If beautiful, tall and rangy stud Tag Eriksson arrived at your saloon in the middle of the desert, on foot, and you greeted him in shorts with half of the buttcheeks area cut out (à la the Abercrombie catalog a few seasons ago), why wouldn't you offer him a hot bath to wash off the dust? You would, of course, and that's the way "Desert Pick-Up 2" begins. It's full on from there, and when the lucky hunk who greets Tag, Jason Tyler, climbs into the open-air hot tub with him, the pair's sleek, wet bodies look like fantasies come true as they gleam in the blazing desert sun. That's the first scene of outdoor sex, but every sex act takes place outside, and the light is so intense that the stud's bodies are completely illuminated. The lighting is done so professionally, though, that it only enhances their physiques and the action.
Tag and Jason, both very well endowed, enjoy each other's cocks first, leaning on the edges of the hot tub for balance. They climb out of the tub and Tag perches on an upturned bucket as Jason sits on Tag's engorged dick. The camera captures a great shot of Jason's creamy ass as he fucks himself with Tag's meat. Tag is being fucked from behind Jason as he loses it, shooting off on the ground, then Tag shoots his load as Jason kneels before him, leaving drops of cum on Jason's face and shoulder.
There's more afoot in the plot than just an unexpected arrival in the desert. Tag's car has broken down, and he enlists the help of three supposed mechanics (Brad Benton, Buck McCall and Connor Banks), who are much more interested in fucking each other than fixing Tag's car. They know how to have a three-way, even if they aren't so great in the auto repair department. They are all versatile sexually, and after some hot mutual sucking, Brad fucks Connor from behind as he sucks on Buck. But Brad being fucked by Buck as Connor leans over and sucks Brad's dick, Brad's back leaning on the hood of a beat-up old red pick-up truck, is by far the hottest scene in the entire three-way. Brad's cum-shot is very impressive. He jerks his dick fast as Buck is still fucking him, and the load flies everywhere, splatting Connor in the face. Buck, who fucks like a jackrabbit (tight in and fast) adds his cum to the load already on Connor's face.
Tag is back for the next scene, in which he hooks up with cute Marco Paris. Marco greedily sucks on Tag's uncut meat, with Tag holding onto the back of his head for control. Cleverly making use of the setting, Tag then lashes Marco to a hitching post with some rope and takes him from behind, sliding his meat into Marco's ready hole (he even gives Marco a galvanized tin bucket to stand on -- Tag's tall, remember?). Not only does Tag make use of the rope to hold Marco down as he's fucking him, he also grabs his hair and slaps his ass, pony-style. Tag is one hot motherfucker, no doubt about it. After releasing Marco from the ropes, Tag slings him down on a bale of hay and fucks him some more, then he pulls out, stands and jerks off all over Marco as Marco strokes his own dick to orgasm.
Maybe as a thank-you for the hot fucking he just got from Tag, Marco leads Tag to a hidden stash of riches that pleases the big Swedish stud a lot, but I'm not giving that plot point away here. The finale finds Tag in the same situation from the beginning -- naked in a tub, under the hot sun. This time, though, it's one of those big old-fashioned washtubs, not a modern hot tub.
Two Camerons, namely Sage and Fox, join him. As Tag sits in the tub, the two Camerons force his mouth onto their dicks in turn, and Tag then gets the same treatment from each Cameron. Cameron Fox's huge cock sways in the breeze as the scene progresses in heavy oral action, with the guys trading dicks and mouths in every conceivable combination. For the big (literally) finish, all three hunks sit on the edge of the washtub and jerk off, Tag's big, tasty-looking uncut meat reaching for the skies even when he's not touching it. Sage goes first, his white stuff gushing as he jerks off, then Tag shoots a volley of cum that lands on his flat, tan belly. Finally, Fox blows it, dropping his cum into the washtub.
This is an excellent production, well directed by Dylan Ryan. The photography captures both the beauty of the men and the picturesque desert setting, and the puka-shell necklaces are divine (just kidding about that last one).
DVD features: Chapter index; cum-shots-only chapter; model bios; trailers; and playable worldwide (no regional coding, with Macrovision copy-protection). A DVD Review by Martin Cox
Desert Pick-Up 2, from Jet Set Productions, is more a follow-up than a sequel to that studio's popular 2001 hit. Despite the title tie-in, the new offering utilizes none of the original cast members and no continuation of the initial story line, although the locations are similar (but not the same) as before. None of this matters a great deal, except by way of clarification, for this second entry boasts another hunky cast, another slight tale of undiscovered wealth and another quartet of al fresco sex scenes under the desert sun.
Something Desert Pick-Up 2 has that its predecessor did not, however, is a luminous performer who appears in three of the four scenes. His name is Tag Eriksson, and he first came to viewers' attention last year as the star of Jet Set's award-winning The Hole. Here he is first seen hiking across the arid landscape in tank top, shorts and work boots. Tall, handsome and totally at ease before the camera, he exudes both an edgy masculinity and a sweeter, softer side that give him a pansexual allure. Even before he has spoken a single word or revealed his hefty dick and sculpted buttocks, one senses that he may well be a major screen presence. And then he sucks and fucks. Within moments, one's initial suspicions are confirmed he is a superstar in the making.
At the end of his desert trek, Eriksson comes upon the raven-haired Jason Tyler (with his cupcake buttocks peeking out of his torn shorts). It seems our star's truck has broken down, and he is searching for a saloon owned by a friend of his. Tyler points him in the right direction, and soon (though the friend is not there) Eriksson makes himself right at home by stripping down and slipping into the outdoor hot tub behind the place. A moment later, Tyler has joined him. Under the blazing sun, neck-deep in bubbling water, they waste no time in connecting. Kisses quickly escalate to mutual blow jobs (in and out of the tub), and Eriksson immediately displays his vast oral talents, including effortless deep-throating. He does seem to love having his mouth filled with cock -- and Tyler's oversized meat certainly fills it -- but before long, he announces, "I want to fuck you."
Tyler seems as hot for the idea as Eriksson is, and they charge into a standing doggie fuck, followed by a bouncing lap fuck on a nearby keg, followed by a return to the doggie position before they blow their loads. Both are lusty sex ponies, and they race through the scene like thoroughbreds, but director Dylan Ryan (and his unbilled videographer) seem to keep their distance from the heat in a series of long and medium shots that rarely allow the camera (and, therefore, the viewer) to become an integral part of the action. Even the close-ups seem strangely removed from the heat of things. Nonetheless, this is by far the best sequence of the entire film, a compelling (if not inspired) look at two blue-ribbon specimens who, one suspects, could have been shown to better advantage.
The second scene involves a trio of mechanics, all lean brunets (Brad Benton, Conor Banks, and Buck McCall), who come to repair Eriksson's truck and who seem inordinately anxious to get him out of the area. Even so, of course, their gonads get the better of them, and within moments, they are naked and chowing down on one another on and around the bright red truck. Banks, whose left shoulder and right thigh and buttock are embroidered with elaborate tattoos, services and then bottoms for the other two in a series of oral-anal sandwiches, and his tight little body gets quite a workout.
Benton is the powerhouse who drives the scene, but McCall is no slouch, especially when it is his turn in the saddle. He drills Banks double-time, then changes condoms to plow into the versatile Benton (half-suspended in mid-air from the hood of the truck). In time, they shift to standing doggie, and McCall slips into overdrive, but Benton meets his every thrust and fires off a load while being pounded. Here director Ryan's camera moves in closer and captures more successfully the kinetics of the scene, but there are too many quick dissolves (suggesting missing shots that prevent a natural, believable flow) and some shots go on too long (depriving the scene of its maximum build). Even so, the episode percolates nicely, and Benton is, as always, a welcome sexual presence.
The third sequence finds Eriksson ready to leave, but he cannot find the keys to his truck. While waiting, he notices a stranger standing atop a nearby water tower. (Marco Paris, whose foreign accent mangles the dialogue). Their subsequent conversation reveals why Eriksson is so anxious to find his friend, and Paris provides him with answers after they get their rocks off beside a handy hitching post. Eriksson sucks and fucks with his usual elan, at one point even utilizing a length of rope as a bridle and harness on Paris. Both deliver strong money shots, but Eriksson's is captured in a truly stunning shot from between his legs as he stands over Paris and rains spooge down on him. As is to be expected, the viewer cannot take his eyes off the star, but the scene would have been far more arousing if Eriksson had been partnered with someone more worthy of him.
As a result of revelations in the previous scene, Eriksson is now a rich man, enjoying his wealth by lolling in a tin bathtub in the middle of the yard, and the film moves toward its conclusion. Two itinerant ranch hands (Cameron Fox, looking more scruffy than usual with sideburns and a goatee, and Cameron Sage, as pale as ever) stroll in, looking for work. In no time, the three of them are sampling one another's rigid rods, and the episode begins at a high level. The knowledgeable viewer recognizes that here are three notable tops and eagerly speculates on which one will give up his ass in this scene. Alas, it never happens -- the scene remains strictly oral -- which seems something of a letdown for the final scene of a film. (This problem might have been simply solved by switching the casting of Paris and Fox. Fox could have handled the dialogue in scene three better, an all-oral scene would have provided a nice variation in third position, and both Eriksson and Sage would have had Paris to fuck for the finale.)
Desert Pick-Up, then, is a mixed bag. Director Ryan is a most promising journeyman director, and the sexual heat he manages to ignite in the four scenes of this 78-minute film shows flashes of an erotic imagination that should be nurtured for upcoming films. In the meantime, he is blessed (and so is the viewer) by the presence here of Tag Eriksson, who single-handedly makes this production eminently watchable.
- Jerry Douglas
