A young sweet masseur has demanding clients whose physical needs require more than simple massage. Our hero turns to a sex shop for some tools to reach the deep places his patients need worked on. The "tools" ordered for this Herculean task of fitting large objects into such small holes are to be delivered by a courier. The deliveryman realizes what he's being asked to deliver and decides to use some of the items to scratch his own itch. But, as we all know, the streets of Paris are wild and he finds himself involved in an accident! His precious cargo goes flying everywhere. The ambulance ride has just the thing to recharge his batteries but the huge spill of toys gets everyone in the mood for love, or something like it, lust. The whole area fills with the sounds of unchained desire and pleasure as Paris, once again, transforms into the city of love. Love as seen through the eyes of a cum drenched orgy and Jean-Daniel Cadinot! The master at his best.
A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.
It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.
This 2022 Netflix Film starring Rebel Wilson delivers when it comes to comedy, but leaves you wishing there was something more.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
This is not a slavery story, it is a freedom story. The viewers only see Harriet as a slave for the first few minutes of the film. To me, it felt like watching the origin story of a superhero…which is both good and bad.
It was always people for Joe, and he ultimately found them at the end of a long, painful, yet illuminating quest for self-discovery outside of one, confident constant - his bisexuality.
