It's not easy to get the best performances ever out of three familiar performers and then squeeze in a spectacular debut in the same flick, but Derek Kent has done it in "The HotSpot" (2001), a wall-to-wall, neatly paced, beautifully photographed, fantasy-cum-true visit to a bar of the same name where four couples meet, and take it to the max. But then Kent has a knack of getting the best from a huge assortment of models who become actors when they come under his direction -- from Rick Chase to Kristian Brooks to Travis Wade. Now he's done it with Mark Rockwell, Anthony Cox and Richie Fine, among the experienced performers, and with Dean Markham in his very first role.
The fantasy circles around the bartender, played by Markham, an exceptionally attractive hunk with the body of a demi-god (classic V-shape, narrow hips, unbelievable butt and thighs -- this is a man for whom "woof!" was invented). And that says nothing of his full, masculine face -- a cross between the recently retired Trent Reed and the more angular Matt Douglas, who made such an impression in the tearoom scene with Geoff Ashton in "Lost Exit" (Racy Pictures). Most of the other characters in the flick take one look at him and imagine him stark, raving naked, then realize they probably can't have him and go off with someone else. Hey, that ain't bad for a plot device, and when these guys pair off with each other, you can simply fuck the plot and get on with the sex.
Markham's first admirer is the crew-cut Brett Wilde, a beefy, broad-faced young thing who looks like he left his linebacker uniform at the door. He undresses Markham with his eyes after he asks him for change, which is merely an afterthought to what he's really after. When he came into the bar, he spotted Mark Rockwell, and was immediately smitten, they actually open the flick kissing in the middle of the bar to Markham's tsk-tsking.
Rockwell, who sports the best never-mussed blond hairdo since Leo Ford, comes into his own in this flick, for those who have seen him in the past year, it's instant recognition simply in the way he asserts his confidence in every frame with his body, and his facial expressions. Mostly a bottom-boy in "Playing for Keeps" (Centaur), "Big as They Come III" (Jocks) and "Wild and Wet" (Studio 2000), this lean machine turns assured top in "The Hotspot," probably because director Kent let him simply have his way. He comes into his own as a porn star in this movie, and if he chooses carefully, he can probably become one of the best "versatile" performers in the game.
After Wilde comes back to earth, he and Rockwell leave hand-in-hand, and are next seen pulling into a park area in Rockwell's pick-up. They go to the back, and start to kiss and grope. It's here that the tables are turned on the viewer, who is expecting Rockwell to make the first move. No, it's Wilde, who makes quivering love to his blond prize, and Rockwell responds with some very tasteful teeth action (lips, nipples, ears) that sends Wilde a bit, well, wild.
The close-ups of Wilde sucking Rockwell's cock are delicious, and the camerawork is so pristine you realize that Rockwell actually IS a blond from the color of his pubes. When Rockwell unzips his new mate for a dive at the prize, we get another surprise: Wilde's cock is one of those that bends down from the middle when hard, which is interesting in context of the last scene in the movie. It's a very thick, solid piece of meat which Rockwell has to savor rather than chomp. When it comes time for the fuck, the boys drag out a blanket and put it in the flatbed, but it's Wilde who gets on his back and offers his wonderfully round butt up missionary-style, first to Rockwell's probing tongue, then to his hard tool. Both play their roles perfectly: Wilde is a serious pig-bottom and Rockwell shows confidence and drive with his plowing, which culminates in a doggy-style finish on the grass, and gobs of goo spewing to Rockwell's high-energy growling and Wilde's ecstatic splurge.
Back at the bar, raven-haired Anthony Cox has moved in on a couple at the bar after making a grand entrance at the beginning of the film, decked in black and gray, sporting wrap around shades and slinking in like Elvis before he went bad. One guy in the couple leaves, giving Cox free reign to make a move on cute-as-a-chipmunk Adam Winter. They are both observed by Valley-boy Brad Benton, whose youthfulness seems a little out of place in this bar (baggy jeans, shaggy black straight hair, thin, tall, a little bit intimidated), until the barboy comes by with his bucket to pick up glasses and bottles. It's Richie Fine, who still looks like he did five or six years ago when he burst on the scene as late-twink personified, one of the first to streak his hair blond, the first to wear 1970s-style shell or gold necklaces (it's silver this time, and everyone's wearing them). "First time here?" he asks Benton, who nods. Fine then picks up a bottle, moves to the hallway, catches Benton's eye, and motions him to follow. "Who, me?" Benton signals with his hands. Fine nods, and leads the way to the alley.
There must have been something going on with these two off the set, because there is genuine animal heat in this scene, initiated by Fine, who has rarely been what you might call the most "involved" actor. This time, he's an animal, and he's matched liplock-by-liplock, grope-by-grope, gasp-by-gasp, and shiver-by-shiver by Benton. Fine simply cannot get enough of Benton -- there's an intensity to his kisses I've never seen before. And he is the first to plunge to the prize, which in Benton's case is indeed a sizeable cock. Fine is all over it -- even after Benton returns the favor, Fine is not satiated. There are two stand-up and bend-over sucking sequences, then Benton lifts Fine up in his arms, throws him on a crate, spreads his legs and goes in for another serving of fine cock, which is bigger and thicker than Benton's.
Fine is not finished. He pushes his new pal off, and shoves him on another crate, spreads his legs and goes for Benton's cock again. Then, with their pants still on, mind you, Fine maneuvers Benton into a 69 on the crate and they continue to lap each other. Finally, Fine rims and finger-fucks him, and now totally naked, takes Benton doggy-style on the small crate. As much as they are enjoying themselves, however, Fine is not done. He spots a conveniently located mattress, grabs Benton, throws him on his back and plunges his cock straight up his hole once again while they continue to kiss as though they need oxygen from each other. Soon Fine is standing, Benton is slipping on a condom, and in one of his rare bottom moves on screen, Richie Fine sits down on Brad Benton's fine cock, lets us know by his statement that it's not an easy thing but he's doing it for love, and starts to rock and roll. This rare feeling puts him over the top and he creams all over the place, then gently moves off Benton and watches as his mate simply gushes all over both of them. Closed with a feverish kiss, this scene is one hell of a refutation that street kids and Valley-boys have no sexual style these days.
Back at the bar, Anthony Cox has closed the deal with Adam Winter, whose slightly toothy, wide-eyed anticipation clearly shows that Cox had no trouble persuading him to repair to a cheap motel. This is the trademark Derek Kent scene, slow seduction building up to kissing, rubbing and erotic mutual disrobing. The shock here is Cox, pale-white as usual (great contrast with the deeply-tanned Winter) with funky tattoos here and there, but not to the point where he is a sideshow attraction, completely in charge as a romantic seducer, not the usual perfunctory gigolo type he can come across as playing. His banter makes the scene ratchet up the heat scale, while Winter sucks his cock through his gray boxer briefs, he comes on to him, whispering that he's going to enjoy fucking Winter, but that he wants to suck his cock first. "Why don't you bring that better boy up here," he whispers, and then proceeds to take Winter's jeans down, rub his already eager cock through his briefs, pull it out through the side, and takes his first taste. This, naturally, sends Winter over the moon, but there's more to come. Cox shows what a great cocksucker he is in this scene, drawing Winter into his web until they entwine themselves in several 69 knots. Cox also gives the best rimming in the movie from an unusual angle, and then takes Winter doggy-style, slow, sensual, before flipping to his back and waiting for Winter to sit on his cock and pump more vigorously. Then they simple take off as Cox maneuvers Winter to a side-fuck and they move in rhythm to a simultaneous climax, spurting all over each other and ending up in a sweet snuggle and kiss.
Now, for the piece-de-resistance, the unveiling of Dean Markham, which has been done teasingly throughout, and in the last scene begins with him naked again in a customers' fantasy, stretching behind the bar. Soon, however, Markham is plunged into his own fantasy. Buff, beefy Alec Martinez comes into the bar looking for the men's room. Markham points it out to him, and immediately goes into a dream trance. He follows Martinez into the john buck-naked, and the next thing you know, his fat, delicious cock is being offered to Martinez in the middle of the men's room. Four of the bar customers wander in, but we never see their faces, just their bodies below their chests, as they witness the scene, whip out their cocks, and form a Greek chorus of masturbation for the drama unfolding before them.
Martinez does a very efficient job here of taking Markham's cock for an oral ride, but when it comes to Markham's turn, it's very, very clear why director Kent cast this man in the role of the video's star in his very first role. He approaches Martinez's longer, thicker, and slightly downward bending tool with controlled hunger. (Interesting "closure" move here -- Martinez and the first scene's Brett Wilde, who resemble each other from tip to toe, have the same kind of slightly-bent cocks.) Markham doesn't bother with any appetizer like licking or kissing -- he eats Martinez's cock, takes it down his throat, making Martinez shudder as he meets his pubes with his mouth. Now, for another twist: Martinez bends over for a rimjob, but this top is not getting away so quickly from Markham's still-hard cock. He plunges into Martinez doggy-style and moves him around the men's room, from the middle to the wall, and plows away.
When you think it will end with a spurt from this hot man, Kent turns the tables again. Next thing we see is Markham on his back on the vanity, Martinez about to enter him with his massive tool, and except for a slight whimper of pleasure, Markham responds as a true pig. He encourages Martinez throughout the scene with variations on "Okay, baby, fuck me," which may sound scripted, but look into this man's eyes when he says it -- he means it, and the camerawork is superb in capturing exactly what it means to this man to be plowed so forcefully. Soon, Martinez bends him over the vanity doggy-style and with the four other cocks beating in the foreground and reflected in the mirror, sends Markham through the roof in ecstasy until they both cum, with the Greek fountains accompanying them in the background. This is one of the strongest debut scenes of any hunk-type in a long, long time -- Markham's eyes as he is getting plowed will stick with you for a while.
Something else is also bound to stick on you, but we shall be discreet.
DVD features: Chapters; trailers; and no regional coding (playable worldwide).
A DVD Review by Bo Champion