Tom of Finland: Master Cut

This ambitious, five-part series from Men.com is packed with star power as it celebrates the enduring influence of the late erotic illustrator Tom of Finland. Beginning in the 1950s and moving forward through the decades into the present day and then to the future, six filmmakers offer personalized interpretations — from the literal to highly stylized — with the help of A-list skin stars.

The series was produced in partnership with the Tom of Finland Foundation.

“Tom of Finland: 1957” is an idyllic interlude as shy photographer Theo Brady furtively wanders through a lush forest and crosses paths with a handsome fisherman (Kurtis Wolfe). They begin to make love when a police officer (Matthew Camp) appears and amps the sexual stakes.

Brady, slim and blond, is adorably cute, but Camp and Wolfe are both Tom of Finland drawings come to life. Camp, especially, in his skintight uniform is an eye-popping dream. Brady watches as the muscular studs enact a dominant/submissive scenario and then joins them for a threesome, leading to a double-penetration. Their sex takes on a tender, sensual and dreamlike quality.

Camerawork, editing and sound recording — wind blowing through the canopy, distant birdcalls — are particularly noteworthy.

Camp returns in “Service Station,” helmed by Bruce LaBruce, the acclaimed indie filmmaker who earned a 2019 XBIZ Award for directing the superb feature “Flea Pit” for CockyBoys. His contribution to the series is comic and erotic in equal measure.

A suited-up DeAngelo Jackson, in perfect period costuming, pulls into a snowy gas station (the actual station is named “Tom’s Service”) as Camp struts into view and immediately catches Jackson’s attention — particularly when the muscled stud unzips his tight jumpsuit and bares his chest and rock-hard nipples to the cold. Jackson gestures for him to approach and Camp leans into the driver’s side window to make out and then deliver a blowjob as traffic whizzes down the road behind them and snowflakes fall. Brassy horns and percussion on the soundtrack are an ideal accompaniment.

Indoors, the comely pair of Ricky Roman and River Wilson are already sucking face as Camp and Jackson make it a foursome; the latter pair virtually devour each other and the heat picks up as Camp fucks Jackson across a work table with assured confidence. The latter receives a special wipedown from the customer service-oriented studs.

Terry Miller makes his directorial debut with “Leather Bar Initiation,” shot on location at the iconic Eagle LA bar in Los Angeles. A bashful Nate Grimes is loitering outside the Eagle as the sun sets over Santa Monica Boulevard and finally works up the courage to step inside as driving hard rock blares on the soundtrack.

Inside he finds Dirk Caber, Jaxx Thanatos and Wolfe in their leathers. A studly bartender (Miller) invites Grimes to strip off his shirt in exchange for a beer, which draws the interest of muscle bear Thanatos. They stroke each other’s bodies and kiss and as Thanatos dives into his armpits, Grimes is motherfuckin’ ready to go, go, go.

Nearby, Wolfe and Dirk Caber are engaged in their own passionate, pre-sex flirtation. They join Thanatos and soon Grimes in on his knees servicing all three studs, including impressive deep-throating.

Grimes gasps and groans as Wolfe and Thanatos deliver piledriving fucks that lead to a bout of handballing delivered by Caber. The power-bottom’s eyes roll back into his head as Caber fists him to orgasm. Having passed his initiation, Grimes grins ear-to-ear as the studs kit him out in Tom of Finland leather and sunglasses with an eager promise to return the following night.

A fourth vignette is titled “Pleasure Park” by filmmaker Matt Lambert and toplines slender, beautiful CockyBoys exclusive Sean Ford (who has become something of a muse for a variety of indie filmmakers, photographers and artists) and a passel of slim, lovely young bucks — Joey Mills, Tannor Reed, Angel Rivera, Wilson — for what plays out as a home movie capturing an underground rave.

Shot in low, natural light with a handheld camera, and frenetically edited, the scenario is energetic and playfully silly; Lambert also reconceived the film as a ‘zine and pop-up art installation with photos, illustrations and design by Berlin artist Stefan Fähler. That stylized, punkish aesthetic is clear as the young hunks hook up and fuck.

The concluding segment moves the Tom of Finland aesthetic ahead with “Future Erotica,” co-directed by Alter Sin and Francois Sagat. The vignette begins with a trippy animated sequence (by Jason Ebeyer) featuring Sagat — a striking figure even in pixel form — and abruptly cuts to live action as the inked muscle stud strides in slow motion down a stark, mirrored hallway lit in reds and yellows with naked men in display cases.

The action shifts between an alien animated landscape replete with phallic imagery and swirling camerawork and the live-action Sagat at the center of a foursome featuring Jackson, Ty Mitchell and the heavily inked Mickey Taylor with highly stylized lights, costuming and camerawork.

Mitchell and Taylor are both sexual firecrackers and pair nicely with Sagat and Jackson, who are stoic performers and respond well to forceful, passionate bottoms. Their sexplay ends this celebration of the unforgettable, influential imagery of Tom of Finland on a high note.