If the “American Pie”-style scene with quiche and a gerbil doesn’t get you, than perhaps others featuring scatological S&Mor an exploding electric stimulator will in Todd Stephens’ “Another Gay Movie.” This is son-of-John-Waters with most of the grossness but none of the essential anarchism — silly pop trash set for vid-classic status in gay households. Pic looks set for fair theatrical beginning July 28 in Gotham, Los Angeles and Philadelphia before going wide.
Foursome Andy (Michael Carbonaro), Jarod (Jonathan Chase), Nico (Jonah Blechman) and Griff (Mitch Morris) have graduated high school, but are still gay virgins. They decide they absolutely must pop their cherries before college begins in the fall. Put aside their flagrantly gay Russian teacher Mr. Puckov (Graham Norton) and bossy butch pal Muffler (Ashlie Atkinson), and this is a setting and story pointedly close to that of the “American Pie” series.
So, too, is the movie’s lumpy bridge of sequences, one jammed into the other, in which the quartet goes about their mission with predictably disastrous results. Andy discovers his dad (Scott Thompson) is only too happy to give him various anal sex toys as a present and that he’s bisexual to boot. Jarod begins with a question (“What’s a boy gotta do to get some man-snatch?”), attracts a studly softball pitcher, but finds that Griff is actually in love with him. Flamboyant Nico is more into sexual style than, uh, substance, almost beds Richard (“Survivor”) Hatch (who is glimpsed in the altogether) and nails a preening sugar daddy.
Scenes largely exist to try to upstage the one before, but one involving Puckov’s penchant for harnesses and bodily functions pretty much leaves pic with nowhere to go, and would make even the most grossout moviemakers blush.
This is a universe away from Stephens’ modest debut, “Edge of Seventeen,” but it remains a suburban middle-class comedy that loves a happy ending. Aficionados may find the pic’s various campy outrages hint at the comically disgusting bits in Waters’ early movies, but there’s nary a political reference in sight.
Production is shiny and stuffed with primary colors that come off best in Chris Anthony Miller’s production design.
