This movie doesn't start well. The initial presentation is jarring, with so many rapid cuts, jump edits, and hard-to-read text messages popping up that I was practically begging for a stable shot – even a stationary object like a tree would have helped. Then “Doc” (Tanner Cohen) appears and, after consuming quite a bit of whisky and soda, explains he's completely infatuated with "Go" (Matthew Camp), a go-go dancer. However, he lacks the courage to approach him, let alone confess his feelings. It’s late when he makes what seems like a major online blunder: sending an email to “Go” claiming he’s making a documentary and wants him to participate. The next morning, hungover and embarrassed, he's surprised to receive a reply – he’s invited to the club to meet! Things really pick up from there as Camp, who is undeniably charismatic and energetic, leaps over scaffolding and says hello. What follows is roughly forty minutes of film that does offer some insight into the world of dancers earning money through physical contact while these two men begin to learn more about each other. “Doc” comes across as naive and easily influenced, finding sexual satisfaction "digitally," whereas his new friend is exceptionally confident and experienced in the sex industry. As they spend time together, the younger man becomes increasingly drawn to him, and when they finally become intimate, he genuinely believes something meaningful could develop. What are the odds? Once you adjust to the hectic visual style, I found their portrayals to be quite genuine. In a gay film landscape often dominated by a certain aesthetic – as “Go” himself puts it, khaki pants and polo shirts – these two characters present a cultural contrast within that culture. The conversation moves between playful banter and more thoughtful exchanges. There’s an honest depiction of how gay people navigate casual sex, commitment issues, conformity, or using flamboyance to mask other intentions, all portrayed by actors who seem to genuinely like one another. It also includes a notably extended sex scene, presented without the usual tricks – no hidden cameras or strategically placed towels – to suggest physical interaction. There’s even laughter, though we don't see what they are laughing at! Unfortunately, it loses momentum after about an hour and relies on prolonged musical sequences to fill time before arriving at a point where it could have taken more risks. Those who saw Cohen in “Were the World Mine,” the enjoyable Shakespearean adaptation, will likely know what to expect from him here. Camp, though, is the standout performer, captivating from the very beginning, and I really enjoyed this film.

Source on TMDB