Madonna: Innocence Lost

(USA / Canada 1994)

“I take what I need and I move on. And if people can’t move with me, well then I’m sorry.”

— Madonna

Wow, I completely forgot about this tawdry exposé made for TV — American TV, which is even worse — chronicling Madonna’s early years in New York City. It aired on Fox in the mid-nineties, and it’s actually amazing only for how awful it is. All the stops are pulled out, and it’s a trainwreck: the overriding theme is that Madonna is an ambitious whore. OK, National Enquirer.

Based on Christopher Andersen’s 1991 biography — totally unauthorized, I add — Michael J. Murray’s script is just plain sad. Some of it is remarkably accurate, but some of it…not so much. I recognize every single interview where he culled material to tell the Material Girl’s story — in Time, Rolling Stone, Vanity Fair, Interview, and a few other magazines. He doesn’t just lift background, he lifts dialogue. Verbatim. That opening monologue is straight from a letter to Stephen Jon Lewicki in which she begs to appear in his softcore film A Certain Sacrifice. The characters are all real people even if their names are changed: her donut shop manager (Kenner Ames), Dan Gilroy (Jeff Yagher), Camille Barbone (Wendie Malick), Mark Kamins (Mitch Roth), Seymour Stein (Don Francks), frequent collaborator Steve Bray (Ephraim Hylton), and last but not least her father, Silvio Ciccone (Dean Stockwell).

I’m mildly impressed that her mother (Jenny Parsons), shown entirely in black and white flashbacks, even comes up. And the many guys she slept with, some of them with a purpose. And that gumcracking? Brilliant!

Terumi Matthews plays a young Madonna, and to her credit she nails the megastar’s ideosynchrocies perfectly! I’ll give her that. However, the vignettes and Catholic imagery stolen straight from the video for “Oh Father” are so lame that I feel like I should say a rosary after seeing this. So should you. Don’t even get me started on where this story starts — the first MTV Video Music Awards? Really? She was already on her second album by then.

Anyway…Madonna: Innocence Lost is not flattering, but it’s still a hoot. It plays on Madonna’s bad side, like “Blond Ambition” is a bad thing. The problem is, this approach fails when you’re dealing with someone who used that very name for one of her biggest tours. Shocking? Fuck no.

With Diana Leblanc, Nigel Bennett, Dominique Briand, Tom Melissis , Christian Vidosa, Dino Bellisario, Kelly Fiddick, Gil Filar, Maia Filar, Diego Fuentes, Matthew Godfrey, Evon Murphy, Stephane Scalia, Chandra West

Production: Fox Television Studios, Jaffe/Braunstein Films

Distribution: Fox Network, RTL Entertainment (Netherlands), True Entertainment (UK)

90 minutes
Rated TV-14

(YouTube) D+

King Cobra

(USA 2016)

Well now, Justin Kelly’s King Cobra looks like a film with some serious bang: it depicts the salacious, sensational, and supposedly true story of tres popular real-life gay porn actor Sean Lockhart b/k/a Brent Corrigan’s messy entry into the porn industry. Packing loads of scandal and suspense, it comes with a denouncement of sorts from Lockhart himself (https://www.google.com/amp/www.gaystarnews.com/article/brent-corrigan-condemns-gay-drama-king-cobra-bastardising-story-life/amp/?client=safari). Oh, and the money shot: a wad of bona fide Hollywood stars all in on the action. Hot yet? Not so fast, Jack: if there’s one thing I’ve learned from many an opportunity to view gay porn, it’s that looks are deceiving and the movies rarely live up to their promise. Assessing King Cobra therefore demands some deeper probing to get to the bottom of it.

Taken from Andrew E. Stoner and Peter A. Conway’s true crime exposé Cobra Killer: Gay Porn, Murder, and the Manhunt to Bring the Killers to Justice, Kelly’s screenplay gets into the real 2007 murder of Bryan Kocis, the owner and operator of Cobra Video, a real gay porn production company. As such, it makes sense that Kelly doesn’t focus on Corrigan as much as he does on Stephen (Christian Slater), a thinly fictionalized version of Kocis. A forty-something professional photographer turned producer of twink skin flicks, Stephen “discovers” Lockhart (Garrett Clayton) and signs him to make videos in a room of his suburban home in Dallas Township, Pennsylvania. Lockhart becomes Brent Corrigan, a name he plucks from the phone book, and proves to be an internet superstar as a bareback bottom. Things are strained—Stephen is clearly smitten with Lockhart, who moves in with him and does menial chores like yard work and scrubbing toilets around the house shirtless when he’s not shooting porn. Plus, Stephen is doughy and creepy. Lockhart realizes he’s being exploited and sees his potential to make a lot more money on his own. The shit hits the fan when he walks away from his contract with Cobra only to find that he can’t use his porn name because Stephen trademarked it.

Enter psychotic couple Harlow (Keegan Allen), a porn actor and rent boy, and his intense, overbearing boyfriend, Joe Kerekes (James Franco), owner of Viper Boyz, a smaller porn production company. Kerekes is a half million dollars in debt thanks to their ridiculously expensive lifestyle, which is starting to disintegrate. He’s got an idea for a sure moneymaker: Harlow and Corrigan together in a porn. They meet Lockhart, who wants to work with them but can’t use his lucrative name. Desperate to make it happen, they come up with a way to solve Lockhart’s dilemma: get rid of Stephen.

Although I didn’t love it, King Cobra is not terrible. In fact, it’s a noticeable improvement over Kelly’s first film, last year’s I Am Michael (https://moviebloke.wordpress.com/2015/10/24/i-am-michael/). That said, it still suffers from the same deficiencies. If anything, it feels underdeveloped. The two subplots—the storyline with Stephen and Lockhart, and the one with Joe and Harlow—take too long to intersect; when they do, King Cobra devolves into a gay slasher flick. Ho hum. Molly Ringwald and Alicia Silverstone are okay in their roles as Stephen’s sister and Lockhart’s mother, respectively. However, their characters are superfluous and don’t fit into the story—it’s as though they’re dropped in just to give the actors a part in the film so their names can be included on the poster. Oh yeah: another film with Franco playing a gay guy, only this time he gets his butt plowed. Big wow. For a film about the gay porn industry, King Cobra is shy about nudity; it comes off as sanitized cable soft core lite. It’s not even the whole true story; Rolling Stone ran a story about the murder of Kocis in a September 2007 issue: http://www.rollingstone.com/culture/features/death-of-a-porn-king-20070920. Kelly takes some generous artistic license, leaving out parts of what happened (and thus arousing the real Lockhart’s ire).

Kelly’s script is so overboard on gay clichés that it rings hollow. Just as he did in I Am Michael, he again gives superficial treatment to his characters here and doesn’t quite get into their heads, leaving them flat—though he does a better job with Stephen and to a somewhat lesser degree Lockhart. Kelly seems drawn to the dark side of the gays, and I won’t fault him for that. However, his way of portraying this dark side is amateurish and uninformed, recalling films like Cruising and Basic Instinct. Having seen the only two films he’s made, I have to wonder whether he knows any gay people.

I’ll end this on a positive note: Clayton is the real star of this picture. He plays Lockhart as a diva hustler, one with an agenda that no one is getting in the way of. He’s pouty, arrogant, bitchy, so stuck on himself, and unapologetic about it all. He’s brilliant! The scene where a makeup artist touches up his butt says it all.

92 minutes
Not rated

(Home via iTunes) C-

http://www.ifcfilms.com/films/king-cobra

http://gowatchit.com/microsite/4274?gwi_origin=tracking_link&gwi_origin_context=microsite#upcoming_theaters-11402