bars of Berlin also add to a broader visual experience of the location in the world where it takes place.

The middle age of the characters also steers themes of nostalgia, history (revision), and seeking out a special intimacy "after" living the urban bachelor's gay grind.

This is definitely one of the better (gay) films to come out of Germany in the last few years; for its poltically dissenting angle; for the particular love story told, and for its excellent cinematography.

End of the Century (2019)

Exercise in hipster worthiness

[3/10 · 2 August 2020]

This film is a vehicle for emitting to hipster generation gay males, certain values and morals, what they should be interested in, how they should comport themselves among each other, and what an ideal relationship should look like.

The two main characters are basically battling it out, in a competition to be the most oustanding in hipster worthiness. The film makes sure all the boxes are ticked to appeal to hipsters. The script is an enumeration of hipster keywords with a flimsy story constructed around it. The characters live in exemplary hipster hot spots of the world: NY, Berlin, Barcelona. Speaking in Catalan (despite being with a Spanish speaking partner present in the conversation). Postulating ordinary exchange of information as profound intellectual conversation - or replicating an idea from the hipster manifesto and assuming the moral highround with this.

Terrible nails on chalk board female opera singer moment artificially wedged in film - (cheap melodrama masking itself as profoundly emotional). The obligatory -dancing to 80s alternative pop song, whilst smoking marijuana- scene. Some sex scenes with zero spark.

By the end of the film, the Argentinian character is outhipstered by his Catalan partner, when he is mind controlled into "making love," and has to take on the bottom role, contrary to his intial top role at the start of the film. This is an analogy that the Catalan partner has successfully eradicated whatever trace of traditional homosexual values, the Argentinian had left; no more "shameful" cruising in the park, but trapped in hetero-style marriage with a little daughter - carried around with them to virtue signal their hybdrid LGBTQ / Hipster poster lifestyle-.

This is yet another vehicle of selling to a new generation (of homosexuals), a detrimental agenda that sells them oppression and superficiality as freedom and depth.

Lodi (2018)

Dreamy erotic suspenseful

[8/10 · 27 July 2020]

A young man fetishizes a local celebrity and goes in pursuit of being intimate with him - every step taken more brazen and risky. The narative of the film is carried forward by erotic visuals and suspense. There is excellent photography of beautiful male bodies and faces and the tropical setting. The leading character expresses his obessesive sexual desire mostly non verbally, with glances and movements of the body. There is little dialogue in the film, which works to its advantage. The film is underscored by very suitable synthesizer music. There are some comedic scenes as well, with a local celebrity radio presenter delivering the latest gossip with great panache (in Tagalog of course). Watching this film is like being reeled into a dreamlike erotically tantalizing world.

The Endless Possibility of Sky (2012)

Todd Verow's Tina film

[8/10 · 3 January 2019]

It was inevitable that Todd Verow would make, at some point, a film that would have as its main subject: Crystal Meth and the underworld of men having sex with men on this drug (in this case, in New York and Maine). Being an underground film maker, the topic is not dealt with, in a conventional (judgmental) fashion. We follow life through the lens of sybarites who burn the candle at both ends, nihilism bestowing them with the freedom to treat each day (and night) as it could be their last. Nevertheless the depressing come down and the danger that party drug, Tina, can lead to, also do pop their ugly head, [it's part and parcel of getting hooked to meth after all].

There is also comedy. It can be found in the details: subtle gestures or words said under someone's breath delivered in a matter of fact blasé manner, typical of those engaged in the revolving mill of (homo-)sex, drugs and strangers. The Party aNd Play scenes are very recognizable to anyone who may have dabbled in it; various homosexual characters are all united by their self same craving for the drug and sexual intimacy, driven on, by a devil may care wanton hedonism. It also shows how this can result, not only in uninhibited lascivious activity, but can lead to self involved psycho babble and shifty paranoia.

I was pleasanlty surprised to see handsome actor Brad Hallowell show off his talent, and buff body, in another Todd Verow film. Some of Verow's other regular stalwarts make an appearance here too. I understand that the character of Miss Da Tina is a metaphor of Crystal Meth personified, and that would have been fine, when it is limited to her sporadic acerbic performances. There is a 20 minute intersection about Miss Da Tina's past history in the third quarter of the film, where the tempo and mood changes, and it derails the film. It goes back on track in the fourth quarter, when we are returned to the narrative of the main characters (Hallowell and co), and only then I'm once again gripped and thrilled. When the films ends, everything that may have seemed unrelated and abstract before, does fall into place. (but Miss Da Tina's overlong scene remains redundant nevertheless)

The libertine tone of this film about this subject matter, and its subtle humour, are reason enough to make it a stand out gay movie. Moreover its playful visual aesthetic, often with an overlay of "punk" graphics, makes it a pleasure to watch. The scene underscored with the A-minus song: quarter to 9, is a sublime moment, encapsulating all the aforementioned aspects in all its splendour.

Nocturnal Animals (2016)

Anti Southern Agenda

[3/10 · 27 October 2018]

This film is yet another vehicle for maintaining the platitudinous Hollywood programming that coastal city residents live in freedom adn safety whilst Southern people are evil and that in particular Texas is hell on earth. Although you'll be far more likely to get carjacked, robbed and raped in multi cultural California or the tri-state area, here it is proposed that the ultimate danger in the U.S. is personified bys poor white folk a.k.a. white trash. Texas politics and its judicial system are also allegedly completely stacked against victims and function only to defend (white) criminals, even though, once again, California is in fact the state with the most corruption and that is thriving on aiding legally all sorts of criminals (illegal immigrants, murderers, looters). There are also some snide suggestions that rich Texans are sexist, racist, homophobic and their religion makes them "bad" people; the worst criticism is always reserved for catholicism, (not surprisingly). The reality is that Californians, are currently escaping to states like Texas, to flee the danger, disturbing demographic changes and financial despair that is looming large over its residents. In Texas people carry guns so they can defend themselves, and can prevent awful things from happening to people - that should be the lesson learnt in this film. Hollywood is painting a false inbalanced picture with this movie, a topsy turvy version of the truth. What's new?

The Night (2016)

Sleazy Queer Argentine Cinéma-Vérité

[10/10 · 10 August 2018]

This film presents a slice of sleazy Buenos Aires as experienced by a middle aged homosexual man - delivered in the style of cine vérité. A fly on the wall camera peeks into the most intimate encounters between this man, Martin, and a motley crew of people that he hooks up with, for sex, drug use, and for ephemeric companionship. The sex and drugs are the medium through which to establish that particular companionship he looks for - stripped off all layers of pretense - right down to the core base of people's innermost desires and kinks, that he wants to match to his own. Getting wasted on drugs is a manner in which to retain interest in the (sex) partner or vive versa; it's part of the ritual bonding, and the antidote to fend off "normal" daily life.

To set the mood, there are scenes that show him snorting coke at random with strangers in seedy restrooms of clubs frequented by people of the night: aging transvestites, strippers who are past their prime, the rough and the rich, and socially introverted people (like Martin). These people of the night are sometimes wonderfully juxtaposed with ordinary people who go by their business in broad daylight

The background music and lyrics to the songs underscored in each scene are perfectly poignant and enhance the mood that is aimed for. Whilst looking to connect, people equally make sure there is distraction from the other person, filling the space with background noise: the tap running, the noisy chitter chatter of Argentine television, music being played to drown out people's voices or any awkward silences.

The camera likes to linger on the imperfections of the bodies of people: pot bellies, love handles, coarse facial features. Since it is Buenos Aires there are also lots of "love hotels" involved. Martin likes to keep the intimacy out of his own personal home, although he does go back there to puke up his guts after his nocturnal adventures. Usually by then he is strung out, after a failed encounter, to then start the whole process all over again. He pushes himself to the limit with drugs and alcohol and sex with the most awkward of strangers with the most minimal levels of communication. Most of all he is looking for heterosexual males to which he submits heedlessly; he uses transvestite friends and loose women, and drugs, and money, to gain physical proximity to them.

One must note that this is cinéma-vérité on the next level. The protagonist of the film, Martin, is also the director of this film, and he shows great courage in showing himself in this light. He probably draws from his own experiences as he captures the strange, bizarre, desperate, tender, and frustrating ever so well, which will be recognizable to anyone who has strayed through this sleazy world of urban night. The film is sexually explicit enough to be unapologetically realistic, but not so much that it is basic porno. The scenes are raw and meta-realistic; some characters were truly picked up, off the street and are gay for pay and under the influence of drugs, which injects a dosis of raw authenticity into this piece of fiction.

I consider this film another outstanding gay themed Argentine film of this decade, together with Muerte en Buenos Aires, Plan B, Vil Romance and El Tercero. Argentina delivers every time, and this film excells.

A Place to Be (2017)

Build That Wall !

[3/10 · 10 June 2018]

It is hard to imagine that an illegal Mexican immigrant who has been living in the United Sates since he was 6 years old and now is in his mid 30s hasn't managed to get documented via one of the plenty US organisations who dedicate themselves to this. But that little detail of reality wouldn't suit the infantile storyline of this film.

White Americans in this film are portrayed as evil drug addicts, racists, rapists and murderers. Of course we must dispose of the idea that it is in fact that group which has made America the country that has become so desirable for a large demographic of Mexicans to immigrate into.

The tragedy of the film occurrs not because the broken immigration system is not letting people in, but because human smuggling (run by Mexican drug cartels, not by renegade US citizens) is still occurring since the US is not hard enough. If "the wall" is built, hopefully that will come to an end.

The prejudiced anti-white, anti-American propaganda in this film is loathesome. The love story between the two hairy latino bears is the only part that I enjoyed

4 Days in France (2016)

Cogitative French gay road movie

[7/10 · 28 May 2017]

When the main protagonist steps into his car, riding away from his humdrum life and partner, Grindr at hand, ready to have it off with half the male population of France, I was on board too. I anticipated for there to be many casual encounters between him and other men. He drives from one renowned public cruising hot-spot to another, guided by comments left online or in magazines that indicate that a certain public restroom or parking place is teeming with potential homosexual liaisons after sunset. There are a few of these chance encounters in the film, but more than sexual frisson, the focus is on conversations and the non verbal dynamic between these men. One of the depictions of a spontaneous meet, is a very clever reference to Jean Genet's eponymous short film "Un Chant D'Amour." And I believe there are a great many other references to other French gay luminaries from the past throughout the film.

This road movie can be considered gay, but it is also largely focused on intersections with women - who function as commentators on male homosexuality - and the protagonist's vices and virtues. The story plods along extemporaneously, from one interaction with an eccentric stranger to another, exposing in each encounter, a particular idea about relationships, incongruities in people's personalities, some sage observations, or just plain awkward behaviour.

The main protagonist, (and his boyfriend following him hot on his heels), stumble upon one idiot savant after another, and these haphazard meetings are all contrived into one long poetic story, which, although it takes some patience, does come to a worthy rewarding cohesive conclusion.

Pink (II) (2016)

hilarious comedy

[8/10 · 23 April 2017]

Even though this film was intended as a vehicle against gay marriage and the adoption of children by gay persons, it is actually a hilarious comedy where the actors are hamming it up to portray some of the most outrageous gay stereotypes and delivering deliciously irreverent fun chat between queens. There are a few sermons by evangelical types which are so ridiculously awful, that it is actually highly comedic. The main actor of the film, Pablo Cheng, is a fantastic actor, and his interaction with the child actor who plays the adopted kid is a lot of fun to watch. They must have had such a good time whilst filming this movie; it would make any kid want to have gay adoption parents. The scenes with his camp friends, and the soap opera like love story with his partner, also are highlights of this film. It is thanks to the fact that it is anti gay propaganda, that this comedy goes to the extreme situations where a LGBT approved film wouldn't dare to go anymore. And that's the strength of this film, a modern day Mexican, Cage aux Folles. To become a cult classic in the future for sure.

No culpes al karma de lo que te pasa por gilipollas (2016)

Cheesy Hipster Comedy

[4/10 · 25 March 2017]

Hipster culture has taken over a good portion of Spanish cinema of late. This one is a hipster chick flick comedy. A nerdy twenty-something girl with creative aspirations develops romantic feelings for two hipster guys - and sees herself torn between the two. These two men and a motley crew of other hipster-approved characters push and pull at the direction that she has set out for herself in life, which is also the platform for a great many slapstick scenes. Some of the humour is very quick and subtle, and that's when the film is at best. But this film is also a bit of a cheese fest with plenty of scenes where the characters are trying hard to be cool and "different" whilst being extremely predictable and unexciting. In that respect this film sums up hipster culture in general.

People You May Know (II) (2016)

With Almodovar's Carmen Maura in special cameo

[7/10 · 5 November 2016]

Although the synopsis describes this film as being about a gay man's best girlfriend getting pregnant with his baby, the main plot actually revolves around a lurid and obsessive relationship with a handsome stranger online. This film runs at an easy pace, and although definitely mostly centered around the main protagonist (who's very easy on the eyes, which helps) it also gives sufficient scope to the events happening to the friends around him. All their stories are nicely tied in.

Although she doesn't appear on the list of actors on this film's IMDb page, the famous Spanish actress, Carmen Maura, makes a cameo in it. She is particularly known to an international audience for her roles in Pedro Almodovar movies. She definitely adds something very special.

Paris 05:59: Théo & Hugo (2016)

artificial dialogue and shallow as a puddle

[5/10 · 17 September 2016]

The best scene of the film is definitely the opening scene, an explicit orgy in a basement backroom in an urban gay sex club that renders the platform for the two main characters to meet, and for us to become acquainted to them, at the most profound level. That same depth is never reached again throughout the rest of the film. What we get are boring conversations like "what do you do?" "where are you from?" "I study so and so," etc, as they walk through some of Paris' ugliest multi culturally wrecked streets, as if this French capital city is in a state of full blown AIDS itself. (Not far from the truth, mind you). There are also a few loose references to classical French authors to fill the intellectualism quota, as well as some nuggets of dubious political propaganda. The two characters do not connect on any level, other than sex; and one notices. The dialogue is unbearably banal and uninteresting. I am alright with cinema verité, but one has to manage to hold a gay film buff's attention beyond the first 15 minutes. It didn't succeed.

And, There You Are (2010)

funny as hell queer flick about a Southern straight chaser

[9/10 · 29 December 2015]

Perhaps I'm prejudiced, but the Southern accent is like music to my ears; and for that alone this film scores points with me. The Southern-ness is also noticeable in the manner in which the main protagonist bears himself: a middle aged gentleman and antiques business owner who doesn't shy away from gesticulating (queerly) as he talks, and whose glances and eye rolling speak volumes. The main actor sure has great comedic delivery and timing.

It is perhaps that very Southern decorum which makes all the straight fellas stick around with him, after he has lured them into his home, when picking them up, off the roadside, or in bars, with that disarming smile of his (and sometimes the promise of some coins, of course). The actors who play the parts of the straight dudes, are every one last of them pure eye candy - exceptionally well cast for a "gay" flick.

The film is full of chuckle out loud moments, deliciously irreverent - and you can't help but rooting for the obsessive-compulsive straight chaser, despite his deviousness, and having no qualms about man-snatching boyfriends away from their girls.

The film may not have HD widescreen glossiness, but it is top quality in every other aspect.

Winning Dad (2015)

Making Dad Puke!

[5/10 · 27 December 2015]

To impress his boyfriend's father, dwarf sized camp queen, Rusty, must butch it up, on a hiking trip. Rusty goes in the guise of being a potential business partner. Rusty seems to have strayed right out of Le Cage Aux Follies however, so whenever dad turns his back, Rusty minces about like a raving sissy. Father is apparently too thick to spot the tell tale signs (he sure ain't got no gaydar whatsoever).

Rusty is under the impression that mimicking a "straight dude" requires, bellowing loudly and throwing a few expletives in, for good measure. Dad listens and smiles amiably and seems to take a shine to Rusty. But to me, the viewer, it's like nails on chalkboard, a very bad drag king act. Not sure how it's meant to come across, but it's kind of comical though.

As the two men spend more time, Rusty subjects Dad (in law) to a -woe is me, I'm a poor orphan- sob story over camp fire and beers, trying to pull the heartstrings. All the while there are numerous close ups of Rusty's jittery countenance, trying hard to appear as a real Budweiser-swilling-all-American-male, but the inner "gaylord" is obviously raring to leap out.

Meanwhile dad's got some identity issues of his own, as he proclaims all men are "hairy ugly ape things that nobody wants around." Rusty is not best pleased that Dad (in law) is pinning that label on him too (pretty accurate, though, if you ask me), but he lets it slide.

Everything seems to go smoothly, until at some stage Rusty makes a very drastic and extremely embarrassing move. I won't be letting the cat out of the bag, you'll have to see for yourself. It will make watching the film worth your while.

The movie starts off fast paced and comical, and becomes a bit slower and more sentimental and serious later. At times the middle American drudgery is overkill, and I'm gagging for something a bit more queer. But there are enough plot twists to help the story afloat and interesting. There is also beautiful imagery of the great American outdoors to go with it.

Rosie (I) (2013)

gay man returns home for mother and may find love with youngster

[5/10 · 23 December 2015]

The film focuses mainly on the dynamic between an elderly ailing mother and her gay son who returns back home to Switzerland from Germany to take care of her. Love comes a knocking on the door for the male protagonist in the process, but that plot line doesn't get much exposure, which is a shame - because I found those scenes most intriguing of all.

The family drama takes up too much time for my liking; its storyline is drawn out much too extensively. At some stage I was telling myself "get on with it, where has the cute young love / lust interest gone?"

Nevertheless I enjoyed most of the film. The beautiful scenery of rural Switzerland translates very well on camera, and perhaps it is implied to be a purifying influence on the slightly jaded gay protagonist who appears to have been emotionally hardened by Berlin. The Swiss German accent is a joy to listen to as well. There is also a fair amount of humour, mostly played out by the raucous mother, but even her spiel gets a bit wearing in the end.

Available Light (2015)

Experimental Homo-Erotic Vignettes

[8/10 · 23 December 2015]

Todd Verow returns to a similar format as previous movie: The End of Cruising. And again we cross around the various gay capitals of the world, most prominently Berlin and New York. This time various encounters between (mostly homosexual) people looking for lust and love are very much so visually narrated. The stories follow one another in sequence and are only vaguely connected. Sometimes we merely see the characters preparing to meet someone, or returning from a one night stand, all without uttering a single word. In others of its vignettes they speak more, but it is noticeable that there is a lot less dialogue, as this is only of secondary importance. It is all about body language in this film; not only between two or more persons, but also in the way a character emotes his true self on their own, and thereby revealing all the more about themselves to us the viewer.

Chasing Pavement (2015)

portrait of a charmless escort

[6/10 · 20 October 2015]

The protagonist, Elias, defines himself as a "hot twink super bottom porn star." Well, then you better apply a bit more concealer to those those crowfeet, girl. Because if black don't crack, you sure do. He's at least 40, or looks hell old for his age. At some point we see him mince about naked in the bedroom; those ass cheeks sure are saggy for "best paid bottom in porn." Saggy ass hoisted up in fancy underwear doesn't make for firm buttocks, dearie. Elias is an uppity queen who thinks he may be seen as "cultured," if he dispenses a smart sounding reference here and there about classical music or literary authors - so try hard, it has the opposite effect. In one sentence he claims to have a pediatrician mother and lawyer father, and in the next he pronounces "asked" as axed; a bit of a thinly disguised ghetto queen, if you ask me.

He even admits himself that it is all about bravado, not what you really are. He does reveal at some point that he is a trained actor, hereby giving away vital clues to those who are getting to know him, and who may get caught in his web of lies. The awful monotonous way of speaking, and the deadpan delivery of his numerous snide remarks, should be enough of a clue to realize that Elias is a bit of a fraud, and he is a rather loathsome person.

That is what this film is all about. It's about the show that some people put on, and if it is convincing enough for long enough to keep other people interested. Unfortunately it is endemic to the modern day gay scene with its puerile glorification of people "working" in the adult entertainment industry (who hasn't?) and the marketing-like profiling on Grindr. It's bound to result in disillusion when the illusion hits upon reality. This film is a good study of that topic.

G: Lost in Frankfurt (2015)

audio-visual homo-erotic treat

[8/10 · 28 September 2015]

Forget about gay tour guides to the German city of Frankfurt. Simply watch this film and you'll discover all you need to know. A recent newbie to town meets a local dyed-in-the-wool pleasure seeking resident who takes him on a trip of sex, drugs (G) and hedonism. The film doesn't moralize about these activities, but simply demonstrates the good times, and the potential bad consequences, they entail, from which the viewer can draw their own conclusions.

There is not a lot of dialogue, which favours the focus on the body language between the characters. The film is underscored by fantastically suitable electronic music, almost all the way throughout. Sometimes it's like listening to a music album whilst watching a homo- erotic porn movie or a virtual tour guide of the gay environs of Frankfurt.

I like this type of format of film, very much so.

Les yeux jaunes des crocodiles (2014)

duelling sisters in upper crust Paris

[5/10 · 3 May 2015]

Two sisters, one is a grey mouse struggling historian (Julie Depardieu), and the other a glamorous kept wife (Emanuelle Beart). The latter wants to have her shining glory in the Paris socialite circle. She concocts a plan where both can help each other out, to reach their goals.

It is a story in the vein of George Cukor's, Rich and Famous (1981), rivalry between two women, concerning literary talent, marital status, and social status - and the love / hate underlying their close relationship.

That said, it is not on a par with aforementioned movie. This film feels rather stuffy with a very moralistic tone. The good people are very good, the bad people are very bad. And the latter deserve punishment. A bit infantile.

Nevertheless I enjoyed the film, mainly for the wonderful performance of Emanuelle Beart, who knows how to charm and cut at the same time.

Out to Kill (2014)

Surprisingly Enjoyable

[8/10 · 6 April 2015]

What I like about this film:

It has a great cast playing a variety of modern day gay archetypes. It is mainly set in a Florida condominium, so you get lots of swimming pool and beef cakes (a David Hockney ambiance) - some other exterior scenes give off that Palm Beach vibe. At some point a lurid sex party is being thrown. There is witty dialogue that takes the Mickey with hypocritical morals and values within the gay scene - and the Private Investigator piercing right through them. A complete distrust for the police, shared by all the gays involved, is brought to us as a given (it is also the frame of mind you are required to watch this film with, in order to relish its subversive touch). The conclusion of the movie is very satisfying. Visually it's glossy and I noticed that almost all of the camera angles are very craftily chosen.

The actor Scott Sell (with his pearly white teeth) is a rather sexy and brilliant actor whom makes the film even more of a pleasure to watch.