Peter (London) is an actor who survives a mysterious accident but suffers a concussion that makes it difficult for him to keep the details of his professional life separate from the details of his personal life. Unsure of what’s scripted and what’s reality, he struggles to piece together the truth surrounding the accident while deception unfolds amongst the crew all around him.
I really like Hank Hoffman’s style. His stories are always compelling and unique and I like the way he constructs a movie. I also feel he’s really good at giving all his characters something significant to do within the story he’s telling. In my opinion, he’s become somewhat synonymous with films that feature dark tones and twisting narratives and I dig it.
I am a big Casey Calvert fan, so the movie opening with her was an immediate plus for me. I think she’s so pretty and she’s such a good actor. Anytime I see her name on the cast list for a feature, I get excited. In “Camera Angle,” Calvert plays a writer on a popular television show alongside fellow writer Jay Smooth. While grateful for the opportunity to work on the show, they’re both mentally exhausted and frustrated with the show’s director Greg (Mclane) who has proven difficult to work with.
When the two disgruntled creators decide to take a break from their work on the show to blow off some steam, the audience is treated to a wonderful opening sex scene. There’s a ton of body worship at the start of this scene that really works as a way to connect the characters on both an emotional and physical level. I love when this type of care is taken with the sex as it relates to the characters. The scene also features a sexy standing missionary that captures Calvert’s ass wonderfully. It’s such a great position and I feel it is very underutilized in porn. Also, seeing Calvert put the condom on Smooth imbued the scene with an air of realism. The look on her face and the moan of pleasure that escapes her when she lowers herself onto his cock the first time is highly arousing. Finally, while it’s nothing new to see the female talent keep their footwear on during the sex, it was really cool to see Calvert’s shoes were a pair of fresh Converse Chuck IIs instead of some kind of expensive heels because the Converse fit her character perfectly. This was a dynamite opening to the movie.
Our introduction to Peter is an awesome overhead shot of him splayed out on the pavement with a box of donuts strewn about him. I have to take a moment to commend the camera work and editing here. Not only is the overhead zoom shot great, but the way the camera sways about as Peter stumbles and struggles to his feet, clearly still feeling the effects of his head injury, is brilliant. It disorients the viewer just as Peter himself is disoriented and it works perfectly as an immersion tactic. We watch Peter struggle to put the sequence of events together, as he can’t remember whether his wife’s name is Eileen or Allison, nor can he remember how he ended up lying on the ground or how he got to the set. He does feel pretty certain that his wife fucked someone named Ted or Greg, but he can’t recall exactly who either of them are. It’s such good execution because again, Hoffman creates a confusing scenario for the viewer that allows us to identify with Peter, who is also confused. It pulls you into the story.
When we meet Jennifer (Lebelle), she is in the middle of a torrid encounter with Ramon Nomar who works for her in some capacity. He reveals her relation to him during their very steamy foreplay, but with the unclear nature of the film’s facts to this point, it’s impossible for the audience to know whether or not they can trust the revelation. Again, it’s skillful execution of the narrative by Hoffman. What we can trust is another great sex scene featuring a lot of standing positions that really show off Lebelle’s wonderfully sculpted thighs, some beautiful shots of her ass and the pleasing visual of both performers glistening with sweat as they ravish each other.
The movie spins the audience around the “what the hell is happening” carousel once again when we are presented with Greg and Allison (Keely), who is revealed as the show’s executive producer, having a clandestine romp. The plot begins to unfold more clearly as the lovers tear into each other with lusty abandon. Mclane beats Keely’s throat up pretty good and he is really balls deep in her throughout the scene. Two or three times Keely looks to be completely overcome by leg-shaking, breath-stealing orgasms while Mclane spears her over the edge of ecstasy by literally impaling her. It’s all fairly intense.
When every deception and plot twist is revealed, the audience is sure to experience a cavalcade of “aha” moments that will bring the entire movie together in a satisfying nature.
We get a second sex scene featuring Keely, this time with Ryan Driller, that is explained with a single line of dialogue. It’s the only scene in the movie that I thought was a little out of place in regards to the story, but it does feature my favorite sexual visual in the entire film with a modified version of facesitting that put Keely’s beautifully sculpted body on display.
Peter finally gets some satisfaction in the form of a fast-paced fuck with Jennifer. There’s a very cool shot right at Lebelle’s face as she’s leaning over London’s prone body sucking his cock with her hair covering one eye. She’s sporting a lusciously lewd smile and the way her face is partially obscured right at that moment is quite pleasing. London really slams Lebelle good in this scene, particularly in doggie, and they both look spent when it’s all over.
This was another fine effort from Hank Hoffman who is quietly becoming one of my favorite directors. He knows how to tell a compelling story and he knows how to present hot sex. One thing he did a lot in this movie was allow the male talent to reach into the female talent’s panties and rub their pussy while they kissed. It can be hard to resist the urge to get the scene to the hardcore fucking quickly but Hoffman really understands that the sex is supposed to arouse all viewing parties and foreplay is a big part of arousal. It’s this type of understanding and patience that he shows routinely, that I think are going to propel him forward as a solid feature director. Marcus London did a fantastic job with his role and I thought his performance anchored the whole movie. I viewed this film on Wicked.com, so I was not able to view any special features.
Steamy sex. Attempted murder. Lying. Cheating. Revenge... Just a typical day in Hollywood. After a hit and run, actor Peter Williams (Marcus London) comes to in the middle of the street with a concussion. Confused about who he is, Peter can't distinguish between his "reel" life and "real" life! Who's cheating on who? Who's trying to kill who? What's reality and what's a figment of Peter's imagination? Expertly crafted, Camera Angle, covers all of the proverbial bases. Riveting story, awards-worthy acting and most important ... heart-racing, sweat-inducing sex!