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From <I>Andel in America</I>
From Andel in America

 Gay Video Review Gay Video Reviews Archive  
July 2002 Email this to a friend
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Andel in America
By Giacomo Tramontagna

Andel in America
Rating: 3 Stars
Produced by Dan Cross. Directed by Chi Chi LaRue. Written by Chris Steele. Videography by Ed Maxxx. Edited by Andrew Rosen. Music by J.D. Slater. Starring Andel, Brad Benton, Drew Larson, Jason Hawke, Derik Thor, Parker Williams, Evan Taylor, Tino Lopez, and Devon Barry.
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Andel, the most charismatic member of William Higgins's Prague-based rep company, dropped out of sight after Andel's Story 2 in 1999. Now he's back and working in the USA. In Andel in America, his first assignment for Chi Chi LaRue, his acting is shaky, and his efforts to read lines in English are strained-- he can barely negotiate speeches like "Yah, beer make me horny." Hardly anyone will care. The name Andel ("Angel") still seems earned; he's like a tall, soldierly cherub. And he's one of those rare Czech models who seems genuinely into gay sex.

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Here he's paired with Brad Benton, who consoles him when his main squeeze, Drew Larson, goes off to New York on some sort of performance gig shortly before 9/11, and then with Larson, who somehow (via teleportation?) makes it back to the West Coast the morning after the World Trade Center catastrophe. In both scenes, Andel shows a propensity for dipping his fingers into the nearest butthole and then sticking them in his mouth; he and Larson indulge in some sharp reciprocal fucking.

9/11 porn was inevitable, but this early addition to the subgenre feels thin and a bit creepy, thanks to Chris Steele's sketchy script and LaRue's typically halfhearted attention to story elements. The premise does provide an excuse for Andel literally to wrap himself in an American flag, and for a sequence where a cop and a fireman suck and fuck in a red, white and blue dream environment. In the preceding, more successful sequence, where guests at Larson's going-away party fall into a lively post-party four-way, the scene is at best tangential to the plot, but creates its own reasons for being.


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