Breakfast with Scot (2007)

Eric McNally (Thomas Cavanagh) is a gay retired hockey player turned TV sportscaster who lives with his partner Sam (Ben Shenkman), a sports lawyer. When Sam unexpectedly becomes the temporary legal guardian of his brother's stepson Scot (Noah Bernett), an 11-year-old orphan whose mother died of a drug overdose, their lives are turned upside down. The mother was the common-law wife of Sam’s brother Billy (Colin Cunningham), who left for Brazil promising to return and leaving the boy in the custody of child services. Scot is an effeminate sissy who loves boas, beads and Broadway musicals. The presence in Eric's home of an auburn-haired girlie-boy with a flouncing gait threatens his masculine self-image, not to mention his reputation as a macho sports hero. What makes Eric’s situation confusing is that his colleagues in broadcasting all know he is gay. Eric even admits that during his years as a professional player he was nicknamed Erica.

Sam believes Scot’s fondness for dressing up in his mother’s clothes and jewels and donning make-up is an unconscious expression of his grief and loneliness, a way of staying by her side. The impulsive kiss that Eric plants on Sam’s lips at a party late in the movie comes across more as an expression of horror than as a sign of his liberation from homophobia. He doesn’t begin to bond with Scot until he discovers that the boy can skate. At last he can both play surrogate father and demonstrate traditional manhood by channeling the boy’s twirling and dipping figure-skating talent toward hockey. Eric's unwillingness to become a parent eventually fades as Scot teaches Eric about accepting and loving your true self.

"Breakfast with Scot" is derived from the 2001 novel by Michael Downing, and viewers who have read the book are quite disappointed with this film. In the book the couple are a chiropractor and an editor at an Italian art magazine in Cambridge, Mass. The movie changes their occupations and moves the story to Toronto, Canada. It's a comedy with a message, quite well done in all departments. Damian Rogers wrote it's "a good-natured film about tolerance, acceptance and just being yourself." Robert Carli composed the original music, and Sean Reycraft wrote the screenplay based on Michael Downing's novel. Laurie Lynd directed.

KM.0 (2000)

The title refers to Madrid's central square, from which all distances within Spain are measured. Zero may also describe the state of the lives and stories of the 14 lonely strangers whose lives intersect and collide at this popular meeting point on a sweltering August afternoon. Chaos ensues when four pairs of strangers each make plans to meet. Mistaken identities and second chances are among the results of this comedy of errors featuring horny gay university student Máximo (Armando del Río), an internet-love seeking flamenco dancer (Victor Ullate Jr.), macho lovelorn gigolo Miguel (Jesús Cabrero), an actress, and a businessman starved for new sexual experiences. A young film director (Carlos Fuentes) arrives in town to meet his sister's friend, hooker Tatiana (Elisa Matilla) waits for her next trick, a woman married to a workaholic husband hires a male escort, a young woman whose fiancé is a morose waiter at a Km.0 bar and her younger sister appear, and then there's the male escort's roommate Benjamín (Miguel García). Multiple cases of mistaken identity lead almost everyone to the wrong pairing, and ultimately all 14 strangers become involved in this tangle of love and lust.

Several locals become drawn into the mix as well, including a local bartender (Alberto San Juan) who dreams of owning his own business, the bartender's shallow, robbery-prone fiancée Amor (Silke Klein) and her younger sister, a police officer (Roberto Álamo) with impulse control issues, and a mysterious stranger who seems rather bemused by the whole scenario. Sexuality is celebrated in all forms, including physical relations between older women and younger men, friendly intimacy and flirting between straight men and gay men, and the goal of helping a prostitute to earn what she's worth, rather than rescuing her from the profession. At first glance, all the connections may seem a little confusing, but the pacing is steady and the characters larger than life, so you never have that much trouble following all the diverse episodes. There are also various subplots that effectively bounce off each intersection of the characters.

The plot is contrived, the coincidences abound, but the characters find unexpected love and rejoice in the rain. It's a sweet film, fun and sexy without becoming overly graphic, politically incorrect, a romantic drama where the topic of sex pops up constantly, with very unexpected twists and turns that are woven into the plot. "KM.0" is a fast-paced, creative and warmly captivating farce the shows that serendipity, providence, and life's choices and coincidences can sneak up on us when we least expect it. The characters are genuine and likable, and the direction and cinematography are very good. It has a refreshingly earnest sexual frankness, which is both hip and cute at the same time. Joan Bibiloni composed the music, and both Yolanda García Serrano and Juan Luis Iborra wrote the screenplay and directed. In Spanish with English subtitles.

The Boondock Saints (1999)

The film opens with mass in a Boston Catholic church. Twin brothers Conner MacManus (Sean Patrick Flanery) and Murphy MacManus (Norman Reedus) pray while a sermon is read. As the priest begins his homily, the brothers approach the altar. They depart as the priest reminds the congregation that they should fear not just evil but also the "indifference of good men". The brothers conclude that the priest finally understands, with Conner saying, "I do believe the Monsignor's finally got the point." Murphy replies, "Aye".

Conner and Murphy work at a local meatpacking plant. While celebrating St. Patrick's Day in a neighborhood bar, three Russian "soldiers", led by Ivan Checkov (Scott Griffith), enter and order everyone to leave. In the ensuing bar brawl, Conner, Murphy, and the patrons humiliate the mobsters, who the next day ambush the brothers in their home. Murphy is dragged into a nearby alley to be executed, but Conner escapes to the roof and drops down with a toilet off the roof and onto the mobsters, killing them and rescuing Murphy.

The Russian mob's involvement summons flamboyantly gay FBI agent Paul Smecker (Willem Dafoe) to the murder case, and he surmises that the mobsters' death was not a professional hit but self-defense. As the police begin a manhunt for the killers, Conner and Murphy arrive at the police station to clear their names. During the initial interrogation, the brothers impress Smecker with their multilingualism (including Gaelic, Russian, French, Spanish, Italian, and German) while explaining the bar fight and subsequent self-defense the next morning. Smecker believes their story and allows them to stay overnight in a holding cell to evade the press. That night, Conner and Murphy receive a vision from God telling them to destroy all that is evil so that which is good may flourish.

The brothers resolve to rid Boston of "evil men" with the help of their friend and former mob package boy David "The Funnyman" Della Rocco (David Della Rocco). The brothers trade in the weapons and valuables stolen from the mobsters' bodies for their own, and use Conner's knowledge of Russian to locate a meeting between Russian syndicate bosses at a local hotel. Crashing into the room through an overhead air duct, the brothers draw their guns and fire, killing the 8 underbosses. Forcing the leader, Yuri "Fat Man" Petrova (Victor Pedtrchenko), who was the brothers' main target, to his knees, the brothers recite a short prayer.

Then they execute him, placing pennies over his eye sockets, in which both of his eyes were shot out. While the brothers are preparing to leave the hotel, they are surprised to find Rocco dressed as a bellboy knocking at the door with a tray of food. They pull him into the room, concealing their identity with masks, and threaten to execute him. Rocco, who is begging for mercy, says he was sent as backup by Italian mob boss Papa Joe Yakavetta (Carlo Rota). Eventually they reveal their identity to Rocco, who becomes appalled at seeing the dead Russian bodies in the room. Once again, Agent Smecker is brought to the front of the murder case. Smecker's theory is that the executions were the result of the feud between the Russian and Italian mobs.

The next day, the brothers try to convince Rocco that he was sold out by Papa Joe, because he was sent to the hotel with a six-shooter despite the fact there were 9 mobsters in the hotel room. Rocco soon realizes this after killing two of Yakavetta's men at a deli later on, who hint to Rocco that he really was sold out. In retaliation, Rocco and the brothers hunt down and kill Vincenzo Lipazzi (Ron Jeremy), underboss of the Yakavetta crime family at a local strip club. Also killed at the Strip Club are two street criminals with no connection to organized crime (thus disproving Smecker's mob war theory). The three vigilantes proceed on a series of increasingly violent missions, cleansing the city of criminals and others who have eluded justice. Papa Joe, believing that the mob killings are an act of revenge from Rocco, contracts the infamous contract killer Il Duce (Billy Connolly), to deal with the package boy.

As Smecker and his team investigate the scene of the killing of Lipazzi, Smecker is informed of the shooting that took place earlier in the day at the deli. However he is unable to connect this incident to the one at the strip club because at first one of Smecker's men said the shootings were not related, but Smecker realizes that different weapons were used at the deli. Rocco used a six-shooter at the deli, while he and the brothers later on used silenced pistols at the strip club. Smecker reveals that the shootings were related due to the fact that there were no witnesses at either scene, though at the strip club there was a stripper who went unconscious before Lipazzi was murdered. Angering Smecker, he leaves the deli and he warns that there will soon be related shootings carried out by the three vigilantes.

Rocco insist that he and the brothers murder a hitman that Rocco had briefly worked with. According to Rocco, the man was responsible for murdering an entire family and had burned their remains in a dumpster. They head to the hitman's house and murder all of his men. After a hand-to-hand fight, Rocco beats the hitman to death with a cue ball. As they leave the hitman's house through the front door, the trio is ambushed by Il Duce, and in a shootout the trio chase Il Duce away. Rocco's finger is shot off and each of the brothers receive serious gunshot wounds which they cauterize with a hot iron. Hours later at the crime scene, Smecker discovers the finger and takes it to conduct his own investigation. Discovering that it belongs to Rocco, whom he previously met, Smecker begins to unravel the mystery surrounding the various murders.

His sympathy for the brothers conflicting with his professional desire to bring them to justice, Smecker, who is homosexual, goes to a gay bar, gets drunk, and seeks advice from a nearby Catholic church. Bemoaning the futility of the courts that fail to punish evil men and his uncertainty with the MacManus brothers' actions in a confessional, Smecker is oblivious to the fact that Rocco, who has tracked Smecker to the church, is forcefully directing the priest's responses to preserve the Boondock Saints' identities. Conner sees Rocco follow the priest into the confessional and, disgusted with the blasphemy, pulls Rocco's head through the other confessional at gun point. In whispered tones, Rocco tries to explain to Conner the circumstance while still holding his gun to the priest's head. Smecker is advised, reluctantly by the priest, that the Saints are acting as messengers from God and that "the laws of God are greater than the laws of man." Inspired by the advice, Smecker decides to help the brothers.

Then the brothers contact Smecker on the phone and inform him that they, along with Rocco, would finish off Papa Joe Yakavetta that night. Things at first go to plan that night as the brothers and Rocco infiltrate the Yakavetta headquarters to finish off the family, but are captured by Papa Joe and his henchmen who recently arrived to protect Papa Joe. When Papa Joe comes down to the basement, Rocco curses him. Papa Joe decides to execute Rocco to intimidate the brothers, who free themselves and tend to Rocco while Smecker, disguised as a female prostitute, distracts the other mobsters. Smecker kills the remaining mobsters only to be knocked unconscious by Il Duce who mistakes Smecker for a woman. As the brothers say their family prayer over Rocco, Il Duce arrives and sneaks up behind them.

As he hears them recite the family prayer and sees that the man he was hired to kill (Rocco) is dead, he lowers his weapons and joins them. It becomes apparent that Il Duce is their long-lost father, as the brothers had previously refused to teach Rocco the prayer because it is only passed down in their family. He then joins them in their mission to rid the city of evildoers.

Three months later Papa Joe is sent to trial, and though there seems to be enough evidence to convict him, the reporters on scene anticipate his acquittal due to his charisma. The trial is forcibly interrupted when the two brothers and Il Duce, aided by Smecker and several police officers, infiltrate and lock down the courtroom. The three then publicly declare their mission to destroy evil and recite their prayer one last time, killing Papa Joe with several bullets. The media dubs the three "Saints", and the movie ends with various "man-on-the-street" interviews in which various Boston citizens reflect on the question "Are the Saints ultimately good or evil?"

"The Boondock Saints" is very watchable and keeps the viewer interested throughout with a strong story, frequent black humour and interesting visuals. Willem Dafoe steals the show and David Della Rocco is also very good. It's funny, touching, and even moving occasionally, not very politically correct, the acting is competent, with a clever balance of humor and tension, with phoney Irish accents. This gangster film may carry a message about self-help justice with elements of comedy, tragedy and morality. The "f" word is used almost 250 times, and the movie has received poor reviews from critics who bitch about poor acting, a sketchy plot, and too much violence. Jeff Danna composed the music, and Troy Duffy wrote the screenplay and directed.

Socket (2007)

Dr. Bill Mathews (Derek Long) is a surgeon who is struck by lightning and winds up recovering in the hospital where he also works. There he meets a mysterious, sexy intern named Craig (Matthew Montgomery) who suffered the same natural accident and has developed an appetite for electrical voltage. After meeting him Bill realizes he has the same craving. Craig slips him a card inviting him to a meeting of "people just like us." In this underground group Bill finds other survivors who have been electrocuted in various ways and the members are now addicted to the electric current. The electrical sex-addicts can only get off by plugging in--plugging into electrical sockets that is.

Not only does Bill become hooked, his relationship with sexy Craig ignites, setting a chain of events into shocking motion. Soon the two develop an insatiable appetite for wall sockets and each other, but it's not enough for Bill. Using his gifted talents as a surgeon, this doctor will stop at nothing to find the ultimate charge. Bill uses his surgical knowledge to come up with a method of inserting electric sockets and prongs into the members' wrists so they can "juice up". But after Bill accidentally discovers that he can mainline electricity from living people, he becomes hooked on absorbing this particular kind of power. When the ultimate quest for pleasure goes too far, the results are shocking.

An erotic sci-fi fantasy like no other, a pair of gay lovers literally get a jolt as they plug in for pleasure. To say this goes beyond the usual coming-of-age or romantic comedy gay movies is an understatement. It's surely one of the most original films in its genre, fusing the usual hot gay men and lots of nudity with electricity fetishes and erotic sci-fi. The premise that men who are struck by lightening develop an insatiable addiction to electricity is silly, but when the film is this much fun, it doesn't matter. Dark and sexual, fairly low-budget, but always entertaining, it really offers something different. "Socket" is reportedly the first gay sci-fi thriller, and is also unique in that it is a film where the sexuality of the four lead characters is irrelevant to the somewhat confusing plot. There are too many flashbacks, and viewers seem to be mostly disappointed with the acting and the entire film. Jennifer Kes Remington composed the music, and Sean Abley wrote the screenplay and directed.

Sex Life in L.A. (1998) #2 (2005)

Michael Sullivan narrates this German-made English language film, a downbeat documentary about male sex for sale in LA. The focus is on 9 diverse interview subjects, including muscular HIV-positive real estate broker Cole Tucker, actor Matt Bradshaw, fashion model Tony Ward (Madonna's former lover and contributer to her "Justify My Love" video), photographer Rick Castro, performance artist Ron Athey, and homeless hustlers David and Patrick. The 9 men want to have successful lives, and it's a film about survival, fashion models, hustlers, porn actors, photographers and performance artists. They all work with their bodies to realize their dreams and each dream is different. The film shows the most intimate views of their lives behind cover photographs. It includes very private parts of Tony Ward and his story of success and failure in Hollywood. Shot on 16 mm film.

"Sex/Life in L.A. 2: Cycles of Porn" is a follow up and another revealing glimpse of a world where sex, art and business collide in LA. The film begins with a look behind the scenes at Chi Chi LaRue's "Live and Raw Hotel", a hotel filled with webcams and host to a group of boys, filming every moment for the world to see. Produced 7 years after the filmmaker's first documentary portrait, director Jochen Hick checks up with some of his previous subjects: Adult film stars Kevin Kramer, Cole Tucker and Matt Bradshaw.

Surprisingly Cole Tucker is not like his onscreen persona and it is nice to see what a down to earth man he is, much like the rest of them. But sexuality is constantly evolving, and styles, tastes and even new technology are providing a new supply of up-and-coming talent. Hick deftly explores a culture in which young men occupy a house outfitted with webcams for a sexy chat site, and nomad filmmakers rove the country looking for impromptu stars of their condom-free "bareback films". The dreams, disappointments and unwavering reality of the gay adult industry are all opened up with insight and humor in this interesting film. Sex parties, drugs, and more sex round out the film that just begins to scrape the surface.

The documentaries waste no time in introducing us to a mixed bag of current and former gay sex workers, all of whom are affiliated with the porn industry. The more intelligent of these young men seem particularly sad because even when they're expressing their hopes and dreams for a different future, they don't seem to really believe that they'll get it. They're barely legal age, yet they've already developed a mature cynicism. The least appetizing portion of the second film depicts one of the young men from the "hotel" going to a sex party with a group of older men who are sucking on pipefulls of crystal meth, very disturbing considering one of the young participants from the first film had died from a combination of crystal meth and heroin.

Walking a fine line between pathos and humor, the older porn stars first chronicled in Hick's initial film, emerge as older, somewhat different people than they were seven years earlier. Cole Tucker shows up as a stable businessman involved in a long-term relationship, appreciative of his experiences in the porn industry, but mature enough to accept the need to move on. Living with his sister in bible-thumping Baton Rouge, La., Matt Bradshaw seems resigned to his current circumstances, to the point of being almost evasive about much of his experience as a performer in porn movies.

The bareback production team from Hot Desert Knights, a specialty film company, hires men in the same age bracket as Cole Tucker. They seem happy and contented with their lives, despite the fact that all are admittedly HIV-positive. These men have confidence and maturity, with no tinge of the bitterness and cynicism of their younger counterparts. There are brief scenes of hardcore sex, but these guys are mostly dull. A bit higher IQ for the subjects would have been more interesting. There's not much introspection or thought here. The high points of the film are a bathtub masturbation scene including "the money shot" by very tired looking model Tony Ward, and self mutilation scenes by performer Ron Athey. James Hardway/Harrow composed the music, and Jochen Hick wrote the screenplay and directed.

Naked Boys Singing! (2007)

Ten men pick up where "The Full Monty" left off. First, they shed their clothes as they enter LA's Hayworth Theater. Once on stage, they start the party with the The Chorus Line-like come-on, "Tonight you finally get what you paid for!" Throughout the set, the diverse array of physically fit men discuss topics ranging from nude housekeeping (Kevin Stea's "Naked Maid") to cultural traditions (Joe Souza's "The Bliss of Bris"). It's lighthearted and upbeat. Most of the 16 songs are basically show-tunes, with the exception of Jaymes Hodges's country-flavored "Nothin' but the Radio On" and Anthony Manough's disco-oriented "Muscle Addiction."

Some performances are solo. Others include two or more participants, such as the locker room lament "Fight the Urge" and the opening salvo "Gratuitous Nudity." Gay-friendly and body-positive, "Naked Boys Singing!" is truth in advertising. The show was recorded in front of a live audience and the entire repertoire--except Jason Currie's soft-shoe "Robert Mitchum"--features full-frontal nudity. You'll get a charge from "Gratuitous Nudity", and "Perky Little Porn Star" all performed entirely in the nude. The musicians of rock band Barenaked Ladies perform fully clothed, whereas the "happy Hollywood hyphenates" perform fully un-clothed.

"Naked Boys Singing!" is a musical comedy film adaptation of the 1998 off-Broadway stage musical of the same name. The play first went "full-frontal" at Los Angeles' Celebration Theater in 1998. Since its raucous debut, the revealing revue has dropped its drawers for eager audiences around the world and was voted best musical by "LA Weekly" and "Backstage West". This long-running musical review sparkles with memorable tunes and vibrant dance numbers most will enjoy over and over again. Alternately campy and coy, smirky and serious, the 16 original songs (newly arranged by Troy Christian) celebrate the male anatomy and the gay lifestyle with playful wit and bold explicitness. Sound quality is excellent, cinematography is tastefully well-done, and quiet moments are few. With its complete lack of sleaze, it is more likely to have you pondering the cast members’ skin care routines than their vital statistics. And though stage shows are always best experienced live, the DVD version offers the advantages of "pause" and "zoom". Brought to you by the producers of "Latter Days" and "Adam & Steve", this electrifying filmed performance brims with excitement, fervor and sexy naked men.

The Cast

* Kevin Alexander Stea as Naked Maid
* Joe Souza as Bliss of a Bris
* Phong Truong as Window to the Soul
* Jason Currie as Entertainer
* Joseph Keane as Perky Porn Star
* Anthony Manough as Muscle Addiction
* Andrew Blake Ames as Jack's Song
* Vincent Zamora as Window to Window
* Jaymes Hodges as Nothin' but the Radio On
* Salvatore Vassallo as Conductor

The screenplay (including music and lyrics) was written by Stephen Bates, Marie Cain, Shelly Markham, David Pevsner, Mark Savage, Robert Schrock, Rayme Sciaroni, Trance Thompson, Bruce Vilanch, and Mark Winkler. Robert Schrock and Troy Christian directed.

Wie die Karnickel (2002)

Horst Bömmelburg's (Michael Lott) relationship with his girlfriend Vera Malkowski (Anna Böttcher) is stressful and unsatisfactory in every way. When Vera finds a pornographic film in the trash, she leaves him and moves in with her mother. Horst makes friends with his new gay neighbour Siggi (Sven Walser), who introduces him to a new and much more relaxed perspective on his sex drive. At the same time he starts an affair with the famous soprano singer Kriemhild Nastrowa (Andreja Schneider), who is guesting with the orchestra that Horst is playing basoon in.

Vera does not know any of this and on her friend Gilla Bienentreu's (Elke Czischek) advice, attempts to seduce Horst over dinner with sexy lingerie. However, the attempt fails miserably. Gilla then introduces Vera to Gudrun Benningsdorf (Mina Tander) and Britta, editors of “Xanthippe”, a feminist magazine. They interpret Vera's story in their own way and publish an article in which Horst is presented as an inconsiderate “offender”.

Soon, Vera turns up at Horst and Siggi’s flat party. When Horst makes an attempt at lessening Vera’s feelings of humiliation from the disasterous dinner, she kicks him in the groin and walks out of the party. On the same evening, Kriemhild ends her affair with Horst, who is feeling rather relieved, as her insatiable sexual appetite was beginning to exhaust him. Kriemhild marries the geriatric conducter of the orchestra, Zacharias Brettschneider (Jochen Stern), who arranges a job for her at the Scala.

Siggi has just split up with his longterm partner Hubert (Heinrich Schmieder), and lives his life between one night stands and the desire to return to him. When his mother announces a visit, he plans to finally come out to her and present Hubert as his steady partner. However, he declines and a one night stand is asked instead. When Siggi's mother (Irmhild Wagner) visits, Hubert unexpectedly does appear, thereby blowing Siggi's cover, and on top of this is starting an affair with Benno (Alfonso Losa).

Horst admits his passion for porn star Kelly Trump (herself) to Siggi. Without Horst knowing, Siggi signs him up to be a guest on the trashy talkshow "Catch your Dreams", where Kelly Trump and another actress, as well as the editors of Xantippe magazine are also invited. Horst arrives with Siggi as a supposed audience member, and when he is asked on stage, he is publicly exposed as addicted to pornography. The talkshow host introduces the other guests and does his best to play everyone off against each other.

Siggi had only wanted to help Horst meet Kelly, and so tries to leave the live show with him. Vera suddenly turns up, having watched the show at home. She had become so enraged when the distorted relationship in Xanthippe was read out on TV, that she rushes into the studio to set things right. While angry discussions are raging on stage, Vera starts to make friends with Kelly Trump, and Horst returns to the show. He demands to know what all the fuss has been about and asks everyone in the audience who has seen a porn movie to stand up. After some hesitation the entire room ends up standing. After the show Vera and Horst make peace and agree that their relationship had no real basis. Vera goes to the pub with Kelly, and Horst and Siggi go home contemplating.

"Wie die Karnickel" is a charming, straight forward, light-hearted comedy full of clichés about the heterosexual and gay world. A version was released in the US with the title "Maybe, Maybe Not..." starring Til Schweiger. Unlike that movie, this one has not yet been released in the U.S.A. It's sort of based on the comic book, "Wie die Karnickel" created by Ralf König, although this time the script was written by König first, then published as a comic. Marius Ruhland composed the original music, and Sven Unterwaldt Jr. directed. In German.

Creatures from the Pink Lagoon (2006)

In a small town in 1967, young sissy Phillip (Nick Garrison) is about to celebrate his birthday at the beach house owned by his best friend Stan (Lowell Deo). All of Phillip's friends are gathered for the party, including Stan's hunky boyfriend Billy (Vincent Kovar), Billy's shy nerdy cousin Joseph (Evan Mosher), who is attracted to Phillip, and Randall (Philip D. Clarke), the chain-smoking queen of the bunch who insults the others, especially his boyfriend-du-jour, Gary (John Kaufmann), who is instantly smitten by Billy. Phillip's friends want to convince him to drop Billy, who is cheating on him.

Unfortunately, the chemical plant near a cruising highway rest stop has mutated the local mosquitos, so that anyone bitten becomes a raving, undead flesh-eating zombie. A horde of horny gay men are turned into ravenous cannibalistic zombies by the toxic mosquitoes and are making their way towards Phillip's party, eating every man in their path. They have attitude, a dislike of cheap cologne, and an appreciation for showtunes and Judy Garland. With body parts washing up on shore and party guests disappearing, our heroes must find a way to stop the zombie attack.

This homage to the schlock horror classics of the 1950's and 60's never takes itself seriously. It's "Night of the Living Dead" meets "Boys in the Band", and is irreverent, outrageous, cheesy, very campy, and not politically correct. Shot in black & white and made on a shoestring budget by a group of Seattle stage performers, it features a simplistic plot, unspecial effects, and enthusiastic performers, who obviously had a lot of fun making this film. DVD extras include trailers, deleted scenes, a "making of" featurette, a previous short by the director (and one of the stars, in drag) for Seattle's 2004 gay pride, production stills, plus crew and actor commentaries. David Maddux composed the original music for this droll melodrama. The screenplay was written by Basil Harris and Chris Diani, who also directed. It is Diani's first feature film.

Leaving Metropolis (2002)

David (Troy Ruptash) is a successful painter who has lost his inspiration. To find stimulation he takes a job as a waiter. His friend and roommate Shannon (Thom Allison), a pre-op male-to-female transsexual, stumbles across the Main St. Diner, owned by hunky Matt (Vince Corazza) and Violet (Lynda Boyd), who are looking for a waiter. David gets hired and quickly becomes close with the couple, although they don't know of his career in the art community and are surprised to learn that he's gay. David's friend Kryla (Cherilee Taylor), a columnist for the Winnipeg Tribune is an aging, bitter, fag-hag journalist. She tracks David down at the diner against his wishes. David demands that she write up the diner in her column, which she does, and the diner's business picks up considerably.

Shannon, whose sex reassignment surgery has been repeatedly delayed because of her HIV-positive status, becomes ill. David has a painting installed and Kryla gets his photo in the paper. Matt and Violet see the photo and realize that he's famous. David and Matt start hanging out. Matt, who had tried his hand at drawing comic books, pesters David to show him his paintings but David resists. Matt confesses that he had once fallen in love with another man in college although he hadn't acted on it. David, finding himself drawn to Matt, paints him nude, although Matt doesn't pose. He tells Matt that there's a painting he needs to see. Matt comes to David's place and sees the painting. He becomes aroused and the two begin an affair. Sparks fly, but the portraits he paints of Matt may break the couple apart.

David paints two more portraits of Matt, who still doesn't actually pose. Kryla and Shannon hail them as his best work and ask him to exhibit them, but Matt is nervous about how Violet would react and makes him promise not to. They love each other, but keep the relationship secret because of the disapproval Kryla expresses to David at the idea of him sleeping with a married man.

Kryla discovers the affair when she walks in on David and Matt having sex. Matt tells David that he lied about loving him and escapes. In the aftermath of the affair, Shannon convinces David to break his promise and exhibit the paintings. He does so under the title "Straightman". When Matt learns of the show he confronts David, first threatening to destroy the paintings and then offering himself again sexually. David contemptuously dismisses him. Matt tells Violet about the paintings and about the affair and admits that he is in love with David. She demands a divorce.

Shannon has grown progressively more ill, and decides to take her life. As she dies, David runs into Kryla at a bar and they have a bitter fight. Violet attends the opening but merely tells David that the paintings are very good. As she leaves, Matt arrives and she refuses to give him another chance. After the opening Matt again approaches David who also rebuffs him. At the film's end, Matt has left town. David has also decided to leave, but he and Kryla reconcile.

Sex and emotions fill the screen in this film set against the backdrop of several events in the fictional life of "Superman" in the early 1990s, including his revealing his secret identity and marriage to Lois Lane and "The Death of Superman" storyline. The events in the comics parallel events in the lives of the characters. Filled with very much gay and straight sex, "Leaving Metropolis" pays as much attention to the character's minds as to their flesh. Some of the script's metaphors are a little clumsy, but the psychology is convincing. It is stereotypical in that the gay character has a roommate who is HIV-positive and a transexual, and the character he falls in love with is a straight man who is confused, but really wants to stay with the wife. However, it is a story of infatuation on both sides of the relationship and it is entertaining to watch the story unfold. Filmed in Winnipeg, Canada, the screenplay was adapted by Brad Fraser from his play "Poor Super Man". Dennis Burke composed the music, and Brad Fraser directed.

Dead Boyz Don't Scream (2006)

During a photo shoot with photographer Roz (Monique Parent) in an isolated spot, the country's top male models are turning up naked and dead during a western-themed photo shoot complete with fake guns and cowboy hats--and little else in the way of costumes. The gay hunks are brutally murdered by an unseen mysterious killer who turns the photo shoot into a bloodbath. Who would want to murder these perfect, muscular pretty boys? They may be a little self-involved and clueless, but that's no reason to take an axe to them! Fearless lesbian talent agent Tess Oster (Victoria Redstall) and her forest ranger girlfriend, Belle Van Dyke (Gina Marie Gian), must stop the slaughter before there are no models left to shoot. As they are picked off one by one, Oster and Van Dyke investigate.

In this homoerotic slasher movie, a deliberately silly and campy script provides plenty of laughs to go along with the deliciously naked men. From the producers of "Leather Jacket Love Story" and "Sharpshooter" soft-core erotic films, "Dead Boyz Don't Scream" has some of the hottest flesh in gay films. It's a raucous thrill ride through the dark side of male modeling filled with gratuitous nudity, politically incorrect violence, and lesbians with guns. The movie stars men’s magazine models Christian Mousel (Christian), Zack Vazquez (Anthony), and Reid Hutchins (Joey), and scream queen Monique Parent ("Mirror Mirror III") as Roz in the story of a photo shoot that turns into a bloodbath when a mysterious killer comes calling. The lesbians are basically the heroes, but the focus is on the top male models from the pages of "Playgirl" and "Men's Workout".

The unrated DVD presents the movie, which has played numerous festivals across the U.S. and overseas, in widescreen with the following extras: Producer’s audio commentary, behind-the-scenes material, cast interviews, bonus footage from the “hot” scenes, and trailers. In what could have been titled "So Many Dicks, so Little Script", a gaggle of male models shamelessly parade their jewels in a manner that is soon tiresome and sexless. Like the majority of male strippers everywhere, most are straight and toned--not queer and tempting. Once the murders begin, lesbians come to the rescue. Bill Newlin composed the original music, there is no screenwriter credit, and Marc Saltarelli directed.