Pit Stop

“Gabe” (Bill Heck) has come to his awakened homosexuality later in life, after garnering an ex-wife and a daughter along the way. On the other wide of town, this are even more complex for the openly g... “Gabe” (Bill Heck) has come to his awakened homosexuality later in life, after garnering an ex-wife and a daughter along the way. On the other wide of town, this are even more complex for the openly gay “Ernesto” (Marcus DeAnda) who is in the final throes of his relationship with his own ex-boyfriend while that man’s predecessor sits in an hospital bed, comatose, after an accident and serves to remind “Ernesto” of happier times. “Gabe” has had a few dates with men, but they’ve hardly been stellar successes so when he meets “Ernesto” is there any chance of a new start for either, or both, of them? This sort of comes alive during the last ten minutes, or so, but for the vast majority of the time it is a meanderingly contrived drama that shovels up as much bad news and as many gloomy scenarios as it can to depict both men’s lives as depressingly unfulfilled, despite the fact that neither really have any external pressures upon them to cause this degree on largely self-inflicted misery. Nobody’s acting is really worthy of note, nor is the wearisome photography or the dialogue and after about an hour I can honestly say I couldn’t have really cared less what happened to either man. It tries to depict some of the inner conflicts faced by it’s characters, but really just for the sake of it. Nothing new here, sorry.

“Gabe” (Bill Heck) has come to his awakened homosexuality later in life, after garnering an ex-wife and a daughter along the way. On the other side of town, things are even more complex for the openly... “Gabe” (Bill Heck) has come to his awakened homosexuality later in life, after garnering an ex-wife and a daughter along the way. On the other side of town, things are even more complex for the openly gay “Ernesto” (Marcus DeAnda) who is in the final throes of his relationship with his own ex-boyfriend (Alfredo Maduro) while that man’s predecessor sits in an hospital bed, comatose, after an accident and who serves to remind “Ernesto” of happier times. “Gabe” has had a few dates with men, but they’ve hardly been stellar successes so when he meets “Ernesto” is there any chance of a new start for either, or both, of them? This sort of comes alive during the last ten minutes, or so, but for the vast majority of the time it is a meanderingly contrived drama that shovels up as much bad news and as many gloomy scenarios as it can to depict both men’s lives as depressingly unfulfilled, despite the fact that neither really have any external pressures upon them to cause this degree of largely self-inflicted misery. Nobody’s acting is really worthy of note, nor is the wearisome photography or the dialogue and after about an hour I can honestly say I couldn’t really have cared less what happened to either man. It tries to depict some of the inner conflicts faced by it’s characters, but really just for the sake of it and for something that ought to have been emotionally charged, it’s all pretty flat. Nothing new here, sorry.