THEGAYUK

Category: Review

  • FILM REVIEW | Blood Brother

    ★★★★★ | Blood Brother

    This is one of those real life stories that you come across now and again that re-affirm your faith in the goodness of (some) human beings. Rocky Braat’s story is especially moving and relates how one very ordinary and regular young American man, who is exceptionally unselfish and wonderfully generous, made a real difference to the lives of many children that society would like to forget.

    Rocky grew up in Pittsburgh with a drug addict mother who had a whole string of abusive boyfriends and as he struggled academically at school they put him in special ed classes. He is however far from stupid and graduated from design college, and got a good job on a magazine. After a while he got the travel bug and quit his job and went off to see the world and ‘find himself’.

    His chosen destination was India, and one day on a whim he went to see an AIDS orphanage in Chennai. He thought that the visit would be tough seeing the kids suffering, and it was indeed and he found himself crying a lot, but he still felt compelled to stay there for one whole month. When he resumed his journey he couldn’t get the kids out of his mind, because despite all their troubles, they found such joy in living, so he immediately turned around and went back.

    He stayed the rest of the summer, and when it was time to go back to the US, he promised the kids he would return in one year, and he did.

    This movie, shot by Steve Hoover, Rocky’s childhood friend tells of the next few years of how this remarkable man with no real qualifications at all, and with no official paid position lives there in the orphanage and became an amateur dentist, teacher, clown, carer, friend and father to all these abandoned children who absolutely adored him. He lives in a rat infested hovel, exists on a daily diet of rice, and has to keep leaving the country because of visa problems.

    It is a highly emotional story (there wasn’t a dry eye in the house even with the cynical Sundance audience I watched it with) as we live through all the many traumas the kids and Rocky endure. Kids get very sick and some die as they can only have access to the very basic of AIDS drugs, and Rocky Anna (as the kids call him) is there every inch of the way. What is so endearing that Rocky, unlike a professional AIDS worker, is never ever detached from any of the happenings and gets totally distraught and frustrated at times and often cries.

    The fact that he is there and chosen to remain with the kids is simply explained as that’s what he wants to do. There are no lofty claims that he is doing God’s calling (or anyone else’s for that matter) or for any religious conviction or any other profound reason. This is where he wants to be, and he certainly is making an enormous difference to all these children’s lives.

    I am totally in awe of the man, and it was interesting too that as Steve Hoover witnessed and filmed Rocky insitu over the years he grew to understand and appreciate why his friend is so committed to the kids and the country itself. However, there is a lighter note to the story too, because just as Rocky ‘finds himself’, he also finds a beautiful Indian bride to marry.

  • THEATRE REVIEW | Last Of The Duty Free

    ★★ | Last Of The Duty Free

    Following on from the popular TV series of the 1980’s, Last Of The Duty Free see’s David and Linda having both pulled the wool over their respective partners eyes and reunite at the hotel in Spain where they began their love affair all those years before. But with Robert and Amy both arriving at the resort, suspicious of their cheating spouses, an interfering newly married couple managing to get the wrong end of the stick with every situation they observe and Carlos the waiter still struggling with his sore feet, the scene is set for more romance, confusion and narrow escapes as David and Linda try to reignite their passions.

    The show reunites three of the four main actors from the original show; Keith Barron, Gwen Taylor and Neil Stacey all revive their TV roles, with Carol Royle joining them as Linda. The cast appeared to have slipped comfortably back into their old roles, with them all giving very natural performances.

    Written by Eric Chappell, who co-wrote the original series, the humour was gentle and subtle, generating chuckles, rather than belly laughs. The comedy was very non offensive, and played on comedy staples such as mistaken identity, near misses, misunderstandings over unrequited desires and battles of both wits and the sexes. In its style, the piece was very traditional and in perfect keeping with the original TV series and in a similar vein to other comedy series written by Chappell, such as Only When I Laugh and Rising Damp. The story was suitably simple and undemanding; allowing the audience to be transported back to their living rooms of the 80’s to watch the TV sitcom unfold live on stage. The play, thankfully, didn’t try to update itself and cram in numerous references to its modern day setting, remaining faithful to its roots, with only the briefest mention of mobile phones.

    The set was static and did have an essence of the purpose built hotel complexes associated with inexpensive package holidays, and the brief interludes of Spanish guitar music generated a holiday feel. Both the direction and the lighting were functional and the sound clear and audible.

    The Last of the Duty Free is curious a show. Whether you enjoy this play will depend largely on whether you enjoyed the original TV series and the classic sitcoms of the 1980’s. The play is unlikely to win over many new fans, and you do have to wonder why the show is revived 28 years after it ended its highly successful TV run. The play may be described as dated by some in terms of both its setting or writing, but equally, could be described as nostalgic by others, harking back to a style of inoffensive comedy and a more established style of conventional comedy writing.

    Last of the Duty Free is currently playing at the Sheffield Lyceum until Saturday 21st June 2014 before rounding off its national tour.

  • FILM REVIEW | Advanced Style

    ★★★★★ | Advanced Style

    Five years ago Ari Seth Cohen took to the streets of Manhattan armed with his camera looking for old ladies. Not just any elderly dears but photographing fashionable women in their ’70s, ’80s and beyond having being inspired by his own grandmother who made him appreciate senior style icons who life live to the fullest.

    His blog which became de-rigour reading for myself and many of my friends developed into a book and is now a delightful documentary. A project that started out with Cohen being inspired by this tight band of eccentric women with a zest for living and a passion for their fashion has almost turned full circle as they are now enjoying the fame and celebrity that his attention has brought them from a curious world.

    The ladies’ stories are inspirational and a sheer joy to listen too, and the highly individual and colourful personal styles their adopt in their traffic-stopping outfits are just part of their well-conceived mantras of living every moment of the lives to the hilt, especially as they recognise that they are now in their twilight years. Tiny red-headed 92-year-old artist Illona Royce Smithkin with the biggest eyelashes I have ever seen sums it up aptly when she say that she no longer buys green bananas as she simply cannot afford to wait for them to ripen.

    Each of the group has a swathe of stories to tell and none with more than a hint of regret of lives well led (‘I wish I had children’ says one coyly, but adds quickly that ‘taking care of all her handmade clothes is much more hard work than playing house.’ There’s 81-year-old Jacquie ‘Tajah’ Murdock who was one of the original ‘Apollo Girls’ in Harlem and during the course of the film, is chosen by Steven Meisel no less to be the new face of his campaign for Lanvin. And Lynn Dell Cohen, also in her 80s, who has run a Vintage Frock Store Off Broadway for 40 years and still politely hectors each of the customers to find their own style.

    It’s refreshing and a real treat not simply because these elderly women look so ravishing but because they dare to be different and are such a delightful anti-dote to mainstream UK who slavishly try to keep up with ever-evolving fashion trends that few can afford and most look hideous in. But they are also up there on a pedestal as wrinkled and challenged as they are (‘at my age for everything in my body that I have two off, one hurts like hell’) simply refusing to either act the way society expects them too, or just die quietly in the corner. In fact one of their number, Zelda Kaplan a mere 95-year-old had a heart attack whilst she is the front row of a fashion show. Zelda must be so happy in heaven now.

    Style, as these elderly icons will show you, is much more than just about fashion. It’s an innate quality that not just enriches your own life, but also those of the people that are part of yours too. And each of these irrepressible ladies reminds us yet once again that life is not a dress rehearsal.

    Unmissable.

  • THEATRE REVIEW | Rock The Ballet, Peacock Theatre, London

    The Bad Boys of Dance’s new show “Rock the Ballet” bills itself as “a high-octane intersection of classical and contemporary set to a soundtrack of popular music”, so you wouldn’t be expecting much poetry or lyricism, and you’d be right. These dancers twist and turn and gyrate in a display of virtuososity, which is both breath-taking and exhausting to watch.

    That said, it got off to a rather slow start. The first act, labelled Beautiful Day, with the boys in casual jeans and polo shirts, tried, somewhat unsuccessfully, to meld a boy meets girl, falls in love with girl, falls out and falls back in again storyline to a pop soundtrack of U2, Coldplay and Donny Hathaway.

    Choreographed by Adrienne Cantera, who also brilliantly danced the central female role, this first act didn’t really coalesce until the final U2 “Beautiful Day”, when finally Cantera and all the boys came together in a dazzling whirl of energy. It was here too that the choreography most matched the music it was set to. Till then there had been bursts of invention, punctuated by too many moments of what I can only describe as mark till ready filling in. I also rather unkindly w ondered if we got a bit too much of Canterra, superb though she is. After all it was the guys we had come to see, and this first act harked back to old fashioned glorification of the prima ballerina. Apart from a few thrilling sequences from James Boyd, the boys took something of a back seat.

    All this was put to rights in the second act, when all the boys were at last given their chance to shine, and there was no doubting it was the boys the audience had come to see. It opened with a darkly atmospheric rendering of Brotzjor’s “Olafur Ornald”, and I had rather hoped that this more lyrical opening was an indication of how things were to go. However it wasn’t long before we were back to the energetic, pumping pop of the first act, only this time it was sexier, the boys in tight black pants and white vests. In particular, Blake Zelesnikar, who had caught my eye in the first half, was finally given his moment, first in a sexy duet with Canterra and then on his own. Judging from the audience reception, and the screams of delight from some of the girls (and no doubt some of the boys), I wasn’t the only one to notice him. This boy has sexual charisma in spades. James Boyd too got some amazing solo work in this half, and was the first one to show off his rippling torso. When all the guys finally got their shirts off and danced topless, there was no doubting that this is what the audience had come to see. It was also at this point my critical faculties deserted me. So who cares if it’s not exactly artistic? When Zelesnikar is flexing his muscular torso, nothing else seems to matter. Putting their jackets back on, they came out for an encore of (fittingly) “Sexy and I know it”, one by one stripping off their jackets again and flirting with the audience. By this time everyone was screaming for more, and I couldn’t really blame them.

    It’s not a show that’s likely to appeal to dance purists, and in all honesty it’s a bit safe, especially when you consider what Michael Clark was doing to pop music twenty odd years ago. But if you want to see some sexy boys, strutting their stuff and showing off their virtuosity (and let’s face it, who doesn’t?) then this is the show for you.

    Rock the Ballet runs until June 28th at the Peacock Theatre.

    3 stars for the show (that’s the critic in me)
    5 stars for Zelesnikar (OK, so I can be shallow.)

  • FILM REVIEW | Getting Go, The Go Doc Project

    ★★★★★ | Getting Go, The Go Doc Project

    For three weeks in the summer of 2012 filmmakers Cory James Krueckeberg and Tom Gustafson (the producer/director behind the cute ‘MARIACHI GRINGO’ and the gay cult film ‘WERE THE WORLD MINE’) followed two guys all over New York with a camera and a script and nothing else.

    Tanner, a slightly nerdy recent College Grad had devised a plan to shoot a documentary about the NYC nightlife scene in order to meet a really hot go-go guy that he has cyber-obsessed with. And this is the film about their film.

    They followed the couple filming each other all over the city in cafes and bars, rooftops, dance clubs, their own living rooms and bathrooms and eventually into their bedrooms too. As the story developed and the relationship between ‘Go’ and ‘Doc’ evolved in front of us, there is a very definite, and somewhat unexpected, shift in the power axis between the two men.

    This really is guerrilla filmmaking at its best. No crew, a kickstarter budget of $10K, one actor and one real life go-go boy in an innovative hybrid of documentary, narrative and art film that is such a delight. Following hot on the heels of movies such as ‘WEEKEND’ ‘KEEP THE LIGHTS ON’ and ‘HORS LES MURS’ this wee drama is part of a very welcome new movement of edgy queer cinema.

    By no means perfect (like the editing!) but it has many things to really love… such as a rather brilliant soundtrack of new music from gay musicians… not to forget the acting of these two young leads who are not exactly tough on the eye to watch even with their clothes on. It also packs an energy and excitement that is quite infectious.

    The future of gay cinema looks very promising indeed when new work like this is being made… and finding the audience it deserves.

  • FILM REVIEW | Grace Of Monaco

    This story of the beautiful Oscar Winning movie star who swapped being Hollywood royalty for her own real life Prince Charming who swept her off her feet, starts almost at the beginning. It’s the final day on the Set of ‘High Society’ the last movie that Grace Kelly will ever make, and the very next day she and her entire family set sail across the ocean. There she will have the fairytale wedding that every little girl dreams about after which she will naturally live happily ever after.

    We then fast forward a few years and the new Princess’s two children are already school age but the magic of living in her own palace is wearing thin, especially as she rarely sees the Prince who is always so busy with affairs of state. She is tempted then when the director Alfred Hitchcock turns up one day clutching a new script of his next movie with a role of a lifetime for her and a paycheck of $1 million.

    However the offer has come at a most inappropriate time as the Monaco Treasury is broke and the country is in the middle of a big row with France. It is essentially about money, but in reality it is also more about which leader can shout loudest: De Gaulle or Rainier. The spat is littered with threats and scaremongering and as it escalates the two neighbors edge closer to the real possibility of war.

    The French media, fed by their Government, are stressing that Grace is the real problem for both Rainier and Monaco which causes more friction between the Prince and his Princess. Listening to the wise old priest that she runs to every time she is upset (she’s there quite a lot…) and taking his advice, Grace launches an all-out charm offensive to not only turn herself into the most perfect Consort the Principality has ever seen, but also to turn the tide of media coverage to her favor.

    Her idea of stopping the impending hostilities is to throw a Grand Ball and invite tout society and world leaders, including De Gaulle, to attend. Naturally they all show up and the Princess all glowing in her white ballgown, and bedecked with the crown jewels, addresses the guests with a simpering speech about how love conquers all. There is naturally not a dry eye in the house during the standing ovation. Amongst the crowd is Robert McNamara the US Secretary of Defense who turns to the President of France and literally says ‘Well, you won’t be dropping any bombs on Grace now will you Charlie?’

    De Gaulle is speechless, as we are too, although having sat through almost 90 minutes of this drama that is funny in all the wrong places, we are now quite used to howlers like this. Despite an ‘A’ list cast led by Nicole Kidman playing Grace who is playing Nicole Kidman, and being directed by the respected award-winning Olivier Dahan, this is one of the worst biopics I have sat through in ages. How Miss Kidman kept a straight face saying lines like ‘Colonialism is SO last century’ I will never know. Or hearing Frank Langella as the Priest churn out ‘You have come to Monaco to play the greatest role of your career.’

    And Rainier (played by Tim Roth) didn’t look that amused when his wife trying to cheer him up when she blurted out ‘who wants this old throne anyway?’ Well evidently he and the Grimaldi family who had been hanging on to it for centuries. If only they had turned up the heart-tugging overly-dramatic soundtrack just a tad more, they could simply have drowned all of this out.

    Billed as a fictional account of real events, the movie strived so hard to be light and frothy that even in the deeper moments an immaculately coiffured Grace still radiates like she didn’t have a skin care in the world. Pretty to look at, this travelogue for the Monaco Tourist Board however was very careful not to include many of the poor people that Grace kept pleading she cared so much for.

    There were some odd casting decisions too with Parker Posey really misplaced as an officious straight-laced Aide, and an unrecognizable Robert Lindsay who seemed so uncomfortable trying to play the arrogant shipping magnate Onassis. Sir Derek Jacobi couldn’t have been more outrageous as the Chief of Protocol, and he made me think if only the whole movie had been as odd as he, it could well have turned into a fun piece of camp.

    The present Grimaldi family have objected to this movie in very strong language ostensibly because they vehemently hate the way that they have been portrayed, but probably also because they loathe bad Lifetime TV biopics too. Harvey Weinstein the American distributor has disowned the movie too now that it hasn’t a chance in hell of getting a single one of those Oscars he loves to collect. If he does relent and actually releases the movie in the US, he’ll be lucky to get his costs back.

    The last word goes to Peter Bradshaw, Film Critic of the UK’s The Guardian Newspaper who wrote that a new level of mediocrity in biopics had been established with the recent appalling ‘Diana’ about the Princess of Wales. Now there is a new critique term he has coined which is ‘it’s worse than Diana’ and Grace is the first one to achieve that and set the bar for mediocrity even lower.

  • THEATRE REVIEW | The Roof

    ★★★ | The Roof

    A door opens and an immaculate figure steps out onto a roof. Knives are sharpened and the game begins. Set within the suspended reality of a brutal and unforgiving game, this mix of intimate three-dimensional sound and free running aims to transport the audience into the body of a reluctant hero, desperate to stay alive.

    Following Electric Hotel and Motor Show, The Roof is Requardt and Rosenberg’s third production and takes place in a purpose-built arena designed by Jon Bausor, set designer for the London 2012 Paralympic Opening Ceremony.

    The Roof is a blend of dance, free-running inspired moves and surreal fragments of disconnected stories. Staged in a car park at the back of The National Theatre, the set is a multi-level 360-degree panoramic creation. A figure emerges and begins trying to complete levels on a game, aiming to rescue a D.J. trapped in a small box representing her brashly decorated bedroom. The game is one that the audience, standing watching, are immersed in via headphones and witty sound design. The opening moment where a heavy breathing figure appears to run across the gravel, approach you from the back and whisper into your ear was inspired and left the audience all looking round in alarm.

    It all sounded really exciting. The rain held off, the audience stood poised for a unique and immersive experience but sadly, the show failed to deliver. The free-running element felt tired and relentless and lacked thrill. I’ve definitely seen better examples of free running. The narrative felt slightly contrived and weak with a script that didn’t always work and the dance moves, although imaginative, failed to glue the piece together. The costumes were inventive and wouldn’t have looked out of place on a t-shirt designed by a hipster from Hackney (women in 70s suits with rabbit faces with no eyes, surreal drum majorettes and people with triangular heads).

    I liked elements of the show (mainly the really clever and immersive sound design and the occasional glimpses of humour) but on the whole the show left me a bit cold, in spite of it being a warm night. Looking round at the rest of the audience and a lot of slightly bored expressions, I could see I wasn’t alone in this.

    The Roof runs until 28th of June 2014

    Buy tickets here: www.liftfestival.com

  • THEATRE REVIEW | The Buddy Holly Story – Sheffield Lyceum and National Tour

    ★★★★ | The Buddy Holly Story – Sheffield Lyceum and National Tour

    In this rock ‘n’ roll spectacular, the greatest hits of Holly’s all to short career are featured, including Rave On, Peggy Sue, Heartbeat, Every day, Raining in My Heart and True Love Ways and it was wholly refreshing to see a show based on the songs of one artist which wasn’t just a run of the mill jukebox musical, as the songs actually formed part of the story as opposed to just being shoehorned into a flimsy narrative. Pleasingly, the show focussed generally on the more upbeat numbers, as opposed to the slower ballads, which gave the show a real energy.

    The actors and musicians were wholly impressive, with a relatively small cast filling out a number of roles. Their musical ability was second to none, with many of the performers playing a number of musical instruments and undertaking absolutely cracking renditions of the classic songs, all played live on stage. Glen Joseph, in the title role, really came to life in the musical numbers, especially in the latter half of the second act, when his confidence and talent shone through. Lydia Fraser sang spectacularly, and Will Pearce impressed as Ritchie Valens with his performance of La Bamba

    In terms of its presentation, the show is very basic, with a largely static set and a lack of spectacular song and dance numbers. But the show is not so much about the visuals, but all about the music, and the onstage cast simply couldn’t be faulted in terms of their musical prowess. The first half of each act was narrative driven; and the latter half was more focussed on the musical performances. With the musical numbers performed either as scenes in the recording studio or as concert performances, the songs flowed naturally through the story and still sounded absolutely superb, despite them being written nearly 60 years ago. Those who are not so familiar with Holly’s music will be surprised at the number of songs they will recognise.

    The show could have done with a slightly more dynamic set and staging, and the volume of the music far outweighed the vocals during some of the numbers, but those quibbles aside, the show was tremendously entertaining and infectious with the temptation to tap your feet and sing along proving absolutely impossible to resist. The whole theatre was up on their feet during the closing scenes and encore; and the standing ovation that the cast received was well deserved.

    As a rock ‘n’ roll musical, Buddy is hard to beat.

    Buddy – The Buddy Holly Story is currently playing at the Sheffield Lyceum until the 14th June (http://www.sheffieldtheatres.co.uk/event/buddy-14/ ) before continuing on its national tour (http://www.buddythemusical.com/ )

  • THEATRE REVIEW | Sex With Animals

    ★★★★★ |Sex With Animals

    ‘Sex with Animals’ is a must see for those who like one-man shows, information about animal mating habits or just want a fun filled hour. Ryan Good will keep you spellbound and leave you wanting more.

    I don’t often recommend theatre productions because watching performers is very personal and what I like may not be what you would. But Ryan Good’s ‘Sex with Animals’ is a powerful, educating and entertaining hour-long, one lion (man) show.

    Go see it. Ryan holds the audience with humour and personal insights. He has cleverly put animal sex (including humans) under the microscope. Intertwined is the story of his love life which is different to the norm but the way he explains it makes it intriguing not embarrassing.

    This is an intimate theatre but at no point did Ryan make us feel uncomfortable. In fact he got one member of the audience (I’m not saying who) to admit he had tried sucking his own penis. Well, ignoring my women readers, who hasn’t?

    Ryan’s hilarious examination of the sexual habits of the animal kingdom encourages the audience to the think about their sexual habits. At the same time he gave us a snap shot of potential different techniques.

    We got to hear of females who lick their partner’s penis whilst they are copulating (obviously not humans) and penguins who do what some religious fundamentalists think we shouldn’t do.

    Go see him tonight. If it’s midweek you’ll have time to watch his production, grab a fish and chip supper in a trendy Highbury and Islington restaurant and still be home by 10pm. If it’s the weekend you’ll feel energised to try out your chat-up lines at whatever pub or club you end up in.

    It’s just a pity about the name which I feel may put some people off. The production has nothing to do with bestiality despite what the title suggests.

    Ryan may have thought that courting controversy would help him with publicity but I feel it puts potential audiences off googling to find out what others thought of the production. Something like ‘Animal Sex’ would have served him better.
    ‘Sex with Animals’ is at the ‘Hope Theatre’, 207 Upper Street, Islington, N1 1R1 until the 21 June, starting at 7.30pm. Well worth the £10 price. For booking visit www.thehopetheatre.com

  • THEATRE REVIEW | A Simple Space, Udderbelly: London

    How long can you hold your breath for? How many back flips can you do in one go? Can you stand on your head…or even somebody else’s?

    In the London premiere of the show that has captivated sell-out festival audiences around the world, seven young acrobats compete for your laughter, gasps and applause with non-stop, mind-boggling feats of breath-taking acrobatics. Spend a riveting hour with one of Australia’s hottest young circus ensembles, Gravity & Other Myths, as they push themselves to their physical limits and beyond in a captivating show of physicality, skill and daring.

    I have to confess that I can barely stand up without falling over so these young (and rather lithe and good looking) Australian acrobats were always going to impress me. The show is a stripped back, pure acrobatics show that manages to captivate and entertain with aplomb for an exhilarating hour. The show ranges from human pyramids, death defying aerial manoeuvres and feats of strength through to tongue in cheek comedy, absurdity and joyful physicality. Part circus, part gymnastics and part contemporary dance, this show had the audience on its’ feet with a loud and boisterous standing ovation at the end of the show.

    Did I mention the men too? It’s worth the price of the ticket alone just to see them. They’re muscular lithe and not afraid to take off their tops (and at one point trousers too).

    The show runs at the Udderbelly on the South Bank until the 6th of July.

    Buy tickets here: https://www.underbelly.co.uk/node/5325256

  • FILM REVIEW | Truth

    ★★★ | Truth

    When middle-aged Jeremy turns up at the coffee shop for a first date with Caleb a young barista he met online he thinks he has hit the jackpot. The boy is a hottie and a total charmer too, and before you can say ‘I’ll have a latte’ the two men are sitting on the couch holding hands and gazing into each other’s eyes. Back home in Caleb’s rather large house, the sex is hot (it’s sensuous rather than explicit) and a good time is had by all.

    Caleb wakes up alone next morning with no sign of his new silver fox lover who has left without even a phone number and who remains incommunicado until he shows up unannounced at the coffee shop three days later. His explanation for his absence is feeble but Caleb thinks ‘this’ could be the real thing so he just accepts Jeremy’s lame excuse. They have some great make-up sex and declare their undying love to each other and are prepared to live happily ever after. But it’s what they don’t tell each other over the next few months that is going to shape their futures and not in a way that either had hoped and wanted.

    Pill popping Caleb suffers from a borderline personality disorder and has not disclosed that the mother he claimed had died is a psychotic alcoholic, who had abused him, is now in an institution. When Jeremy hearing part of the story thinks he is helping by locating the mother, Caleb, and the plot, start to fall apart.

    Jeremy it turns out has also his own big secret and when Caleb uncovers this nine months into their relationship he loses it completely. This overwrought melodrama suddenly changes tack and turns into a psychological thriller as Caleb holds the older man captive until he learns the whole truth.

    Caleb is played by Sean Paul Lockhart, who in a previous life was Brent Corrigan a porn actor/star. To give him full credit Lockhart gives his all, clothed and often naked -and shows that he put in a very credible performance even given some of the howlers that pepper this whole script.

    Written and directed by Rob Moretti (Crutch) who also cast himself to play the part of Jeremy which was probably not the best decision. Moretti is a competent actor but had he kept behind the camera he may have noticed that there were too many histrionics (don’t get me started on the foul-mouthed speeches of Caleb’s over-the-top mother…). And including such a loud dramatic soundtrack will (sadly) not drown out some of the wince making script.

    There’s a message in here somewhere about child abuse and how it can create monsters about the victims too, but the oddest thing about a movie with a title like this, is none of it seemed remotely truthful at all.

    If you are a fan of Brent Corrigan than you will like seeing him all grown up and showing so successfully that he has a life beyond porn. His wardrobe/costume provider quite rightly gets its own mention in the Credits: it’s Andrew Christian.