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  • Warning: Spoilers
    Director Jim Enright and writer George Kaplan bit off more than they could chew with this sci-fi thriller starring Juli Ashton. With a VCA cast of fabulous beauties at their disposal, they present a jumbled time-travel story that includes dumb cliches rather than an exciting plot, and (spoiler alert) end it on a cliffhanger that demands a sequel to finish the tale, but none was ever released.

    Mike Horner overplays (as usual) a megalomaniacal bad guy, who escapes in time and causes fellow scientist Juli Ashton to become lost in time, while scientist hero Tony Tedeschi keeps trying to save her (she's left lost at the end of the movie).

    A stupid telepathy-contact gimmick with headset is relied upon to keep the story going, and the vignettes of different time periods, for sex scenes, are arbitrary and quite stupid. Writer Kaplan is on hand in an acting role as a fellow scientist who keeps delivering idiotic explanations as to what's happening with the Vortex machine.

    First time jump takes Juli to 1873 in Arizona, inhabiting the body of a prostitute played by Nici Sterling. It's an excuse for a threesome in a saloon/bordello and introduces the show's emphasis on anal sex (Nici getting a d.p.)

    Tedeschi in the present gets serviced in the lab by Euro superstar Vicca. Next time travel is truly asinine, as Juli ends up in her mother's body in 1970 in a sorority, having a lesbian threesome with Johnni Black and a young Rayveness.

    Meanwhile, Horner has escaped in time and taken over the body of a billionaire played by Jonathan Morgan, and has a threesome with Euro star Nikita and Melanie Stone. A wholly extraneous sex scene is added, with Morgan serviced by the great Syren.

    Final sex scene is presented in black and white, with Juli now in the body of her grandmother (!), imitating film noir in a 1940s setting, humping Ian Daniels.

    While Enright provides some fast-paced suspense, the shaggy-dog ending is horrible, leaving the viewer watiting for a Part 2 that never comes. Production values of sets for the scientific installation are good, but as a movie it's trivial and obnoxiously unsatisfying. Yet another case of falling back on the crutch that "only the sex content matters".