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Boy Culture Streaming.
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The acting in most joyful movies is Awful, so I was gratified to stumble across Derek Magyar’s performance in “Boy Culture”. The character he plays is extremely sexy (mostly because he is guarded almost to the point of being completely unavailable) . The character “X” is a high priced male hustler with a very occupy client roster. “X” appears to the outside world to be a hardened, almost heartless, shell of a human being, but the audience is privy to his innermost thoughts. Through this internal dialog, we learn that “X” is “saving himself” for someone who loves him, and has convinced himself that he is secretly in like with his roommate played by the talented young actor Darryl Stephens of LOGO’s Noah’s ARC. If Derek wasn’t a gifted actor, the character “X” would not have been likable (and the audience wouldn’t have cared what ultimately happened to him) . But, because Derek IS a talented actor, with above average material that borrows from a classic play, the audience is given the opportunity to invest in what happens to “X”.
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The myth unfolds through sexy dialog that is believable enough if the audience is willing enough to suspend view long enough to select into a more serious, and sexier, tickled version of “Graceful Woman.” If you let out a exiguous groan at the comparison, be aware that both of these films owe a debt to George Bernard Shaw’s “Pygmalion”. While “Lovely Woman” follows a more predictable, and commercial path with the prerequisite Hollywood overjoyed ending which owes more to “My Pleasing Lady” than Shaw’s recent play, “Boy Culture” is actually closer to the spirit of “Pygmalion”. Gifted character actor Patrick Bauchau, best known for playing the character of “Sydney” for four years on the television series “The Pretender” plays Gregory Talbot, the rich “sculpture” who is intent on molding “X” into his creation. The epic appears to follow predictable paths at times, but is actually more complex than what the jaded viewer may request. Thankfully, the characters in this fable often explain traits of nobility that elevate them above what they appear to be if only given a cursory inspection. While this film borrows from “Pygmalion,” it doesn’t steal; it veers away from the known memoir arc to catch its bear path.
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With sexy dialog, the conveyance of raw emotion through his eyes, and a male beauty that rivals the sexiest Titan porn stars, Derek Magyar delivers a performance that is more than worth the average brand sign (a rarity these days to be certain) . He emotes a type of vulnerability without giving up his pseudo-macho hustler persona. His character establishes early on, that he is unavailable (symbolically placing his jacket on the empty seat next to him, showing that he will allow no-one to gain too stop) . He is very acid tongued to anyone who tries to select that “barrier” and bag too terminate, but it is positive he is doing this in order to protect himself from pain. He pushes people away with “humor” based in a need for self preservation. He prays often (humorously enough he owns a religious Madonna icon -the Catholic version, not the pop-star) asking for forgiveness. It is easy for the viewer to grant this forgiveness since “X” is actually a very passionate, albeit damaged, character.
If this movie were a wide release Hollywood drama with heterosexual characters, Derek’s performance would be a star making role. Although this film is unlikely to become a blockbuster, hopefully it WILL eventually glean the audience it deserves. It has the potential to become a ecstatic cult classic, and audiences that seek this petite film may well start to follow this talented cast to other projects. Without spoiling the ending, I found this film to be both unapologetic and hopeful. Considering the lack of delighted cinema that offers either of these outcomes, I am overjoyed to recommend this film. I go to movies to hurry and be entertained, and I found this film to be very fascinating elope on multiple levels.
The protagonist (played by Derek Magyar) of “Boy Culture” uses the film to confess his issues to the audience, using a pseudonym, X. X worked his device through the University of Washington by prostituting himself to his dentist. After graduation, he built up a clientele of twelve customers willing to pay very high amounts for his services. (A zoom looked like $5,000/ 1 hour session; X must be very splendid indeed.) In order to disguise the source of his income from the IRS, X took on two roommates for zero rent each. One roommate is video store employee Andrew Thompson (played by Darryl Stephens), and the other is promiscuous eighteen-year passe Joey (played by Jonathon Trent), who lives off an allowance and hasn’t gone past his GED for schooling. One of X’s twelve clients unprejudiced died, giving him a chance to interview seventy-nine-year aged penthouse-dweller Gregory Talbot (played by Patrick Bauchau) as the replacement. This is where the film starts.
X, Andrew, and Joey all want treasure and a better life. Inevitably a triangle formed, sometimes oriented one device, sometimes the other. In general, Joey wants X, X wants Andrew, and Andrew has sex once with Joey. Each partly expresses his savor for the others, but internal issues prevent any resolutions. Gregory develops a strong, confiding relationship with X but holds succor a key fragment, whose revelation catalyzes the triangle. Everyone moves ahead and gets a blissful next stage.
The movie “Boy Culture” is based reasonably closely on Matthew Rettenmund’s 1995 book of the same name. The vast changes are that the site moves from Chicago to Seattle, the chronicle line relating to Joey’s brother is gone, Andrew and his family shift from standard Midwest white folk to middle-class, Oregon-based African-Americans, and Gregory is allowed to proceed from disgrace to first-rate uncle-figure. We learn X’s trusty name. All of these shifts are well done and add value to the anecdote.
The principals all have gigantic skin scenes. There are club-goers, bartenders, a hilarious hook-up pantomime, and the like to provide more. It’s all really hot!
All of four the principals are splendid; I peruse forward to seeing more of their work coming out. Of the actors of smaller parts, I belief Peyton Hinson did especially well as Andrew’s musty fiancée, Jill, whose marriage to a pro-football player leads Andrew and X to visit Andrew’s family.
The extras are unusually first-rate. There is a Q&A session at the Tribeca premiere with the director (Q. Allan Brocka), Magyar, Trent, and a producer demonstrate. Most vital is that the director and the four principals each gets an approximately fifteen limited interview to discuss the film, his role, and his choices. The viewer gets to know and like these talented artists even more. There are two deleted scenes as well.
The film does an righteous job of showing the attractions and inhibitions of satisfied relationships and is certainly the best gay-oriented film of the year. It does so well that it is actually one of the best films of the year, period.
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