First off, Stable Entertainment has to be commended for having the balls to put together such a script-heavy endeavor in the porn industry. That's the age-old sex vs. story debate in a nutshell: What exactly are people watching videos for?
There are a lot of fine qualities to this film, and there are a lot of not-so-fine qualities. But it works on several levels. #1: Anthony Rose's fine direction; #2: Several noteworthy, surprising performances from the leads; #3: Terrific music from Sharon Kane, and finally #4: A fine script, however spottily flawed. All of these add up to a great combination.
Unfortunately, the weakest link here is the sex. There are a few good, sexual scenes, but for the most part it fizzles.
Grant Wood hosts a popular late-night sex/talk show, a porn star on the verge of retirement. He's also trapped in an abusive relationship with a self-serving rapist boyfriend (Peter Wilder, giving one of the best performances in the video, albeit only in a few scenes). His motto is that he would "rather have somebody, anybody, as long as he isn't alone." He begins each show by being fluffed behind a white screen by a young porn-star-in-waiting before delving into his show.
His guest is Cody Tyler, who talks about a scene he did with porn veteran Jim Bentley. Something about Titanic where everyone goes down, including the ship, or something like that. Some creative angles nevertheless fail to enhance any sort of chemistry or excitement between the two men. Bentley does all the work, and Tyler soggily fucks him. It's a poor start in the sex arena.
Wood's friend/manager Damian Ford (another impressive performance) listens to Wood cry about retiring and balks at the appearance of a black eye that Wilder has bestowed upon him the night before. Wood announces his leaving the industry after his final scene - one that will be shot that weekend. He's tired of fighting for longevity in an industry where that isn't even a word.
That night, Wood and Wilder attend a private party, and Wood is introduced to artist Logan Reed (looking gorgeous, as usual, but doing a fine acting job as well). They hit it off instantly, and as the party progresses upstairs, two youngsters (adorable Frank Taylor and cutie Justin Damon) sneak away but don't make it past the stairwell where they have a heated oral encounter. Okay, so the sex is starting to look up. Rose again uses terrific dolly shots between the party and the oral encounter. A less-skilled director couldn't have pulled something like that off.
Reed slips Wood a phone number and leaves. Wood and Wilder go home, Wilder heads off to get laid. Wood thinks back to a time when Wilder would literally rape him - but it brings him back to his motto. Any attention, good or bad, is attention. And he's not alone. The rape scene is bathed in reds, and Wilder has an animal intensity as he tops Wood. But that's the last that he is seen.
On the set, Wood introduces a rock-'n'-roll act called Millennium 69 (Zach Richards, K.C. Hart and Michael Brandon), and they perform a flashy sex number that again, has no chemistry. In fact, any sex scene that doesn't have anything to do with the advancement of the plot seems to fizzle. The music, however, all original stuff by Kane, is terrific.
Announcer Josh Evers comes to Ford and tells him that Wood is all washed up, and he would be a much better host. Wood overhears and winks at Ford, who sees him, to have a good time. Evers' "Eve Harrington" bit is well done, too. Ford tops him, but it's very apparent that the announcer is not advancing anywhere but on the notch of Ford's belt.
Wood goes to Reed's gallery, and it is apparent that the two are in love. However, here's the wrinkle - Reed knows nothing of Wood's career, and Wood is terrified to tell him for fear of losing him. The two discuss art before they have a hot little romantic tryst, versatility reigning as the two take turns topping the other. And this is where the film should have ended.
The rest of the film takes place on location at the shoot of Wood's final film. He has a brief scene with Ethan Marc, who plays a star struck costar, and there's a cowboys-and-indians foursome with Scott Davis, Cody Fields, Joey James and Scott Mann that fails to elicit any heat.
Reed, of course, has discovered Wood's video work and is angry but decides to go up to the shoot to talk with Wood. They do, and Wood reassures him that he's out of the business,and they walk off into the sunset together. Or rather, they drive out in Reed's Jaguar or whatever expensive car he drives.
Wood does a good job of carrying such a heavily scripted video and handles his dialogue well. He makes you care for his character - which is, ironically, himself. It's long for a sex film, but there is a lot of sex - however, more is not necessarily better. The sets are terrific, the videography is fine, and all the technical aspects are in place.
All in all, a fine first effort by Stable Entertainment.
- Jeremy Spencer