The park bench is a great place for romance. So leave your girlfriend inside for some good boy on boy loving. After a night of partying the boys awake to some much needed quiet time. When this young stud settles down for some hot gay porn, his fantasies soon get really physical. Julian comes looking for his Dad in Tomm’s bar. Tomm then shows Julian something about how Daddy does it. After a grueling practice these footballers try to find the time to relax and unwind.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.
Even after a history changing event, the 93rd Oscars proved it always had the space for more inclusivity in its award ceremony. But it this enough to change the boycott?
2026 ranks highest in Oscars history for its representation of minorities in all categories, and that’s definitely something to be celebrated.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
