Endgame

I don't think I would be as harsh as the previous reviewer, although, he raises many good points. But, I found the movie to be "ok". It always helps when one of the main characters is really hot to help you get through some of the bad parts of the movie. ;) I thought the acting was decent, but most of the characters typical. Newman as Tom was pretty good. The actor who portrayed Max was also pretty good. But, many stereotypical parts...the old "the character is gay because he was abused as a child" bit really is old.

I must admit though, I really am sick of gay movies about f***ed up gay people. Does every gay character have to be a prostitute, abused as a child, drug addict, sex addict or some combination there of? How about a movie about a gay character where the guy is actually normal and relatively happy? That's why I loved "Trick" so much. Just a couple of normal, relatively happy guys living relatively normal lives.

Endgame is not awful. How's that for a ringing endorsement? ;)

For those of you unaware, `endgame' is a chess term. After the opening encounters and tactics of a game, it's the final plan a player has to finish off his or her opponent. And such is the concept of `Endgame' a stylish, sexy and sadistic British crime thriller, although with a few minor flaws had me on the edge of my seat and at times my stomach in my throat! There are some brutal and graphic scenes of rape and torture, which may not suit everyone's taste. Yet it's directed with such visual flare by Gary Wicks that you cannot help but watch. There's a brutal fight and beating in a bar scene and as the music played it reminded me of a scene from a `Clockwork Orange'. The scene, among many, is twisted and dark for sure, but very well done. Daniel Newman who plays Tom is convincing as a male prostitute who's on the edge and John Benfield who plays Dunston is one of the most vile villains I've seen in quite some time and it drew to mind Ben Kingsley in `Sexy Beast'! Outstanding performances!

The premise of the story centers on Tom (Daniel Newman) who is a `rent boy' and turns tricks around London for his sick, psychotic `sugar daddy' George Norris (Mark McGann). Through a series of flashbacks we learn of Toms past while he tries to deal with the present and his future. And the future looks bleak. Regularly raped, and brutalized sexually by Norris he also endures the verbal abuse from Norris's driver. He's made to turn tricks, one regular being that of Dunston, as well as help George perform his dirty mob deeds. Without giving to much away things take a turn, when a twist of fate releases Tom from his violent `keeper' and with the help of some American neighbors, Max (Corey Johnson) and Nikke (Toni Barry) he flees the city to their remote cottage in the country with Dunston close behind.

The story fails a bit in the relationship between Tom and the Americans and vice versa and a few scenes that seem thrown in for the sake of erotica but in general I thoroughly enjoyed the story and it was nice to see a thriller featuring a gay/bi lead role. I recommend this highly. The DVD doesn't feature any extras but the audio and video were nice and clear for an independent feature.

This moody British film, not to be confused with Samuel Becket's work of the same name, was chosen to "disturb" the festival audience, or so said the talking heads of the programming panel. Rent boy Tom (Daniel Newman) gets caught in the evil machinations of his pimp, gangster George Norris (Mark McGann) and a crooked cop Dunston (John Benfield), who enjoys using Tom from time to time, himself. A fateful twist causes Norris's accidental death during his attempted rape of Tom. Desperate to escape Norris's body and Dunston's pursuit, Tom seeks the solace and protection of a very unlikely pair, his downstairs American neighbors Max and Nicki.

Max is a hothead consumed with a passion for money, while Nicki is more down to earth, but a bit unfocused and uncommitted herself. Why in the world would Tom come to them? Desperation, indeed. Walking totally of their initial characters (or perhaps showing us how complex they are?), Max and Nicki, after little hesitation, agree to hide Tom out at their rustic cottage in Wales. A very confused Tom is attracted to Nicki's warmth, and they eventually "seduce" each other. We can understand Nicki's dissatisfaction with Max's self-absorbed hard shell of a personality, and her momentary attraction to Tom's complete vulnerability. And despite how implausible it may seem at first, their sex scene makes sense once we realize that Tom is seeking tenderness, not hot sex per se.

All in all, this film hits home with its theme of sex as a tool of power which even the power-obsessed themselves can't control. But it falls short trying to wrap things up with a fast and violent ending which leads Tom to a happy future, and leads Nicki to sacrifice much more than her husband, Max, does.

ENDGAME

Aspect ratio: 1.85:1

Sound format: Dolby Digital

After killing the thuggish gangster (Mark McGann) who'd been acting as his pimp, a beautiful London rent boy (Daniel Newman) goes on the run with a sympathetic American couple (Toni Barry and Corey Johnson), but they're pursued by a corrupt police officer (John Benfield), one of Newman's former clients, desperate to retrieve an incriminating videotape in the boy's possession.

Gary Wicks' low budget feature debut will divide opinion like few other gay-themed movies of recent years. The pacing is a little muted, and some of the lapses in logic are too significant to ignore (Barry and Johnson's reaction to Newman's crime is simply not credible), but Wicks generates a fair degree of emotional tension, helped by attractive location photography (by David Bennett), a memorable music score (by Adrian Thomas), and a fine portrait of corrupted innocence by Newman (SPEAK LIKE A CHILD), an elfin beauty whose low-key performance anchors the entire production.

True to expectation, Wicks (whose resumé includes an executive producer credit on MOMENTS WITH JOHAN, a softcore ode to European porn star Johan Paulik, produced in 1996) makes a virtue of Newman's exquisite splendor, presenting him either shirtless or naked in every other scene, while Bennett's camera savors (almost) every inch of the young actor's glorious, sculpted body. But in a plot twist calculated to provoke outraged disbelief from some quarters, Newman's relationship with McGann and his cronies is depicted as violent and coercive, while his first heterosexual encounter (with Barry) is portrayed as a tender, liberating experience! This narrative backflip is both inappropriate and offensive, and suggests nothing more than a sop to commercial fortunes, skewing the film toward a gay audience whilst simultaneously appeasing potential straight viewers, an approach which defies all narrative logic and satisfies no one. That aside, however, the plot is reasonably engaging and the performances are superb, while the fetishization of Newman's fabulous torso provides some compensation for the movie's thematic shortcomings.

NB. The VHS version contains full-frontal nudity from Newman during a shower sequence early in the film, but the US DVD has been deliberately reframed to obscure everything below the waist.

I could say the movie could have been more, but the basic idea was so rancid that no amount of tinkering would have made any real difference.

Tom (the pouty Daniel Newman) is a kept man (although they regularly emphasize to us that he is still too emotionally immature to be a man) who kills his gangster "daddy" to save himself from rape (the only time we see anything with two men in this film involves rape and violence). He then flees with a hapless American couple. He grows close to the American woman while corrupt cops and crooks are on his trail, complete with a grotesque scene at a gay bar where, if memory serves, they rape someone who works there. While the American man goes off about the car, Tom and the wife give into their attraction. This is juxtaposed with graphic torture and murder scenes involving the husband, a clumsy way to remind us of the horrors to come. And so they continue coming, finally leading up to another grisly, excessively violent set piece, with the conclusion being that Tom is back where he started, that without the love of a good woman, he has no hope. As the icing on the anti-gay cake, we also get a heavy implication of just what "caused" him to be gay.

There's a difference between showing the reality of a life of a rent boy, or even telling a story about how abuse and homosexuality sometimes intersect, and idealizing heterosexuality to such a strong degree - to the point where the woman in question is not even a character, but rather a thinly sketched out martyr and sexual savior.

Beyond the message itself, the mechanics of the film are crude and coarse. No amount of nice scenery or noir lighting are enough to compensate.

The one scene in the film that has a poignancy to it is the scene that the whole movie is about - Tom, essentially, finding healing and peace through his first sexual encounter with a woman. The shy vulnerability that defines him as he slowly strips (hesitating before he removes his underwear, as he knows he can't go back after that last step) contrasting to his pure joy and release as he kisses and tastes the upper body of the woman who is there to show him what his life is supposed to be, as he makes love to her, in the missionary position, as she exists as a missionary to what the film wants him to be.

They may have been better off just releasing this scene and ditching the rest.