Part comedy, part tragedy, you won’t know quite what you are watching, but you will watch it anyway. Vidkid Timo is aware and totally in control of his product. It is impossible to predict if anyone is capable of wearing the mantle of John Waters, but Timo just may be on the way, with a vengeance. At Twilight Come the Flesh-Eaters is about as unorthodox as porn can get, and it is very reminiscent of early John Waters work, with the addition of hardcore sex.
The tape opens with an eerie black-and-white tracking shot through a historic cemetery in New Orleans, the camera finally coming to rest on a couple engaged in oral sex atop a grave. A quick cut to color sets up the conceit of a film-within-a-film. The black-and-white footage is a videotape being screened on a television set in Vidkid Timo’s house. Timo occupies each side of the camera, as both director and star, throughout the tape. He calls his lover to see the ugly drag queen (Timo again) giving head on the screen, and as the b/w footage returns, it is quickly established that the tape they are watching is an homage to George Romero’s low-budget Night of the Living Dead. Maximizing the self-reflection often associated with modern film theory, Timo has named the tape-within-a-tape At Twilight Come the Flesh-Eaters, and even credits himself as director, though the character he is playing is named Digiorno.
Enter Jim Buck. If anyone in gay porn deserves the title of Mr. Eye Candy, Buck does. Buck plays Alusian, ex-lover of Timo, and he has returned to stir up the shit in Timo’s happy home. The details of exactly what happens next would take up entirely too much room, so suffice to say that a detailed plot involving intrigue, betrayal and generous portions of melodrama, plot twists, red herrings and videotapes quickly unfolds. Pay careful attention; there isn’t a wasted shot.
Timo employs many strategies in the intricate construction of this movie. His editing method involves cross-cutting, but goes well beyond this through the inclusion of simultaneous multiple narrative threads. A comic detour (or is it?) involves a “Shitty Bank” credit card collection service. Bebe Powers (Waverlee M. delivers perhaps the most brilliant non-sex performance to appear in porn ever, gay or straight), the telephone-soliciting collector, switches gears from sweetly polite to corrosively vindictive without missing a beat. Her vengeance is so complete she could put Joan Crawford to shame.
More cross-cutting incorporates outrageous obscene telephone callers who punctuate the tape regularly. Of special note is the leafy greens fetishist, who covers his head with cabbage leaves, squeezes his cock with salad tongs and wants to know how Timo feels about romaine. Culled from the cream of the New Orleans underground, these callers could make you question just what does constitute a fetish, as well as watch the extremes to which a person will go to satisfy one.
Another bit of self-reflection occurs when Timo and Buck are selecting a gay porn tape at the video store. Buck picks up Mardi Gras Cowboy, and Timo comments (about his own tape) that the critics thought there was too much plot for porn. This might have been true, had the plot been tedious; but this is not the case with Timo. If there is going to be plot-heavy porn, the sex should be just as heavy, and Timo and his cast – especially Buck – deliver. Buck can fuck or get fucked with equal fervor, and this, added to his comic turns (the solution-to-no-toilet-paper scene), should easily earn him a nomination for Best Actor.
Timo’s brand of porn does more than stimulate your genitalia – it will totally fuck with your brain. And is not the brain the biggest sex organ in the body?
Genres: oral, anal sex, cumshots