WARNING!
Trey Rexx
Jason Hawke
Distributor | Released | Length |
---|---|---|
Paladin Video | 2002 | 86 |
Description source: promotional material
Hot! Hot! Hot! Feast Your Eyes is all that its name implies- a breathtaking, Action-packed Viewing experience that's so sexually exciting it can best be described as the ultimate rush.
Feast is the first video in several years to be directed entirely by Matt Sterling and its everything you'd expect from the legendary director – a big, bold and intense sexual thriller, beautifully captured for your enjoyment from beginning to end
This is supposed to be the first "all Matt Sterling" production in seven years, though the venerable porn director has had a string of Eastern European successes to his name of late. I suppose this is his North American comeback, and as such his fans will not be disappointed. All the hallmarks of the director of such classics as "A Matter of Size," "Like a Horse," "Heat in The Night" and "Inch by Inch" are here -- beautiful men, exceptional close-ups, hard cocks, and virtually implausible situations which generate impossible to ignore heat.
"Feast Your Eyes" centers around Jason Hawke, the handsome, versatile and very buff jock who is probably the most visible porn actor around, driving home while chatting with his friends on his cellphone. After he hangs up, each of his friends imagines himself in a sexual situation.
First up is Jim Slade, the exceptionally handsome dynamo with a butt, body, cock and face which just won't quit. He and Jason make a date for later that evening, and then Jim dozes off, dreaming that he's a prisoner in a cell guarded by blond Norse god Trey Rexx. Slade is in tight jeans and no shirt, and Rexx is in leather harness. They tease each other through the bars, Slade offers his hole to Rexx's night stick, and after a few hard pumps and pokes, and the blond monster whips out his stupendous cock, hauls his prisoner to a table, bends him over doggy, and starts to fuck the living daylights out of him. The performance by each of them is sensational. Trey Rexx shows his power as a top like never before, and that could be because in Jim Slade the porn business has an unquestionable new power bottom. He gags, he yells, he begs, he pushes his hole to meet the cock -- Jim Slade is the man you want to wake up next to each morning with your dick up his ass. After a severe doggy-pounding, he spins around and gives Trey a super blowjob (prompting the blond god to lean over and kiss him deeply at one point), taking the long pole down to the roots before Trey lifts him atop the table and fucks him missionary-style with wild abandon. Their mutual cum-shot, straddling the table facing each other, is anti-climactic, and in fact has a wispy touch of boyish innocence about it. After this fuckfest, it is difficult to imagine how cumming could be so much more exciting.
Jason gets his friend Dante Foxx on the cell, and the sultry, exotic Dante is already up to no good, cruising Deacon Frost on the boardwalk at a beach. The two repair to a bedroom, where the sparks start to fly as fast as their respective cocks push against their tight briefs. Deacon is a cross between porn stars Vince Rockland and Tuck Johnson, and his paler body makes a perfect contrast to the tanned and more robust -- but not overly buffed -- Dante, who is a dead-ringer for "Friends" star Matt LeBlanc. They kiss, fondle, and lick before Deacon works his way down to Dante's briefs and proceeds to give one of the most enthusiastic through-the-briefs blowjobs in porn history. This guy does everything with Dante's cock without springing it from the clutches of the cloth until Deacon can no longer take it and plunges down on the howitzer which forces its way out. This is such a great blowjob that Dante seems compelled to top it, and when he winds up between Deacon's thighs, he gives it a great try, but falls just short of matching his bedmate's gusto, though Deacon does show how much satisfaction he is getting with a great litany of trash-talk. No matter. It's Dante who gets the pleasure of shoving his long fat dick up Deacon's butthole, doggy-style, over the edge of the bed. Here we have a quibble because, like he did so often in the past, Sterling's edit, from blowjob to fuck, has no segue -- it's just suck and then a harsh fuck jolt, no lead-up, no foreplay. But, that's okay, because you do revel in the fact that these guys are enjoying themselves immensely, right down to the cum-shot they throw nearly simultaneously while they are balls-ass-to-balls-ass on the bed.
Jason pulls his SUV into a gas station where the increasingly popular Brad Benton is there to pump the fuel, and to pump Jason's imagination. Wearing the same sexy baseball cap he wore in his memorable scene in "Colton" (All Worlds), Brad lingers over his pumping and window-washing tasks, cruising Jason back as strongly as Jason is mentally undressing the tall, hard-bodied preppy. Jason gives him a tip, and his card, and asks him to call, and you know this is going to be one hell of a closing scene.
But first, Jason goes home to "warm up" by stripping and putting a porn video into his VCR. The scene which evolves shows Lark Larson, a graduate of the Dirk Yates School of slim, hard, big-dicked military ensemble, going up to the gates of the San Vincente Inn [ http://SanVicenteInn.com ], a gay hotel. Larson, who resembles a skater more than a soldier, is sucking on the remnants of a joint, but up on the balcony is Hans Ebson (billed as Hans Eberon in this flick), dressed only in boxer briefs, looking like he wants to suck on Lark instead. He comes down the stairs, takes a toke, and the two head inside to Hans' room, where we find Lark chowing down on Hans' pecker. Lark is one of the prettiest baby-faced jarheads you will ever see, beautiful blue eyes, pug nose, pink cheeks, black hair and luscious lips that were made to suck cock. He is also one of the better cocksucking post-twinks to have entered the porn industry of late. He almost brings tears to Hans' eyes with a masterly oral examination of the promising bulge in those boxer briefs, but unlike Deacon in the previous scene, he has no patience, and merely wants to feel the warm, wet cockflesh in his mouth even before he undresses. This is a loving blowjob, licking, kissing, deep-throating, which is brilliantly shot in close-up, all while Lark is finger-fucking Hans' delicious hole. When Hans finally gets his mouth around Lark's tool, we have another stark contrast -- this boy's schlong looks as long as his forearm, curves upward and to the left, and gives Hans all he can handle in the gobble department. You can imagine, then, how it must have felt to be porked by this cock, which is what happens next in another short edit, as Lark pumps Hans doggy-style until he pulls out and creams all over his butt. He then pulls Hans back into his arms and lap and waits for him to cum, and the fade out of the two baby-faced sex fiends rubbing each other's cheeks is cute, to say the least.
All this has gotten Jason worked up as he strokes his cock through his jeans -- and then the phone rings. It's gas jockey Brad, on his way over. Jason quickly cleans up, and when he opens the door, the electricity is apparent at once -- a couple of words, and then their lips are locked. Brad and Jason make their way up the stairs lip-locked while stripping each other in a fit of passion which is totally believable given the fact that opposites can attract that way. The European accented Jason, with a jock persona, and the taller, lanky, tanned blond preppy Brad, look like they could have met at an off-campus bar in New Haven or Los Angeles. By the time they make it to the bed, they are in full throttle, finger-fucking each other through the cotton of their briefs until Jason can no longer wait to get his mouth around Brad's thick, long tool. He gives a full-throated blowjob (he is one of the best of the newer generation in that respect) and then waits as Brad returns the favor, drawing him into a brief 69 on the bed. Jason pulls Brad out to the deck, where each gives the other a kneeling blowjob before Brad takes Jason back to the bed, bends him down and plows him doggy-style for a long time. Then the movie's only flip-flop comes as Jason plows missionary-style into Brad, fucking the cum out of him before pulling out of his ass and matching the creamy wad all over his trick's abs.
Matt Sterling has done an exemplary job here of putting four completely believable and compatible couples together for sex-play which is different in each scene. The first time I saw the flick, I wondered whether or not it might be a bit too perfunctory, because it seemed to remind me of the basic Sterling formula of the 80s. But after seeing it again, I'm convinced Matt Sterling hasn't lost his touch, and even if it is a bit jolting to have those fucking scenes suddenly crop up, the beauty of the men, and the sheer enjoyment they show playing with each other, overcomes that completely.
Welcome fucking back, Matt.
A Video Review by Bo Champion
Matt Sterling is one of the great directors in the history of adult video, and although he has overseen a number of films shot in Eastern Europe during the last decade, he has not been on the set or behind the camera for far too long. Viewers who remember his glory days in the '80s will be delighted to learn that he has just directed his first feature in many years. Called Feast Your Eyes , it brings back a lot of memories for longtime fans, and for younger viewers, it provides an opportunity to see the work of one of the men who helped to shape gay pornography as we know it today.
Sterling's association with the adult film industry goes way back.
With John Travis, he founded Brentwood Studios, which produced some of the best loops of the '70s. Today, they still sizzle. For many years, he also worked, uncredited, at Falcon Studios, and his work there culminated in the 1982 hit, Huge . Later, he formed his own studio, Huge Video, and beginning in 1983, he produced and directed a string of blockbusters starring some of the most glamorous, well-hung names in the history of porn. Who can forget, for example, Bill Henson's breathtaking debut in A Matter of Size, Mike Ramsey leading a live tiger around in Like a Horse , Rick Donovan plowing Matt Ramsey on a schoolroom desk in The Bigger the Better , Tom Brock's subway deflowering in Inch By Inch, Jeff Stryker and that snake in Stryker Force or Ryan Idol topping Joey Stefano in Idol Eyes ? Indeed, Mr. Sterling has quite a history.
But enough of the past; let's talk about what Sterling has been up to of late. Feast Your Eyes , like most of his works, is a loop film - four episodes tied together by Jason Hawke as he drives through southern California, talking via cell phone with his buddies and ultimately hooking up with Brad Benton for the best of the four sequences that comprise the film. This quartet of vignettes is far more reminiscent of the Brentwood loops than the later masterworks. One reason for this is that virtually all of the scenes in the masterworks are set in the studio-built settings of sexual fantasy the smoky back alley of A Matter of Size , the Arabian tent of Like a Horse , the subway car of Inch by Inch , even the quintessential locker room of Sizing Up - and except for the first scene of Feast Your Eyes , Sterling has here shot in real locations. This film, therefore, is much more real than the idealized fantasies that were played out in his most popular films.
The opening sex scene, a dream sequence by one of Hawke's cell-phone buddies (Jim Slade), is set in prison, but this is clearly a fantasy jail setting, and the two men who inhabit it are dressed not in prison garb but in full leather regalia: Chaps, harnesses, motorcycle boots and leather jocks. Slade, a solid, tattooed butch bottom, is inside the cell; his master, the tall, blond, craggy Trey Rexx, outside. Slade offers up his ass through the bars, and after warming him up with a long, black, anal probe, Rexx yanks his slave out of the cell to work him over on a leather-bound exercise bench. Both sport rockhard erections, and rarely have we seen such hard-driving fucking. Rexx is a double-time driller, and Slade an insatiable bottom who also proves to be one helluva cocksucker. (Deep-throating seems second nature to him.) The multipositioned fuck alternates with bouts of deep-rimming, a spate of spanking, a bit of tit torture, and it ends with a double jerkoff that fairly coats the bench with cum.
The rest of Feast Your Eyes is set in real locations. In the second scene, the sultry Dante Foxx reports in via cell phone that he is at the beach, cruising lean, dark-haired Deacon Frost. In a whisk, they are in a suburban bedroom, stripped down to their well-packed, snow-white briefs. Super-butch Foxx is the first to dive for cock. He kisses, slathers, spanks and gobbles down Frost's thick cudgel before his hunky pickup returns the favors, swallowing Foxx in one effortless deep-throat gulp. They are a perfect match, attacking each other like champion pugilists and reveling in the rough pleasures each provides the other. The noisy fucking, with Foxx pounding double-time into Frost's willing ass, is even more arousing than the oral action, and when they sprawl, balls-to-balls, to bring themselves off, the climactic moments are potent stuff.
Eventually, Hawke arrives home, heads for the bedroom and slips a video in his VCR. The film-within-the-film features baby-faced beauty Lark Larson. He is first seen heading into a gay hotel - actually, the San Vicente Inn - but stops outside his room to smoke a joint. Compact cutie Han Eberon (usually spelled Ebson) promptly joins him. They head indoors, and Larson, though he looks like an innocent twink, chows down on Eberon's ballooning, snow-white briefs as if he had been doing such things since birth. When it comes time for Eberon to return the favor, he manages Larson's oversized equipment with great skill. In time, Larson tops Eberon with the same stone-faced intensity he evinced while servicing him. The single-position fucking is a bit too prolonged, and the money shots modest, but the scene ends with contented grins.
Hawke then gets a call from a gas jockey to whom he gave his number earlier, and in no time, the ever-horny Brad Benton arrives. They rip off each other's clothes on the stairs leading up to the bedroom and are soon sprawled on the big double bed, groping and lapping and fingering each other through their snow-white briefs - there's that vivid motif again! Clearly, each can't wait to get into the other's mouth and ass, and the results are the only 69 and the only flip-flop in the film. Both Hawke and Benton are consummate cocksuckers and equally adept at topping and bottoming. Here each is at the top of his form, and their coupling is at once both animalistic and romantic. The equally copious money shots (Benton's while plugged) cap the scene and the film.
There have always been ebbs and flows in the quality of performers appearing in adult films, and at the moment, we seem to be in an ebb period. There are no god-like cynosures of perfection around, no new Strykers or Idols, no Jeff Quinn, no Matt Ramsey, no Kurt Marshall, no Bobby Madison - but Sterling has taken the best of the current demi-gods, made them look better than most of them have ever looked before and once again conjured up his timeless magic. Here's hoping that Feast Your Eyes is the beginning of another Golden Age of Sterling.
- Jerry Douglas