Writer/director David Scott's script has all the elements that are needed to make this a great film, but it is unfortunate that he fell short of his mark by making this film a less than adequate production. Although the script was very good and entertaining, the film's flow was awkwardly choppy which incorporated extended black screen transitions with audio, and although effective at first, becomes overwhelmingly tiresome by the end of the movie. The slow pacing took away any momentum that this film may have had, which contributed to this films awkwardness. The cinematography, although raw and a bit amateurish does have some very good scenes which enhances the realism of this film.The two main characters Troy (Lee Rumohr) and Merrik (Austin) were well cast to play two high school friends who developed a tumultuous sexual relationship filled with grief, deception and despair. Rumohr and Austin had great chemistry together on film which made their characters believable and real. The film itself was well cast and the rest of the actors provided depth and character development which was the film's saving grace. This film is worth watching due to the redeeming quality of the story line and acting, all which were very good. However, don't be surprised if you get irritated by the poor pacing of this film.

I was rooting for this movie, even as my every hope was smashed the whole way through: all the elements of a truly engaging, affecting, sophisticated picture are here, but they are botched beyond belief. Maybe somebody could give director David Scott a bigger budget and a staff and they could try it again from scratch.The basic premise of the movie--requited but unacknowledged love--will ring true with a lot of queer folk: "You make love to me all the time. Why can't we just be boyfriends?" (That may have been one of the lines, actually, but the sound on this movie is so very dreadful I suspect I caught less than a third of the dialog.) There's no reason this film shouldn't resonate with anyone who's been in the position to rue their beloved's denial of acceptable, respectable, publicly avowed togetherness. And I suppose it does, with those more forgiving of its many distracting flaws. Am I unrealistic in expecting a certain basic level of competence from a movie?The young actors are not without talent; or, at any rate, they are much better at what they do than the director, who frames extremely long static shots (such as that of Troy and Merrick discussing their issues in the living room) with no visual relief, no character movement, and no particular tension-building purpose. Not to mention the astonishing percentage of frames in the movie that feature Troy's obliquely downcast, unchanging stare-into-the-abyss! (Perhaps we should be thankful that Scott did not devote equal time to capturing the abyss staring back into Troy.) One is reminded of The Brown Bunny, which was built of 8 sentences, a blow job, and 80 minutes of Vincent Gallo alone and looking like he's just eaten a fistful of bear scat.Our writer-director allows his protagonist the dignity of doing the only responsible thing by the end of the movie: growing up and getting over Merrick. He even permits a cloudy, ambiguous split between them, in which the lingering affection is just as obvious as the need for separation. All this could turn a film golden, win awards, and jerk tears like nobody's business--if only there were the tiniest shard of coherent film technique backing it up.

Let me just say that they acting is so sub par that it doesn't even register on the gay-dar scale! There is little back story shown to show how these two young men have been friends and are still close - that might have helped.The notion that the Jock is gay and the off-beat roommate is just sexually curious when the girlfriend/wife isn't around doesn't take flight.The actors look at each other too longingly to keep their lust for each other a secret from the rest of the world.While the Jock is HOT - the scenes of him just standing in his underwear could have been improved if he did more than just stare - and what sex scenes that were filmed were so spliced together that they made you cringe and look away.It's difficult material to put into a movie - but lighting the film could have helped - the grainy shot with a single camera doesn't give the edge it should have.Jock man - hot in his undies, Scruffy boy - kinda hot when he finally kisses the jock for the first time.The women in the movie only served to annoy the viewer and distract from the overall production - as a stage play with just the two guys - this could be something better.At least know the jock is hot and the scruffy boy has a furry butt and doesn't kiss after gay sex, but that's normal for someone who won't admit they are gay! I can't rate it completely awful - but at least I can send it back to Netflix and never speak of it again!

I try to give independent gay cinema a break but this was hardly bearable. Not only was the plot unintelligible, the movie was so slow that I watched much of it in fast forward. I played the parts with dialog at normal speed but I kind of regret it. Not only was the sound muffled, but the dialog was awkward and unconvincing, especially the lead girl. If I knew anyone that bounced that quickly from manic rage to passivity and back, I'd definitely organize an intervention cause she needs to lay off the meth.Suppose the director was my dearest friend and I had just sat through this together, I don't think I could come up with anything positive to say about this mess. The best I can say is the boys were cute... well, when there was adequate lighting to see them or when they were in focus.