In a sign of the film’s dismal “cleverness,” Speed Kills is loosely based on the life of Don Aronow but, here, he’s called Ben Aronoff, and he’s brought to life by Travolta as a cocky faux-gangster who celebrates every racing and business triumph with champagne. Bush?!? Such madness can be yours if you take a ride with this most absurd and inane of cinematic endeavors, which, no matter the format in which it’s experienced, is a new nadir for its famous lead. 16), a thinly veiled biopic of cigarette boat magnate Don Aronow that’s so clumsy, you can practically hear it clanking and clunking along as it lurches from one unrelated and unintentionally hilarious scene to another.ĭid I mention that, for cinephiles who want to enjoy their amateurish entertainment from the inside, you’ll also be able to watch an episodic companion-piece version of Speed Kills in virtual reality? The thrill of Travolta’s mannered acting! The cornball fury of Kellen Lutz! The intensity of Tom Sizemore looking like he’s about to keel over from who-knows-what! The excitement of Matthew Modine momentarily showing up to cackle like a maniac as. And nonsensicality is the only thing delivered by John Luessenhop’s drama (in theaters and on VOD Nov. If Travolta seems like a pale photocopy of his former self in Speed Kills (whose posters are instant camp classics), it’s partially due to the fact that the film, like Gotti before it, is a wholly inept affair that allows its A-list headliner to ham it up at every possible moment, no matter the nonsensicality at hand.
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Delivering a veritable compendium of awkward movements and strained smiles, he’s like an animatronic robot lookalike of the Saturday Night Fever and Pulp Fiction icon.
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Whether he’s facing off against a professional adversary, arguing with his mob benefactors, or enjoying a romantic moment with one of his many paramours, Travolta furrows his brow and squints his eyes like he’s desperately holding something in, all from beneath a hairpiece that appears to have been glued carelessly onto the top of his head. In Speed Kills, John Travolta refines a look he heavily relied upon in June’s Gotti: a wincing, pained expression that suggests he might be angry, or he might be sad, or he might just be constipated, which is making him angry and sad at the same time.