Trust an old-timer like the venerable Tim Kincaid (a/k/a "Joe Gage") to demonstrate to the clueless masses of today that safer sex, at least when approached by a master filmmaker, can be way hotter than hell bent for leather bareback despair. Responsible of course for the legendary trucking trilogy of the '70s (consisting of KANSAS CITY TRUCKING CO., EL PASO WRECKING CORP. and L.A. TOOL & DIE), Kincaid instinctively knows what makes for a great man to man sex scene. The key words to his art and, no, this is not too lofty a term for it are desire and anticipation, both indelible aspects of the seduction ritual. Novice viewers weaned on the formulaic fornication fare of recent years might be disappointed that several of the encounters don't go as far as they're used to. Kincaid stays completely true to himself and allows each sexual scenario to play out logically and naturally, undeterred by the "set menu" of positions and techniques his fellow filmmakers have rigidly adopted ever since VHS (and subsequently DVD) supplanted theatrical screenings. This means that not every scene will include mutual oral pleasuring and/or rectal penetration with a traditional "pop shot" on the partner's belly or back. No, what this movie dares to offer is something current gay porn audiences may have forgotten even existed and that is honest to goodness eroticism, born out of spectacular cast chemistry and genuine enthusiasm. More than any other film in recent memory, TULSA COUNTY LINE shows men thoroughly enjoying one another's company rather than merely going through the motions of professional intercourse.
With a superstar cast adhering to his well-established preference for rugged, manly men, Kincaid has fashioned the type of free-wheeling, almost "stream of consciousness" narrative familiar from his past classics. Rather than playing characters, the actors portray iconic gay porn archetypes, often defined by uniform, allowing hitherto unremarkable performers (who, it appears, have simply not been exploited to their full potential elsewhere) to acquire larger than life stature. Over the course of a single day, a pair of Oklahoma park service deputies cruise the titular county line, spotting several characters (farmer, traveling salesman, delivery guy, etc.) in search of sexual release. The slightly grizzled older guy is hunky Jason Branch, the formerly clean-cut boyfriend of hirsute Blake Harper, casually instructing his nervous new partner Jake Armstrong on their outwardly deadening daily routine. Right from the start, there's electricity in the air between these two who contrast in everything from appearance to experience, knowingly mirroring the central mentor/pupil relationship in Kincaid's almost abstract KANSAS CITY. In a stylized men's room setting, hung veteran performers Chad Donovan and Alex Carrington, as a shirt 'n' tie wearing sales rep and farm hand respectively, circle one another, stroking their massive wands. Using each other for visual stimulation, they inch ever closer yet never touch. This sets the tone for scenes to come, desire building up gradually till breaking point.
Luscious Logan Reed has never looked hotter, unwittingly delivering a video camera to bored buddies Matt Sizemore and Nino Bacci, who decide to fool around a bit, testing the equipment by teasing the delivery guy out of his uniform. Catching up with the times, Kincaid sets up an internet chat session between rough 'n' ready Christian Owen and boyish Deacon Frost. When the latter's sleeping cousin Rocky inadvertently wakes up and decides to join in on the web cam fun, the scene reaches boiling point. Construction worker Mark Reed (from Jim Steel's THE JOINT) has an appointment for his regular check-up with slightly creepy doctor Clint Cooper, who was such an awesome slut pig in Chi Chi LaRue's excellent ECHOES. The rectal exam causes Reed to sport an initially embarrassing erection, which is soon put to good use by the good medic in one of the film's most scorching scenarios. Looking mighty fine, well over a decade since his late '80s heyday, Chad Johnson as the "Fish & Game Deputy" comes knocking, ostensibly looking for his son, at the door of a tantalizing trio of twinks who have just discovered their parents' stash of porn. Interrupting their sizzling solo action, Chad proves the years have been kind in a spectacular May/December roundelay. For the record, the youngsters are Jeremy Jordan, Ethan Richards and Derrick Mills. As the sun sets on yet another working day, Branch takes his charge to a secluded barn where he taunts him for sneaking peeks at his bulging crotch. Almost casually releasing Armstrong's pent-up frustrations, his Svengali decides to complete the initiation by introducing him to his band of buddies shades of the infamous "Gage Men" who congregate to watch sports and circle jerk. During this deceptively simple final sequence, not a word is spoken yet everything's eloquently conveyed through looks and glances.
Kincaid's otherworldly approach to a nominally realistic if stylized environment is helped no end by fluent camera work, courtesy of stalwart Hue Wilde (a/k/a "Steven Walker"), emphasizing a sense of space or lack thereof through constantly shifting perspective without drawing attention unto itself. Equally effective is the odd, discordant yet strangely befitting soundtrack by Mats Broder, as far removed from "traditional" porno music as can be, though magnificently employed to achieve a mood that's both haunting and alluring, inexorably drawing viewers into its netherworld of lust as effortlessly awakened as it is accomplished. Pushing just past the boundaries of the new millennium, Kincaid has fashioned a masterpiece that can bear comparison to his awesome past achievements. Long live the King !
With a superstar cast adhering to his well-established preference for rugged, manly men, Kincaid has fashioned the type of free-wheeling, almost "stream of consciousness" narrative familiar from his past classics. Rather than playing characters, the actors portray iconic gay porn archetypes, often defined by uniform, allowing hitherto unremarkable performers (who, it appears, have simply not been exploited to their full potential elsewhere) to acquire larger than life stature. Over the course of a single day, a pair of Oklahoma park service deputies cruise the titular county line, spotting several characters (farmer, traveling salesman, delivery guy, etc.) in search of sexual release. The slightly grizzled older guy is hunky Jason Branch, the formerly clean-cut boyfriend of hirsute Blake Harper, casually instructing his nervous new partner Jake Armstrong on their outwardly deadening daily routine. Right from the start, there's electricity in the air between these two who contrast in everything from appearance to experience, knowingly mirroring the central mentor/pupil relationship in Kincaid's almost abstract KANSAS CITY. In a stylized men's room setting, hung veteran performers Chad Donovan and Alex Carrington, as a shirt 'n' tie wearing sales rep and farm hand respectively, circle one another, stroking their massive wands. Using each other for visual stimulation, they inch ever closer yet never touch. This sets the tone for scenes to come, desire building up gradually till breaking point.
Luscious Logan Reed has never looked hotter, unwittingly delivering a video camera to bored buddies Matt Sizemore and Nino Bacci, who decide to fool around a bit, testing the equipment by teasing the delivery guy out of his uniform. Catching up with the times, Kincaid sets up an internet chat session between rough 'n' ready Christian Owen and boyish Deacon Frost. When the latter's sleeping cousin Rocky inadvertently wakes up and decides to join in on the web cam fun, the scene reaches boiling point. Construction worker Mark Reed (from Jim Steel's THE JOINT) has an appointment for his regular check-up with slightly creepy doctor Clint Cooper, who was such an awesome slut pig in Chi Chi LaRue's excellent ECHOES. The rectal exam causes Reed to sport an initially embarrassing erection, which is soon put to good use by the good medic in one of the film's most scorching scenarios. Looking mighty fine, well over a decade since his late '80s heyday, Chad Johnson as the "Fish & Game Deputy" comes knocking, ostensibly looking for his son, at the door of a tantalizing trio of twinks who have just discovered their parents' stash of porn. Interrupting their sizzling solo action, Chad proves the years have been kind in a spectacular May/December roundelay. For the record, the youngsters are Jeremy Jordan, Ethan Richards and Derrick Mills. As the sun sets on yet another working day, Branch takes his charge to a secluded barn where he taunts him for sneaking peeks at his bulging crotch. Almost casually releasing Armstrong's pent-up frustrations, his Svengali decides to complete the initiation by introducing him to his band of buddies shades of the infamous "Gage Men" who congregate to watch sports and circle jerk. During this deceptively simple final sequence, not a word is spoken yet everything's eloquently conveyed through looks and glances.
Kincaid's otherworldly approach to a nominally realistic if stylized environment is helped no end by fluent camera work, courtesy of stalwart Hue Wilde (a/k/a "Steven Walker"), emphasizing a sense of space or lack thereof through constantly shifting perspective without drawing attention unto itself. Equally effective is the odd, discordant yet strangely befitting soundtrack by Mats Broder, as far removed from "traditional" porno music as can be, though magnificently employed to achieve a mood that's both haunting and alluring, inexorably drawing viewers into its netherworld of lust as effortlessly awakened as it is accomplished. Pushing just past the boundaries of the new millennium, Kincaid has fashioned a masterpiece that can bear comparison to his awesome past achievements. Long live the King !