Angelo (Luke Kirby) is an Italian gay man in Montreal. He finally works up the courage to move out of his house and his apartment gets trashed on the first day. One of the cops who shows up is his boyhood friend Nino (Peter Miller).  Nino and Angelo “reconnect” and move in together, but Nino wants to stay firmly in the closet. Angelo decides on his own to come out to his parents, who tell Nino’s mother. If that’s not bad enough, rumuors start to circulate in the police department, and Nino decides he has to find a nice Italian girl. Angelo ends up joining the local gay help line to find a date, and Nino gets his girl and spends weekends with a “camping buddy.” A few funny moments and Nino makes for good eye candy. Mambo Italiano.
Urbania
Urbania follows Charlie (Dan Futterman) through a night haunted by urban legends. Old ladies popping poodles in microwaves, kidneys being stolen, and hotel workers doing nasty things with toothbrushes. Charlie has flashbacks to his lover Chris (Matt Keeslar) who he appears to be estranged from. It appears Charlie is hunting a guy who was a former one night stand that he wants to hook up with, but it turns out that’s not why he’s on a manhunt, he’s out for revenge.
Poster Boy
Henry Kray (Matt Newton) is the Poster Boy (2004) of his father’s US Senate campaign. Henry falls for Anthony (Jack Noseworthy), a gay activtist with plans to out Henry during his father’s campaign. But things don’t quite go according to plan.
Best of Care
Mike Dolan of When Darkness Falls is back in another Jeff London low budget film. It’s actually on the same DVD as a second movie. It follows Dolan who’s taking care of his invalid lover (Ron Petronicolos, a zombie from the previous movie) who is driving him crazy with his demands for attention. Of course murder and returning dead result. A bit better than When Darkness Falls, but it doesn’t make up for anything.
When Darkness Falls
Kevin (Mike Dolan) invites Danny (Matt Austin), his new boyfriend, to his parents’ cabin in the woods. The first clue that this might not be all I’d hoped is endless shots of a truck driving and driving and driving up old country roads. I guess this was to let us know that they’re way out in the country, but it seems like they got paid by the minute and needed to pad the DVD. Boyfriend turns out to be the nervous type (it’s his first “guy date” and he’s still not over the “Dahmer thing”) and Kevin can’t resist teasing him, especially about the graveyard next door.
Then there’s the local legend about a killer. And you should never say his name five times. . . .
We end up with a bunch of young gay guys who take turns trying to scare each other. The kind of people who deserve to be killed and eaten. If you’re absolutely desperate for gay zombies, check it out, otherwise it’s very disappointing. And no where near enough eye candy to save it.
Defying Gravity
Griff (Daniel Chilson) and Pete (Don Handfield) are two frat boys in an uncertain relationship. Pete has moved out of the frat house and wants Griff to step up and recognize their relationship while Griff is still firmly in the frat closet. After a heated argument, Pete gets severly beaten outside a gay coffee house. The movie’s pretty good at following Griff’s coming to grips with what’s happened to his lover and with his own life. Good movie, good frat boy eye candy. Defying Gravity (1997).
The 24th Day
The 24th Day (2004) finds Tom (Scott Speedman), a straight guy who gave in to his curiosity, seeking revenge on Dan (James Marsden), the one night stand he believes infected him with HIV. Tom handcuffs Dan in his apartment and takes a blood sample to confirm his suspicions.
Originally a play, it makes a good movie and is well acted as the captor and captive debate their case with one another. Tom is determined to carry through and Dan tries to use logic, lies and charm to get free. The only disappointment is that you’d figure with two majorly hot guys in a movie that centers around their having had sex, at least one of them would get their shirt off.
200 American
In 200 American (dollars, that is), Conrad (Matt Walton), a gay executive, has been dumped by his boyfriend and turns to Ian (Sean Matic), an Australian hustler, for sex and companionship. Infatuated with the young man, Conrad hires him to be a photographer’s assistant at his company in exchange for sex a couple of times a week. Ian’s employment doesn’t sit well with others in the company at first, but then he catches the eye of the art director (Anthony Ames) he’s assigned to work for (and who doesn’t know about his career as a prostitute).