Holding Trevor

I tried to care about these characters, even when two of them have tragic events in their lives.

The only thing it seems to get right is dealing with a heroin addict and hoping that your denial is reality.

Other than that, this film is pretty clumsy, the other gay guy has a music scene that doesn't fit the film and I don't remember if he even mentions his musical abilities or anything before that point.

It just seems thrown together, no sense of pacing and at the end it left me just with scrunched eyes and wondering "Did anyone proofread this before they shot it? OR point out things that didn't make sense"

Brent Gorski is solely responsible for this boring, drawn out piece of Cali based cinematic garbage. Whoever told Gorski he has talent as a writer and actor should have his (their) heads examined. 'Holding Trevor' centers around a few LA knuckleheads who think they're God's gift to everything and everyone. Guess what? Nothing could be further from the truth. Gorski plays the title character, Trevor Holden, a notorious malcontent who flutters around LaLa land looking for something meaningful with whom he can connect. He's already involved in a relationship with a self destructive heroin addict which only serves to make his life that more unhappy. Meanwhile, he's stuck in a meaningless job while trying to make it as an actor. There are no redeeming characters in Gorski's downbeat film. Can Trev change his life when given the opportunity to do so? Does anyone really care? Message to Gorski and other LGBTQ film writer wannabes: Elevate our community and stop with the stereotypical gay characters who represent a small area of our great community. Also, get your butts out of LA. Enough already. Be daring, venue is important to a story, as is character development. Contrary to what Gorski and other writers think, when referencing and critiquing the LGBTQ+ experience, stop with the premise that the sun rises and sets exclusively on Cali, especially LA. It doesn't!

Young Trevor, played by screenwriter Brent Gorski, is intelligent enough to know that it life is not on track. He is dissatisfied and feels cast adrift. Nothing will 'hold Trevor', until he finds what he wants out of life, but will he find completeness in the love that he craves?

Trevor is entangled in an unhealthy relationship with Darrell, a self-destructive heroin addict. And, Trevor is equally trapped in a boring, telemarketing job--a job which, he sees, as taking him nowhere on a dead-end road. The party scene is vapid, and I can't help but wonder why Trevor would seek comfort from something so empty and lonely?

Trevor's roommate, Andie, and Jake (a singer) are his best friends. Like Trevor, they seem to be pulled apart by boredom and discontent.

Darrell overdoses, once again and, at a hospital, Trevor meets a medical intern by the name of Ephram. Ephram, filled with ambition, gives Trevor hope. Ephram, a man of strikingly good looks, offers Trevor warmth. He also gives Trevor a chance to break out of his entanglement with Darrell, a relationship which is dragging Trevor's life consistently down. But, will Trevor find passion, romance, and security?

Trevor seems poised to make some positive changes, in his life, which includes ending his perilous relationship with Darrell. Trevor makes an attempt to patch up his impaired relationships with Andie and Jake. Trevor's celebration, of a negative HIV test, explodes in rage and sorrow. Darrell shows up, unannounced, and makes quite a scene. Then, at the same time, Ephram suggests that Trevor is not yet ready to make a commitment. When he is down, Andie also verbally attacks Trevor.

While being pulled all over the place, in conflicting directions, will Trevor be able to stand his ground and better his life?

Director Rosser Goodman (That's What I'm Talking' 'Bout, Frameline29) is given ample opportunity to explore fertile territory in Gorski's script, but fails to provide a focus on the required raw emotions. For this reason, I rate the film a 6 out of 10. Yet, with all of its flaws, the film's script shows potential for further development. I would like to see Ephram showing up, at the beginning of the film, rather than towards the end of the film. In this way, tension would increase at the start of the film, instead of midway. Additionally, the love scenes require more work, in order to make them believable. But, the film is a fair attempt, and worth seeing.

This film deals with serious issues like HIV tests, drug addiction and holding on to vulnerable people. This deserves a 3 but the working out of all these issues is damaged by disjoined scenes, almost incomprehensible dialogue ( I live in the UK and still I could not understand their messy use of English, or rather a variation of it ) and characters who jump from scene to scene without anything worthy of the word continuity. At times it holds together, then it falls apart. The camera work is all over the place literally, and overall I think it is a failure. Sadly too many of this kind of badly thought out, badly produced product is put on the market and gay film, niche market that it is, charges more than they deserve. I found it among my collection realising I had not watched it. I endured it. Also the music which is banal beyond belief fills in gaps that could have been used for the above serious issues. Trevor is not worth holding.

Trying to plumb beneath the usual emotional shallows of twentysomething L.A. gay life, Holding Trevor sometimes succeeds, but mostly comes off as a vanity project for writer-star Brent Gorski. A lad with limited screen presence, he plays a protagonist caught between a longtime boyfriend-turned-junkie, an improbably perfect Mr. Right and two high-maintenance, brattily annoying best friends. Holding Trevor comes off as Joan Crawford-esquire, star-flattering melodrama on an Amerindie scale. There are several quite well-written, well-observed scenes; director Rosser Goodman delivers a polished product with solid tech values. But a vanity-project air still pervades Holding Trevor, from the scrawny stars frequent shirtlessness to his incessant fawning-over by Kranskis character.

Melissa Searing and Eli Kranski (who is also that hoty that every movie must have or so it seems) gave good roles, Gorski is better as writer, Brannan as musician... Best scenes are sex scenes, that's indeed tastefully simulated sex. Music is grate, especially Brennan's singing (and song writing). Not so bad, G&G will do it better next time!