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Reviews
D'Agostino (2012)
Exceptional quality for a "gay interest" movie.
The "gay interest" movie genre basically falls into two sub- categories.
On the one hand, there are movies which altogether lack any pretence of artistic merit: they are badly acted, badly staged, badly costumed, and badly filmed, with a screen-play completely devoid of any literary quality. Their only redeeming feature is that they usually have a cast of hot young men, who show plenty of flesh.
On the other hand, there are the "art house" gay movies, which absolutely reek of production values. These tend either to be cast with older, fatter, and/or uglier actors; or, if a pretty boy finds his way on to the set, he resolutely keeps his pants on.
D'Agostino is a rare exception to this dichotomy. The two stars – Michael Gordon Andricopoulos (aka Michael Angels) and Keith Roenke – are both exceptionally handsome: indeed, more handsome, in my humble opinion, than the smooth-skinned and pumped twinkie-boys who populate most of the gay soft-core porn movies.
And there is no shortage of flesh on show. Andricopoulos/Angels is naked in virtually every scene in which he appears. Whilst Roenke keeps his clothes on for much of the film, he obviously has no inhibitions about shedding them when the script calls for him to do so. There is only limited overt sexual interaction between these stars, but the entire plot throbs with implicit homoeroticism.
The acting, costuming, sets and cinematography are all first-rate. But what is most surprising is that this movie has a plot which is as competently crafted as it is intriguing. It is one of the few "gay interest" movies which I would bother with just for the story. Perhaps the plot-line is not entirely original, as it could be described as a gay version of the ancient story of Pygmalion and Galatea, from Ovid's narrative poem Metamorphoses, in which a sculptor falls in love with a statue which he has carved. But even that derivative theme is handled with startling originality.
Allan Dawson (Keith Roenke) is a city-based business executive, in a loveless de facto relationship with an older woman. He has recently inherited his grandmother's estate on the Greek island of Santorini, and takes the opportunity to abandon both his professional and his domestic complications by relocating to this island paradise.
Meanwhile, D'Agostino (Andricopoulos/Angels) was washed up on the shore of Santorini and taken refuge in Dawson's recently-acquired property. D'Agostino, it emerges, is the result of a cloning experiment, commissioned by men of wealth solely for the purpose of harvesting organs for transplantation. Lost overboard in a maritime accident en route from Europe to the United States, he has been left for dead.
When Dawson first discovers D'Agostino, he is apparently bereft of human qualities. Locked in a cupboard and covered in his own excrement, D'Agostino walks on all fours like a dog, and seems incapable of rational thought or intelligent communication. But the relationship between Dawson and D'Agostino gradually mutates, from that of master and hound (or master and slave), to one of mutual support and affection. I will not spoil the final twist, but it is quite unexpected.
Movies this good do not come along very often. It should be savoured.
666: Kreepy Kerry (2014)
gay softcore porn
I have to confess that I have not expended a great deal of time or effort in attempting to come to terms with the intricacies and subtleties of this movie's deftly nuanced plot. But, so far as I can gather, this is the essence of it.
Kerry (Conner Sorensen) has recently joined Bradbury Academy, an educational institution based in very up-market residential premises and populated by exceptionally handsome young men. But, with the exception of George (Chase Clarke) - who seems to have the hots for young Kerry - the other male residents (Whitman, played by Torran Kitts; Richard, played by Justin Michael Johnson; Chuck, played by Kyle Dondlinger; and Ted, played by Kirk Krause) make it their business to pick on Kerry and bully him, at least when they are not working out or taking very prolonged showers.
Little do they know that Kerry is possessed of supernatural powers, which he employs to exact retribution. Basically, he has the ability to give another person a telepathic orgasm, merely by thinking about him (or her) while he masturbates. So Kerry slowly works his way through all the other members of the household, causing them to blow their loads one by one. Whether or not this makes them think twice about bullying Kerry again is an issue which the movie does not explore in any depth.
What it requires, however, is for Conner Sorensen to spend a large portion of the film on his bed, in "tighty whities", assiduously playing with himself. It also requires the other members of the cast to experience orgasms when they least expect it, but generally when they are already in a state of partial or total undress.
Only a cynic would suggest that this sophisticated story-line exists simply as a pretext for getting six hot male actors to disport themselves in front of the camera while semi-naked and writhing in orgasmic ecstasy. But if anyone can come up with a more plausible explanation, I should be interested to hear it.