Film Porno Gay Cowboy
Download File >>>>> https://tlniurl.com/2tE803
A pivotal early film from legendary Hong Kong director John Woo, this martial-arts classic explores the heroic ethos of youxia, Chinese warriors willing to sacrifice their lives to fight for justice and fulfill their promises.
SAN FRANCISCO - An epic drama with cowboys, forbidden love and hot sex While the comparison may seem inevitable, make no mistake: Raging Stallion's To the Last Man is no Brokeback Mountain 2. But the studio's follow-up to last year's acclaimed feature Grunts is a strong contender for the upcoming GAYVN Awards, known in industry circles as the Oscars of gay porn.
\"As I move into my second decade in the industry, I really want to make some films that will stand the test of time - iconic movies that touch upon the different genres in gay porn,\" studio founder/director Chris Ward told GAYVN. \"With Grunts, I think we made the ultimate military movie. The western is also one of those porn genres - there have been many porns that featured cowboys and ranches. A fantastic location dropped in our laps, so we decided to go all-out and try to create the best western porn movie of all time.\"
And when Tony Dimarco - the award-winning director/videographer who established his name at Lucas Entertainment with work on hits like La Dolce Vita, The Intern and Dangerous Liaisons - joined the studio, his excitement about the idea helped the project blast off. \"Tony is a real talent,\" Ward says. \"By bringing him into a very talented team, we have created a real filmmaking force here.\"
With a budget around $200,000 (just shy of Grunts' total), Ward notes To the Last Man is the most expensive gay porn produced this year. Based on the Zane Grey novel and shot on location at ranches in Northern California and Arizona, the film revolves around the struggle between two ranches - one with water and one without - in the American West. A story about love, power, revenge and lust, the film features 15 accomplished industry stars, led by exclusives Ricky Sinz and Scott Tanner as ranch rivals.
\"To the Last Man is unique in that this film has very, very high production values.... It is the closest porn will ever get to Hollywood in terms of script, acting, cinematography and editing,\" Ward says. \"People will see a movie that sets a new standard for high-end gay porn. This is a real movie, kind of like Pirates was over on the straight side of the industry. Frankly, nothing like To the Last Man has ever been made in our industry.\"
\"Grunts was a pivotal moment in my career,\" Leon says. \"When we shot Grunts, we focused on setting a context for the sex with minimal story. As we approached this project, we aimed higher by writing a script. A full-on script adds a lot of time and money to a project. We also aimed higher with the camera work: We bought a Steadicam, a small crane and a decent-sized dolly track to improve the filmmaking. We can see in our sales numbers and in the response from the industry that big-budget movies can be big successes. We want to continue to make big films and push our own skills farther.\"
\"It was a major concern for me of how to combine violence and sex in a movie and not make it offensive or distasteful. In the western genre, violence is usually a driving force of the plot. I knew that I didn't want it to be all about violent sex, although the climax of the film is just that,\" Dimarco says. \"In most cases, I made sure that the violence was separate from the sex. Sometimes sex grew out of the violence...the most concentrated part of violence is in the second half.\"
Dimarco notes that much of the killing is in a three-minute \"death montage\" and in the final shootout. \"I did this for two reasons: One, because it's not easy to go back and forth between death and sex, asking the viewer to switch emotions; also, it's not very realistic. Secondly, I wanted to build the ending of the film as you would a Hollywood movie. The tension builds, which leads to the final confrontation,\" he says, adding one sex scene may divide viewers. \"I don't think everyone will get off on it, but I know many will - more than who will be willing to admit.\"
Leon adds that as they developed the project, they decided to push their filmmaking skills by focusing on shooting, gunplay and bloody deaths, which all flowed from the narrative. \"We wanted to aim high and push our production skills to a new level, and the story including the violence allowed space for that to happen. I think in the end we created a Hollywood-style western with blood, guts and lots of hot hardcore sex.\"
The outtake is on the special features, and that's something you certainly won't find on the Brokeback Mountain DVD (and they ate a lot of beans, folks!). So even though the films are vastly different (Leon notes To the Last Man is a \"darker film that is more classical western\"), they share a certain commitment to quality - one that could have Raging Stallion cleaning up on the awards circuit again.
\"It is a movie about gay men who are cowboys, there is a secret love affair and there are beautiful, expansive landscapes,\" Dimarco says. \"That's about the extent of the similarities. If people compare it to Brokeback, that's a huge compliment. But it's a very different film.\"
\"Ram Ranch\" is a song by Toronto-based[3] outsider musician Grant MacDonald. The song features a heavy metal musical backdrop (originally an instrumental by Anubys titled \"Flying Through the Sky\") with explicit homoerotic spoken-word lyrics about an orgy of cowboys taking place at the titular ranch. The song became an internet meme later in the 2010s, inspiring remixes, parodies, fan-made music videos and reaction videos, and has also been used for bait-and-switch trolling.[4] In 2022, the song gained mainstream attention for its use by counter-protesters against the Canada convoy protest. Since 2018, MacDonald has produced more than seven hundred follow-up songs. Some bear the \"Ram Ranch\" title and all of them expand on the \"gay cowboy\" storyline.
Joe Buck (Voight) is a dishwasher in a rural Texas diner, who's not the sharpest knife in the drawer. One day he decides to dress up like a rodeo cowboy and move to New York City, hoping to prostitute himself to wealthy women. He burns through his savings very quickly, unable to hustle, and is taken in by Enrico \"Ratso\" Rizzo (Hoffman), a small-time con man with a bad leg and tuberculosis. They scrape by as best they can, hoping to escape to Florida one day...
THIS WEBSITE CONTAINS MATERIAL THAT IS SEXUALLY EXPLICIT (including pornographic materials). You must be at least eighteen (18) years of age to use this Website, unless the age of majority in your jurisdiction is greater than eighteen (18) years of age, in which case you must be at least the age of majority in your jurisdiction. Use of this Website is not permitted where prohibited by law. This Website also requires the use of cookies. More information about our cookies can be found at our Privacy Policy and Cookies Policy. BY ENTERING THIS WEBSITE AND USING THIS WEBSITE YOU AGREE TO OUR PRIVACY POLICY AND THE USE OF COOKIES.
Opening night in Salt Lake City brought the gentle Southern guff of Robert Altman’s unexpectedly sweet Cookie’s Fortune, tracking the machinations of idealized eccentrics in a Mississippi small town. In Park City, the two other opening night films were Nancy Savoca’s career-and-baby melodrama The 24-Hour Woman, which found few supporters, and the vomitous travelogue of a young-ish filmmaker, James Merendino’s SLC Punk!.
The Premieres offered a swell of English films demonstrating a diversity of directions and talents. At one end was Mike Figgis’ lush, luscious, almost indescribably silly art-film fugue, The Loss of Sexual Innocence. Figgis wanted to make this film since 1985, and its obtuse, shimmering style shows as much. Much less personal but perhaps more entertaining, Guy Ritchie’s cartoony Lock, Stock and Two Smoking Barrels romped through its first groundswell of journalistic adjectives on these shores. Gillies MacKinnon’s delicious Hideous Kinky returns Kate Winslet to a more personal, less titantic role as a young mother with two daughters making her way in 1972 Marrakesh. Another fine actor, Tim Roth, directs his first film, The War Zone, an elegant, head-on story about familial abuse powerfully acted and directed with keen restraint. Errol Morris went one better than a premiere by screening his unfinished Dr. Death: The Rise and Fall of Fred A. Leuchter, Jr., which, although incomplete, felt stronger and more substantial than other finished entries. Returning for a third Sundance premiere was Gregg Araki with Splendor, a gentler kind of threesome comedy from the aging enfant terrible of the doom generation. Less admired American fare, however, showed up in the mostly dismissed Jawbreaker, a loud Heathers retread, the equally disregarded made-for-Showtime The Passion of Ayn Rand and the strong-yet-familiar urban thriller Thick as Thieves.
The Documentary Competition brought more excitement — or at least column inches — with journalists noting the presence of three entries with \"American\" in the title or a healthy smidgen of sex, notably in the not-so-hot hot-ticket, Sex: The Annabel Chong Story, a too-respectful portrait of a woman who tried to break the one-day shot-on-video gang-bang record and her reasons why that was empowering. American Pimp showed the Hughes Brothers in irreverent-to-society, too-reverent-to-pimps form. American Hollow presents a portrait of an extended Appalachian family. And Chris Smith’s very funny American Movie makes us laugh at the notion of filmmakers’ ambition at the expense of art, reason and common sense. The beautifully edited On the Ropes charts the lives of three young boxers at the neighborhood gym where Mike Tyson once trained. And Barbara Sonneborn’s Regret to Inform takes a shattering look at the Vietnam War through the eyes of both American and Vietnames