However, Toby goes home alone as the two men have agreed to take it slow.īut just as Toby is about to enter his flat, Lucas appears on his doorstep, only now Lucas is more menacing and rape-y than suave and charming.
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Through the power of boners, he convinces Toby to invite him inside, whereupon the two make-out hot and heavy.
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What the audience knows but Toby doesn’t is Lucas is a vampire!Įxcept the man on top of Toby isn’t Lucas but Lucas’ jealous ex Anthony (James MacCorkindale), who shape-shifts back into his true form when Lucas appears at the front door. Toby manages to invite Lucas inside before he bleeds out and, after lot of hissing, growling and fast-forward action, Lucas manages to fight Anthony off. This leaves Lucas with a choice: let Toby die or make him a fellow vamp. So much for taking things slow.Īnthony and Lucas prepare to do battle, yet I’m preoccupied with He makes Toby one of the undead, of course, though he at least asks Toby’s permission, as he’s a gentleman. Thoughts about doing something with that drab kitchen. Those cabinets a different color would do wonders.
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Law-Briggs wears it for the movie’s entirety.Īlas, the movie maintains a glacial pace, despite promising to ramp up the action. Hot gay men porn vampire the lair with dylan vox movie# Not only do Lucas and Toby have an angry Anthony to contend with, vampire queen who turned Lucas, Lilith (Abigail Law-Briggs, who gives the movie’s best bad performance), has returned, and she’s mobilizing her coven and summoning CGI demons from the Sega Genesis Hell to take Lucas back into to her fold, or whatever.
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Then Lucas travels to Green Screen Egypt to meet with Semech (Richard Sherwood), who I think is like an ancient vampire king (but he’s still a queen, gurl), and then I went to the kitchen to make a pot of coffee because there was no way I’d be able to make it to through the next hour and ten minutes remaining without some additional caffeine in my system.Įxperience the horror of ’90s caliber CGI. Vampires: Brighter in Darkness isn’t a work of incompetence so much as the result of writer-director-editor Jason Davitt’s grand ambition exceeding his £5.99 budget.