Jill Kelly had a pleasant hit with "Graced", a fantasy by Toni English/Kelly Holland, but unfortunately assigned the sequel to Kelly's partner in crime years later over at Penthouse Video (for perhaps 100 mediocre videos between them), Cash Markman, who botched it up real good.
The beautiful actresses playing witches had character names in Steve Chase's script for the original, but Cash drops them, substituting their stage names, and alters other key elements of the plot (e.g., substituting idiotically magic dust for the magic potions). He insists on dumb jokes in the dialog, all falling flat and helping to kill off the movie.
Repeating this time are Kelly contract girls Ashton Moore, Tyler Faith and the superstar of the era Jenna Haze. The nonsensical plot pits them against an evil witch played by Alexis Amore, and her poor makeup effects henchman Lee Stone, he of the big curved dick.
Markman illogically messes up a subplot gimmick involving one of the witches able to stop and reverse time, stealing that old Beatles White Album gimmick of playing the dialog backwards to represent the reversal as footage is shown backwards. Yet in the next scene he has Alexis seeing on her clock that time is going backwards but she and Lee speak normally forwards. Holy contradiction, Batman!
Even these beautiful stars can't save this stinker, one of a thousand losers credited to the Cash man.
On the DVD is a memorably bad short subject titled "A Moment with Cash Markman" that is styled as a mini-biography. The idiot, real name Marc Cushman, manages to turn what is ostensibly self-deprecating humor into a massive ego trip. He tells us about his empty life as a pornographer, mainly spent watching TV to get ideas to steal for his endless array of porn-parodies (yes, Cash is the culprit who really started giving this disgusting rip-off genre momentum back in the '90s VHS era).
When not boasting of his 700-plus screenplays (as of 2003) and holding up the scripts, his running gag in the short subject is holding up boxes of his many award-nominated parody videos, boasting about "best director" or "best screenplay" nomination, and then complaining that he lost each year to Jonathan Morgan (yes, JM has a cameo gloating with a lucite trophy). The 7 minutes of self-gratification by Cash reminded me of a lousy comic I used to see on TV endlessly in the late '60s, the forgotten (for good reason) London Lee.
Lee's stand-up act was playing the Rich kid, making jokes about how rich he was, and laughing at his own jokes. I found him insufferable, and Cash decades later carried on the untalented tradition.
