CRUSH (2022)

 Directed By: Sammi Cohen 
Written By: Kristen King & Casey Beckham 
Editor: Melissa Remebalich-Aperlo

Cast: Rowan Blanchard, Auli’i Cravalho, Isabella Ferreira, Tyler Alvarez, Teala Dunn, Rico Paris, Aasif Mandvi, Michelle Buteau, Megan Mullally, Addie Weyrich

An aspiring artist and high school student who is forced, against her will, to join her high school track team. However, the situation isn’t entirely bad, as it gives her an opportunity to pursue a girl that she has had a long-term crush on. However, things get even more complicated when she finds that she is falling for another teammate entirely. Soon she will see what real love feels like.


This is the most agreeable teen film I have ever seen. As it seems most of the characters have open sexualities. Though this movie is definitely centered around the teen LGBTQ community or at least the characters. Most of the characters are teenagers and the few adults seem more quirky and horns than anything. So they never come Off as imposing and definitely not in control. 

Especially Megan Mullally who is the main character, an enthusiastic oversexed sex-positive mom. Who seems similar to Emma Stone’s parents in EASY A. 

Nice to see Rowan Blanchard back on the big screen and in a leading role no less. She is not as out there as she was in the show GIRL MEETS WORLD, but here has a more solid character to play. Who you root for throughout the film. 

It is a wonder why the main character is so shy when it seems like every character is supportive throughout the film. This school seems to have no bullying or even a social class system. As everybody hangs with everyone and the worst thing that can happen is not being LGBTQ but into a renaissance.

Even the straight kids seem to be the minority. Speaking of which it is noticeable that this film is diverse. As most of the cast is made up of different races and it is never brought up. So that it feels like a breath of fresh air 

The film is predictable as a girl meets a girl tale and while trying to go after her crush realizes she is more compatible with someone. She never expected and luckily the crush isn’t some kind of evil or vapid character, just not who she wants when she wants her. 

The film moves fast and is so good-hearted and cute it is hard to be mad at it. It keeps you fully entertained while you wait for the inevitable and makes you care when it hits the familiar beats. Where you want everything to work out for everyone. 

Even the characters who seem or come off as stereotypes prove to have some depth and character.

While this film matches the good-hearted romantic comedy teen movies that have become a growing genre on streaming. This film is one of the rare ones where it feels like this could have been released in theaters and found a loyal audience. It’s not as strong or dramatic as some of the others and not as believable but it does entertain and offer characters to either identify with or wish you had in your life.  

Grade: B-

JOE BELL (2021)

Directed By: Reinaldo Marcus Green
Written By: Larry McMurtry & Diana Ossana
Cinematography: Jacques Jouffret 
Editor: Mark Sanger 

Cast: Mark Wahlberg, Reid Miller, Connie Britton, Gary Sinise, Charles Halford, Maxwell Jenkins, Morgan Lily 

The true story of a small town, a working-class father who embarks on a walk across the U.S. to crusade against bullying after his son is tormented in high school for being gay. Meanwhile, he realizes he is instead missing out on his son’s life back at home.


Though based on a true story it’s a movie that feels more ideal in its instincts to produce a message. Even as the exact message isn’t quite so clear and makes the film feel awkward about its own subjects.

As it is definitely a message movie that ends up being about the main character rather than its message. As we follow an all-American mid-west manly man the films seems to take aim at trying to court for the film. As he deals not only with his son’s sexuality but the lack of acceptance he offered which leads to tragedy and guilt that threatens to Tear him And his family apart.

So the film seems aimed at the character trying to Make amends for his past. What the film is trying to do, Spread the message of his cause and humanize it into acceptance. 

Especially with a tough guy action star Mark Wahlberg is sensitive and open emotionally. Learning the lessons of his wrongs while also learning to be accepting. Even learning to fight for it. Hoping to open more audience members eyes and hearts to teach them about being open to others who are not like them, but help and protect them against prejudice. 

Though for as honorable as the character might be. It shows how hypocritical the character can be and how damaged he is by guilt. Allowing for a complex character, but makes the film More about him Then the message.

Luckily all the performances are believable and strong. Which is a particular strength of director Reinaldo Marcus Green in his previous films KING RICHARD and MONSTERS AND MEN he usually Gets grounded performances out of the stars more than expected by burying them so deep that it never feels Like showboating or a stunt. 

The film manages to stay on message by trying to be poignant. It feels heavy-handed but that might be what is needed in trying to send this film’s message. As not to be some kind of saintly or martyred movie or make one of the wrong characters. Instead of trying to make it a character study.

The film is admirable, we see the main character break down and cry. We watch him as he goes downtrodden and even beat up.  

Connie Britton’s character is the strongest throughout. As she is no-nonsense and always feels truthful. She quickly becomes the film’s heart. As she always seems in the right place with most scenes built to get an emotional reaction.

The film shows the horror of bullying and the prejudices you face when being LGBTQ+ in a small and small-minded community and what is going Against them. 

The film also manages to show some good people in the world and that through it all. We are all Messed up and have our own personal problems, but we should try to help and support one another. That maybe you dislike or choose to hate, has nothing to do with them and says something more about you.

The film spells it all out in the third act. If you think it might be too subtle. Those you love let them know you love and support them. Accept them for who they ate or it might forever haunt you literally.

This is a good-hearted film that feels like it is pandering to a degree. As the story is more told in the aftermath. While literally showing is to don’t judge another until you have walked a mile in their shoes.

The film didn’t seem to ah e much attention upon release. It was on my radar to watch especially with mark Wahlberg trying a more dramatic socially conscious role. Which is a kind of relief from his other usual roles where there is always a certain comfort that can feel Smug or overbearing. 

Even if it feels hypocritical and heavy-handed at times. Especially the Ending. Where it really hits home. As a tragedy with flashbacks. Though have to go with the true story and try to inform. What might have happened on the road. As the film ends up being episodic more about dealing with guilt. That strays from

The message. Especially with speeches that seem not that special and just more short homespun wisdom That could be said at group therapy or an AA meeting. As they Don’t Come off enlightening just basic 

Grade: C+

THE BIRDCAGE (1996)

Directed By Mike Nichols 
Written By: Elaine May 
Based on An Earlier Screenplay By: Francis Veber, Edouard Molinaro, Marcello Danon & Jean Poiret
Based in the play La Cage Aux Folles by: Jean Poiret
Cinematography: Enrique Lubezki
Editor: Arthur Schmidt 

Cast: Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, Christine Baranski, Dan Futterman, Calista Flockhart, Tom McGowan, Grant Heslov, Kirby Mitchell, Ann Cusack, Trina McGee-Davis

A gay cabaret owner and his drag queen companion agree to put up a false straight front so that their son can introduce them to his fiancée’s right-wing moralistic parents.


this film at the time was a little daring or a bit of a gamble for a mainstream audience. Though it was also self-assured because of the popular cast. Though behind the scenes you had a bunch of heavy hitters. Who managed to raise the bar on a familiar tale and still knock it out of the park. 

Which shockingly had some actors playing against type. Where we have a fun yet more restrained Robin Williams while playing more of a funny conservative grouch. Seeing gene hackman in drag is certainly different and new.

The film also tries to put in some satire of the political culture at the time and while camping up gay culture at least offers a glimpse inside of it and offers representation.

This film also is really the big screen introduction of Nathan Lane as Albert the drag queen lover who has been practically a mother to robin Williams son in the film. Playing a role that was abandoned by Steve Martin last minute due to scheduling problems. Thilough broadway star Nathan lane took it and made it a star-making Role.

Hank Azaria also makes his presence felt in his supporting role as the couples maid, assistant and cook. Who is also part of the slapstick laughs later in the film.

This is one of those films that came around at the right place and right time. As the film and play was already a hit In France and waiting for an American remake for years that never got made which might have been out of fear in the 1989’s to portray a gay relationship. non chalantly with mainstream big name actors. So that when it did come along the culture was a bit more relaxed and if made today might not even bat too many eyelashes.

Luckily it is still hilarious to watch even on this day and age. Even when the Jokes are a little more obvious they still make you laugh. As there is wit on display as well as physical comedy and just plain old slapstick in the third act.

Out of the cast if anyone is flat It’s the young couple looking to get married played by Claista Flockhart and Dan Futterman though in a film filled with flamboyant and over the top characters you need some to be more quiet and seemingly normal to even it out a little. though they come off a little dull and Futterman Looks way older than Flockhart 

While the film is a laugh riot from beginning to the end it also has character moments that come off more serious and dramatic. As even after the so called Macho lesson the scene where lane tries to act like a straight male in a suit is a thing of beauty and partial pain.

You can feel its theatrical roots throughout it truly strongly in The theirs act where everything comes to a head. What truly is amazing is that while it was dating at its time it plays off so cute that now it feels like a more modern comedic classic that the whole family can enjoy. Even if there are times when it feels overloaded with stereotypes. 

It is so styled yet feels so haywire. That while it might seem like it is filling turbulence it’s always smooth sailing. 

Though there is an overwhelming comedic quality with heart and care that had me going to see it in theaters more than once or twice. 

Grade: A-

120 BPM (BEATS PER MINUTE) (2017)

Directed By: Robin Campillo

Written By: Robin Canpillo & Philippe Mangeot Cinematography: Jeanne Lapoirie

Editor: Robin Campillo, Stephanie Lager & Anita Roth

Cast: Nahuel Perez Biscayart, Arnaud Valois, Felix Maritaud, Adele Haenel, Ariel Borebstein, Antoine Reinartz, Aloise Sauvage 

The early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant, who throws his last bits of strength into the struggle.


This film presents a Strong subject and story based on historical facts. As we learn about the early efforts of ACT-UP and what they were facing off against. At least the french chapter. That was similar to the US chapters efforts 

This film feels like a miniseries done in two hours. It is a very trying and powerful movie. That is as much a drama, as a history lesson in itself told more from the radicals Point of view. Rather than a white-washed film where they make the owners that be the heroes.

The film shows that if not for the efforts of the LGBTQ community at the time. The progress for national attention and treatment would have been slower if ever even developed.

This is more than just a movie about the subject or a disease Movie. The narrative here is more of an ensemble but it is also strong.

The film is designed more as a docudrama without so much handheld camera work, but still, you feel like a Participant and witness. As we see the movement from the inside out. As well as slowly get to know abs see the personal lives of the characters. Which allows the film to be more intimate.

The film focuses on a relationship more or less and its development. That is connected to the modern era of the group in various ways. While also showing us the evolution of the group. That helps us in the audience connect to the characters. Through this process, the film reveals events and situations dramatically and still manages to be shocking at times with its revelations.

So much material and information to cover here that it feels like a dramatized documentary that gets more personal. As some of the characters, we get to know each other deeper and stand out. Even as each character is important in their own way as part of the coalition.

This is just one of those films you can lose yourself in and by the end or realize how much time has passed but definitely feel like you have been through a journey. As this is a film mroe of experience where you feel like a fly in the wall. As the film takes over.

You just watch as it tells it’s take abd unfolds a large story like a book.

As all around the filmmmaking and cast are great not a weak link . No one drops the ball. As the film and tale are emotionally penetrating and the characters are portrayed as callable and not saints.

It’s one of these perfect movies into a culture and history one was not formed upon. Like the French film THE CLASS by Laurent Cantet only that was like this film a look into a social issue and the characters involved that offers no answers. Only this tale is based more on fact and events that actually happens

This is a film that has to be seen. As it dreams you in and offers you education and an experience. 

Grade: A

TOTALLY FUCKED UP (1993)

 Written, Directed, Edited & Cinematography by: Greg Araki

Cast: James Duval, Roko Belil, Susan Behshid, Jenee Gill, Gilbert Luna, Lance May, Alan Boyce, Craig Gilmore, Johanna West

Life really sucks for a group of gay and lesbian teenagers living in Los Angeles. Their parents kicked them out, they’re broke and bored, their lovers cheat on them, they’re harassed by gay-bashers. If things are going to be this way, maybe suicide isn’t a bad idea; at least not in the mind of Andy, our major protagonist, who gives the film its title by describing himself as “totally fucked up.


This film plays out more experimental than his last film. This film more examines days in the life of a group of friends. We get to see their videotaped confessions and each seeks to show their own little stories that overlap. So they end up all having their adventures. 

That watching the film feels ahead of its time as it comes off a little like the reality show, THE REAL WORLD but also what social media would become eventually. 

As from the first frame of a new clipping about teenage suicide in the gay community. We know what the film will be tackling not that it will eventually be prophetic 

If the audience does as we watch we try to figure out who will either try or allow themselves to do that. 

The film at the time was one of the most penetrating looks at LGBTQ youth that includes sex reckless and romantic and facing consequences for being themselves such as parents throwing them out, infidelity, random violence, looking for love in all the wrong places and people. 

It sets a blueprint for later teenage dramas that were diverse and more hard-hitting in the new Millenium 

This film was actually not as bleak as his previous film. At least not until the ending where we get a dark ending but also feelings. Which the film Seems to lack. As like the teen’s characters. They play up a certain persona but each is vulnerable that they hide from each other. 

The film stays upbeat and energetic throughout and then comes a heaven ending. Whereas THE LIVING END seems so hell-bent on nihilism until the end where it offers actually hope.

This film still has an avant-garde presentation and punk rock attitude and Sensibility. As well as the soundtrack, but surpassingly by the end it also feels like a hardcore after-school special.

The more artistic expression throughout the film. Can be hard to take, even as it breaks up and focuses on characters. Some in the audience might want more story or action throughout. If that is what you seek you came to the wrong movie.

Watching this now through a modern lens. This film is ahead of its time but could have only been made when it was. As it is penetrating and a nice time capsule of the times. Style and politics and just day-to-day life.

This would also be the first of many collaborations between director Greg Araki and actor/star James Duval 

Grade: B-

THE LIVING END (1992)

 Written, Directed, Edited & Cinematography by: Greg Araki

Cast: Craig Gilmore, Mike Dytri, Darcy Marta, Johanna Went, Mary Woronov, Paul Bartel 

Luke is a gay hustler. Jon is a movie critic. Both are HIV positive. They go on a hedonistic, dangerous journey, their motto “Fuck the world”.


Even though this is writer/director Greg Araki’s first film. This is one of the latest of his films I have actually watched. I have seen all of his work from the film THE DOOM GENERATION (His first self-proclaimed openly heterosexual film. His third actual film and the second in his teenage apocalypse trilogy) on.

I didn’t like that film. The film did fascinate me with its style, anger, and punk sensibility. This is why no matter what I always give Araki’s film a try.

This is his debut film. Where he pretty much made the film on his own. but also this was the start of the New Queer Cinema movement. 

Here the film doesn’t pull any punches. It is punk all the way. Angry, in your face, violent, no rules, and funny. The film has it’s messages and stylish selections throughout.

This wasn’t a film where its main characters were gay and sexless. Nor supporting characters in some straight love story. Or comic relief. They were the protagonists and very sexual which we see and good looking. Though also both are dying.

The film offers commentary on the world through side characters and their matter-of-fact dialogue. That works on a commentary of the social scene at the time.

It also offers a violent story with two lovers on the run. That actually seems like it is headed for tragedy and violence. It shockingly becomes something that is personal, emotional, and actually about the characters makeing a connection In all the chaos that is supposedly normal life. 

The characters and film both have a nihilistic outlook but end with finding connections and hope on the edge. Leaving a message of living life to the fullest While young. As the characters are the ultimate attractive outsiders who manage to find one another amongst the chaos.

The film wears its influences in it’s background with various new wave and Avant-garde film posters pampering the walls. Not to mention a cameo from cult actress Mary Woronov.

The film has a certain energy and excitement that it never keeps up with at first and that you think will keep up, but it slowly starts to pump its breaks and go slower and takes its turns with the characters. Losing its urgency but allowing for more depth. Still driven by music or the soundtrack. That comes off as inner monologues at times. 

Though there are straight supporting characters the film stays mainly with the main couple.

The film is less violent and more talkative than one would expect. 

As the film goes along they are lovers on the run whose relationship starts off more sexy and exciting. Though as the film goes along they get to know each other and form a bond and relationship. Driven by sex and end up finding love in their own nihilistic lives.

Random strangers in the background carrying messages that end up being the film’s sly commentary. As well as comic relief.

I can’t say I love this film, but it kept my interests mostly throughout and was refreshing to see a love story that was sexual and not fluffy necessarily that just happened to be a homosexual love story. It’s down and dirty and penetrating In many ways 

An interesting take on modern love at the time. 

Grade: B

BUTCHER BAKER, NIGHTMARE MAKER (1981)

Directed By: William Asher 
Written By: Stephen Breimer, Alan Jay Glueckman & Boon Collins 
Cinematography: Robbie Greenberg 
Editor: Ted Nicolaou 

Cast: Jimmy McNichol, Susan Tyrell, Bo Svenson, Julia Duffy, Bill Paxton, Britt Leach, Steve Eastin

Since the death of his parents fourteen years ago, Billy Lynch has been raised by his overprotective aunt Cheryl. But once he turns seventeen, he is soon set on planning his life…without her. He’s planning on going on to college and is dating local girl Julie. None of which sits well for his aunt, who’s lost everyone else in her life and now with her nephew ready to leave, ensures she starts on a campaign to keep him with her…forever. But as her plans misfire she becomes swept up in a cycle of psychosis and frenzied violence all being blamed on Billy by everyone else…including a homophobic detective, whose anti-gay prejudice is steadily reaching its zenith…leading to an unforeseeable outcome.


This film feels silly even for the time when it was released. Watching the film is a fun experience in its awfulness.

It’s entertainment is marred by its characters’ homophobia. This is disappointing as it easily could have been an unintentional camp classic. Surprised it hasn’t been embraced by a cult audience of not for anything at least the performance and gusto from Susan Tyrell.

The lead performance by Susan Tyrell gives it her all and goes way over the top. So unhinged In one of her rare leading roles.

So unhinged that as the movie moves along even her look begins to deteriorate. She is obviously wearing a wig and once her character cuts it she goes further off the deep end. It ends up being her real hair.

Revealing the killer wept on makes the movie more suspenseful. Especially as the film goes along, there ends up being few choices as to who it could be and where the film can go. 

The film has Bill Paxton in an early role as a jealous bully. Not to mention Julia Duffy as the teenage nephew’s love interest.

The film ultimately revolves around a serious obsession between the aunt for her nephew. Which also makes the film feel more suited for a drive in a movie theater. 

The movie’s special effects, the few that there Are, are so bad they become laughable especially when it cowls to stabbings and dismemberment. 

Memorably bad but the film Means well and tries hard. So that it is more entertaining and fun than scary. If this is a genre you particularly like.

It can be understood that homophobia was the Mood at the time. The film tries to justify that mood as evil by having one fo the good characters be gay. But also at the end, most of the characters with that discrimination end up dead. 

This is a film you look for more for fun than necessary thrills or any kind of horror 

GRADE: C

DUCK BUTTER (2018)

Directed By: Miguel Arteta Written By: Miguel Arteta & Alia Shawkat Cinematography: Hillary Spera Editor: Christopher Donlon

Cast: Alia Shawkat, Laia Costa, Jay Duplass, Mark Duplass, Kumail Nanjiani, Lindsay Burdge, Mae Whitman, Hong Chau, Kate Berlant, Jenny O’Hara 

Two women, who are dissatisfied with the dishonesty they see in dating and relationships, decide to make a pact to spend 24 hours together hoping to find a new way to create intimacy.


This is a lesbian romance film that seems artsier. Where it seems like the actors get more outbid it than the audience.

While the film does offer a mismatched couple who affect each other in the end. By having one be the more negative over-thinker who is more afraid to try new things. Yet is an actress and the other a free spirit. Who seems to have no grounding. Whereby the end one is affected in a positive way the other in a more morose way. 

The aspect that the film offers is that these two characters hook up and decide on the morning to spend the next 24 hours together. After some initial conflict with the idea. The film explores the following 24 hours where they get to know one another, good and bad. 

It seems like they go through all the painful aspects and rewarding ones in the son of 24 hours. Which makes the film quirky. The characters and their problems always seem to bring it back to reality.

Even if it always has the aspect of a romantic and fantasy. The emotions at times are what ground it.

While Alia Shawkat is always interesting on screen and graduating to bigger roles. Here she is more nebbish, shy, neurotic, and a little depressed than every woman. Who hooks up with this beautiful free spirit played by the gorgeous Laia Costa who seems too good to be true and by the end. We do get to learn about each other a bit more and the dream girl still is unbelievable but at least we get to see her sweat (amongst other things)  and be human. 

Their relationship is believable and takes what most films would spread out over weeks and months and grounds it into the span of 48 hours for the characters. Where you feel that this is the first time they have ever been open not only with anyone else but maybe even themselves.

It’s an intriguing premise and I wish it had been more involving for the audience but while it offers some surprises. Again it is something that we have seen before and know where it is going. As it feels too familiar.

Not to mention interesting characters. You wish more happened or that they were a bit more interesting to keep your attention. This is why ever so often there is a sex scene between the two of them. Which are graphic yet erotic.

Which then seems to force the film into a third act. This reminds me of the movie CHASING AMY. Where a weird self-sabotage logic emerges and while it is understandable feels like a huge mistake out of nowhere. That is a challenge for the characters to one another where they both know will not have a happy ending so to speak 

Grade: C

EDGE OF SEVENTEEN (1998)

Directed By: David Moreton Written By: Todd Stephens  Cinematography: Gina Degirolamo Editor: Tal Bel-David 

Cast: Chris Stafford, Tina Holmes, Lea DeLaria, Andersen Gabrych, Stephenie McVay

A gay teen finds out who he is and what he wants, who his friends are, and who loves him, in this autobiographical tale set in middle America in the 1980s. Growing up, learning about life, love, sex, friends, and lovers.


This is a coming-of-age story only about a gay teen. What is remarkable is not only when it was made making it an early LGBTQ film but the fact that it is a throwback where the movie takes place in 1984. As it marks the film both nostalgic and kind of fun.

It also feels may be more personal or a testament to that time period. Culture, style, and fashion.

The film feels with some material that might be different for coming of age tales like being introduced to certain sexual acts. Though it does allow for a fresh spin for lifestyles that Have been missing g from these sorts of films or been more relegated to side characters where we never get to see their exploration.

This is definitely an independent movie as the production does offer a smaller story and a tight budget. That leaves some details to be vague.

Unfortunately, the film also leaves some characters or relationships between the characters to be that way also at certain points, but it also helps drive home a certain reality for the film and its characters.

In truth, this is a film all about the lead. So while there is the heartbreaking relationship/friendship between the lead and his girl/friend where the film gives her point of view not too much but enough to understand her confusion and pain. Where the relationship at a certain point remains ambiguous. Though it shows deep emotions. The same can be said of his relationship with his mother who reacts honestly and not necessarily cookie-cutter good or evil. In many ways, her character is the heart of the film. 

It’s also nice to see Lea Delaria in an early role. Where it seems like she is just being herself, but also a guide for the main character.

It also presents what seems like it will be first love but more one-sided. As one seems like it’s love and the other looking for a seduction and hook up but not necessarily wanting all the responsibilities of a relationship. This is a story that mostly involves youth.

One of the film’s major strengths is that It’s not a movie where once he comes out he is persecuted nor is he celebrated. It deals with the complications of coming out with some good things and some bad, but a general sense that it will be ok for the character.

Grade: B-

THREESOME (1994)

Written & Directed By: Andrew Fleming  Cinematography: Alexander Gruszynski  Editor: William C. Carruth 

Cast: Lara Flynn Boyle, Stephen Baldwin, Josh Charles, Alexis Arquette, Martha Gehman 

Eddy and Stuart share two-thirds of a dormitory suite. Due to bureaucratic error, a woman named Alex is added to their room. At first, relations among the three are tense. Soon, however, Alex falls for Eddy, and Stuart lusts after Alex. Eddy comes to realize not only that he’s gay, but that he’s attracted to Stuart. The three pledge not to act on any romantic (or lustful) feelings with each other, and become close friends . . . while bottling up a lot of sexual tension.


The film is a bit pretentious and naive but at the time one of the more relatable, humanistic, and provocative looks at a burgeoning gay man and his second life. As he slowly comes out. 

So you must give it credit for that and also after all these years. It’s a movie I might not think about often, but never completely forgot. Though at the time by the title you expect a sexual thriller or exploitation 

The gay sex scenes or more the title sex scenes are soft core and involve touching mroe than actual action. That comes off tame by today’s standards. Then again you have to look at the time period when it came out and what seemed like the powers that be thinking and level of acceptance.

The film plays like a coming of age relationship drama with some comedy but exploring sexuality at the same time. Though not as graphic as expected the heterosexual sex scenes are more graphic.

This love triangle tale has the feel of an indie film filled with artistic flourishes, That was advertised more as a studio film. Though a college story that feels like a perfect plot but sex seems to be the main interest. 

As for once from the perspective of a guy man and not necessarily a sexual one. As the film takes certain types and makes them human.

Surprisingly sensitive sexual type of softcore sex film  that you would commonly see on cable channels like Cinemax for over the next decade. That helped keep them in business but also feels Ike an artistic version of it.

Grade: B-