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From the first frame right through the anticlimax of an ending, this "Schlitz Playhouse of Stars" episode is as bad as it gets. It makes a segment of "Captain Kangaroo" seem as sophisticated as Antonioni or Bergman (both of whom were already at work in 1955 when this clunker aired).

It concerns a cranky retired general war against progress: he opposes the government project building a bridge near his property, and all the townsfolk seem to agree with him as it threatens their local fishing industry. His feisty granddaughter (the show's heroine, Mona Freeman) instantly falls in love with the engineer running the project and it all climaxes with a fistfight in which who's on which side becomes garbled, anything for a sudden happy ending.

Escaping from pressing real-world issues is of course the purpose of entertainment like this, but the writing and storytelling here is so dated that it doesn't merely feel like 70 years old but more like it was written on stone tablets rather than "sides" for the actors to memorize. Despite the series title invoking "Stars", this is a truly awful cast, Mona perhaps set aside.

As far as comedy, there isn't a laugh or potential snicker in the half hour. (Running gag is the General exclaiming "Cavalry Word!" whenever he is about to speak a swear word instead.) Recall that classics "I Love Lucy" and "The Honeymoners"" (among many others, like "My Little Margie") were on other stations to watch, and they've held up quite nicely, still playing regularly.

Behind that stupid title is a lousy Stacy Valentine vehicle, loaded with filler, and 100% corny. It's a weak effort from the generally reliable team of director Jim Enright and writer George Kaplan.

Stacy Valentine portrays a stripper named Stacy (quite an acting stretch!) who moves into a house next to her strip club. Tony Tedeschi is a neighbor who helps carry boxes and it's obvious from the first scene that this schlump will end up winning Stacy's sexual favor.

Kaplan's lazy script twice inserts an extraneous sex scene by having a character suddenly relate an anecdote: cue the flashback. Also, the neighbors gimmick is repeatedly used to introduce new characters, inevitably showing up to have sex.

It's a pointless time killer, loaded with Sex filler and enough condoms to qualify as a Trojans commercial.

This is a forgotten Vivid Video feature that is hard to figure. It was shelved for two years, features okay sex, but is extremely boring. It also sends the wrong message about women, despite being helmed by a talented femme director.

That wrong-headed message is that our heroine, Nikki Tyler as a hard-working private eye, suffers from a selfish creep of a boyfriend (poorly acted by Jon Dough) who can't stand her working and neglecting him, but at film's end she gives up her job and reconciles with the jerk. What kind of message is that, in a movie (albeit porn, but no excuse) depicting its star as a strong, competent woman. In 1996 when this was shot, just as in 2024 now, this domination of women by men is a disgusting situation to endorse.

Other than that key element, the movie is extremely boring. Worst example is a functional scene of Nikki going to the apartment of a missing girl, and making some phone calls -for a minute or two a dog is barking loudly on the soundtrack -doesn't fit the scene. Instead of shooting it over or just cutting this worthless scene, the barking dog footage remains in the movie -totally inept.

Stacy Valentine co-stars as Sandra's friend who helps the detective's investigation. Yet a pretty, unidentified actress plays Molly Blake, Nikki's partner in their detective firm in a large NonSex role but is omitted from the credits (and any reference website I Googled). Yet other very minor players do receive a credit on-screen.

Two cases are covered here, both with frustrating results (in order to support the annoying plot point that our heroine gives up her career at the end). Just imagine a TV series or the first film in a potential series about a female private eye where she doesn't solve any case and decides to give it all up. That's a factory reject screenplay if I ever saw one.

Michael Zen is 100% embarrassing in this 2-part VHS era sci-fi comedy, managing to in-joke reference "2001", "Star Wars" and "Quest for Fire" all within the opening to his movie. An attractive cast is wasted on utter nonsense.

Zen also edits his movies, and this one is completely inept in that department. It opens in 6000 B. C. in the Tyrolean alps with Caveman/Cavewoman action, that makes no sense. We see Steve Drake as Rog as well as Tom Byron as Org f*cking cavewoman Icewoman (Euro porn star Deborah Wells) in a cave, with Org murdering Rog. Drake reappears 8000 years later in the Alps with girlfriend (or maybe wife, the dialogue is unclear) Ashlyn Gere and they find Wells frozen in the glacier, and she's brought back to his lab in America.

The nonsensical screenplay falls apart at this point, with much reuse of footage, dreams/flashbacks and perhaps intentionally confusing editing. I suspect much of the problem here is the determination to cough up two separate VHS features to release separately to the video stars, rather than take the footage shot and release it as a single, coherent movie.

Subplots of Tony Tedeschi as a TV reporter out to do an expose on Icewoman and scientist Drake (Tony makes love to Kristi Lynn, who is cast as a therapist to introduce the story as if it is really about reincarnation and regression to past lives -all ridiculous); Gere's jealousy causing her to try and destroy her husband/boyfriend's new obsession, Icewoman. Plus Brittany O'Connell as a nymphette lab assistant sucking on a popsicle (get it -ice pop) and also up to no good, plus ridiculous intercut shots of caveman Byron supposedly watching the action from behind glass even though there is no reference to him as perhaps Iceman ? Also found in the glacier?

The fact that nothing tries to make any sense doesn't stop Zen from passing this off as comedy, including such lame jokes as when Drake muses about all the great loves over the ages: Romeo & Juliet, Anthony & Cleopatra, Sonny & Cher -that about covers it. I haven't seen part 2 yet, but I'm certain it will feature more random footage amounting to nothing.

Watching this lazy Roy Alexandre-directed all-sexer made me anxious to return to my non-bingeing perusal of "Route 66" episodes -I'm midway through Season 2 at present. He presents us with beautiful blondes Helen Duval and Jill Kelly motoring along the highway in their red convertible only to have engine trouble almost immediately, killing off the potential of an XXX Road Movie.

Instead, he manages to stage nine sex scenes during the hour and a half running time, with plenty of anal sex plus other lovelies to while away the viewer's time. There's no story and nothing memorable.

An obscure huge-tits actress who I enjoy bumping into on screen occasionally shows up. She's Sophie Staks, as in stacked, playing a waitress who is late for work but manages to hump the diner manager Mike Horner after he upbraids her for tardiness and then a customer Nick East, who has perhaps the longest hairdo of his career here.

Another long hair is blond stud Joey Edwards, another customer who has sex with another waitress Shawna Edwards - probably related.

Only cast member I couldn't spot (perhaps the lack of story dulled my senses -too much sex going on) is Tommy Gunn, not the famous one but a blond earlier actor using that name. Overall it's as pointless as any of Alexandre's many, many kink features, so often about trans-female performers before that porn category became popular.

Missa X scores a home run with this 3-parter of family intimacy, with kudos to new scriptwriter Jimmy G. Fans are unanimous in their enthusiasm for this refreshing and naughty tale.

As Layla Jenner gets ready for her impending marriage, both she and older sister Kylie Rocket are anxious about their own sexual inexperience, and turn to stepdaddy Chad White and uncle Ryan Driller for assistance. The reluctance of their elders to lend a hand (and other body parts) to the girls' education makes for delightful and sustained teasing and seduction, all within the XXX parameters of a naughty but nice show.

The combination of popular veteran actors with nubile young beauties helps make this feature work, and it's certainly a harbinger of more to come in this vein.

The team of writer George Kaplan and director Jim Enright turn from comedy to one of those corporate dramas, typified by the great TV classic "Succession", but played straight rather than for black humor.

Inspired casting has class British actress Nici Sterling in the lead role, strong-willed daughter of Wilde Oscar (her real-life husband), intent on carrying on the family business Carstairs Sweets and bringing it to new heights. That she does as the corporation's new COO, aided by Oscar's personal assistant Jonathan Morgan, leading to a marriage and happy ending. They defeat Peter North by cleverly taking over his telecommunications empire as they build a successful conglomerate.

This story of a powerful woman making her way to the top in a male-dominated environment reminded me of Sarah Young's VHS feature series "The Young One", made about five years earlier. Thanks to Nici Sterling, plus Jonathan Morgan's convincing performance with no clowning or his usual seriousness playing a leading man who actually gets the girl, this is a perfect example of a Couples film.

Bruce Seven, hailed as a pioneer in BDSM porn, went a different route with this mediocre "straight" porn VHS feature about blind dating. Despite having the talented Raven Touchstone as screenwriter, it's inept filler.

Format is to separate much of the audio from the video, an oddball distancing effect. Most scenes have a phone conversation presented in voice-over, while we gaze at a girl alone, dressing, masturbating or even sunbathing.

Conversations are about setting up a date with a stranger (or someone just met) as well as girls comparing notes about a date. Overriding theme is how many times a one-night stand results and the obvious let-down of feeling ghosted.

Character names are spoken, and as often the case, inconsistent, or perhaps seven sets out to confuse by having actresses play more than one character Either way, the show as usual is just about the sex, not the conversational filler. It ends abruptly and unsatisfyingly on a sour note.

Without any violence or BDSM or even a token dance scene, it bears none of the director's trademarks, other than a major role for his partner in porn, Bionca. A lesbian threesome staged on a pool table is a distinctive version of one of porn's favorite cliche stagings.

This rather obscure VHS Adult feature is neither fish nor fowl: it classifies as pornography due to its explicit hardcore sex content, but in every other respect is merely a dull romantic movie. The lack of any pacing, rather uninvolving story and general dullness do not recommend it to any 1992 audience and over 30 years later one wonders what was the point?

The only explanations that make sense to me are: the movie was shot with hopes of crossover revenue from cable TV or overseas sales where it coul have value shown with the relatively brief and vanilla XXX footage removed; or the presence of popular femme porn talent would win it sales or rentals at Adult stores almost automatically.

In any event, Raven stars and gets a crew credit portraying an extremely unlikeable character, but not a flamboyant villainess that one would enjoy watching in a soap (think: Joan Collins). She is jealous of her husband Randy West's cloxeness with his sister Victoria Paris (not incest-time, just caring about her) and feels deglected, so she concocts a scheme with her friend Tiffany Million to get a guy to date and seduce Paris and take up her time and affections.

Now this sounds like a potential Couples movie, but it's too dull - why would couples wanting to watch something a bit sexy and stimulating be happy if bored to death? The plot involves giving he chosen lothario, rich layabout Steve Drake, Victoria's diary that Raven has purloined, from which he can impersonate the kind of guy she would care for.

Their scheme works, and in ultra-corny fashion Victoria finds out later and is very angry at Drake, dropping him. When her hubby Randy finds out he divorces Raven. It's all so predictable it would be rejected as a mainstream script (with the XXX instructions tidily removed). But the actors all do a fine job in their acting, and the characters behave like real people might, not just arbitrarily having sex no matter what the context.

Earning brownie points with me and others who believe Adult Cinema can provide storytelling rather than default to an all-sex-content medium) is not enough. "Lies of Passion" demonstrates that porn actors can act, but it fails to entertain.

Writer Anthony Lawrence fits into the Route 66 mythos with an episode set in Cleveland that is loaded with dialogues making allusions to Greek mythology and various philosophical ideas. It had me Googling for background information that proved quite informative.

Most notably it stars Madlyn Rhue in a romantic role that does justice to her beauty and magnetic power, even including a gothic scene of her running away barefoot in a white nightgown in the final reel.

The subject is fate, and who is really in control. The boys get work on a road construction site in Cleveland, with a memorable meet-cute entry of the guest star Jack Kruschen (as Rhue's dad) driving a bulldozer that blocks the way of their arriving Corvette pre-opening credits. Maharis makes a stink, and Kruschen calmly takes a load of dirt and dumps it on the Corvette, an act of violence directed at the real star (I'm kidding!) of the show instead of the weekly fistfight included in George's contract. Punchline is that the well-cast Kruschen is not some random laborer but in fact their new boss, ower of the construction company.

Rhue is of course the weekly romantic interest dangled for George (and the vicarious audience) to consume. And a central plot device has her afflicted with a fatal disease, just like her late mom. I thought of Bond girls and guest stars for David Janssen on "The Fugitive" series -of course the hero has to come back next time unencumbered by marriage or a clinging girlfriend.

With a light-hearted but very brief interlude of Rhue and George doing the twist as a jazz band plays at the Sahara Motor Hotel downtown, the story is mainly philsophoical. Fascinating allusions begin with her character name Ara, which she explains is from the Greek myth of Arachne, a weaver who was killed by the goddess Athena for the effrontery of beating her in a weaving contest, and then turned into a spider, endlessly weaving man's fate. She's in an art gallery showing Maharis the Velazquez painting of The Weavers, and the issue of a person's fate is central here. Maharis gets a particularly showy speech to Kruschen near the end exhibiting his own position in the show, controlling his own fate, and not ruled by others.

Again, via Google and its competitor Amazon: subsidiary IMDb, I discovered that Rhue and her ill-fated brother on the show Robert Drivas (handsome enough and similar enough to be Maharis's understudy, but not it turns out his eventual replacement) later played the same siblings-roles on "The Fugitive" -one might conclude that they were fated to do so.

For this 1955 episode of TV's "Climax!', writer James Cavanagh opts for cliches of a B-movie melodrama, rather than addressing some important real-life issues inherent in the story. Result is fine acting in support of a tired case of audience manipulation.

Casting Vincent Price as an utterly convincing, pure villain sets the show on an unsubtle path -actions and motivations are the most basic here. He's always playing with his rifles and is intent on abusing both wife (Nina Foch) and cute 10-year-old son. Price was mistreated by his dad, and he's determined that his son has to be as heartless, cold and violent as he is. Script is deterministic -characters make decisions but every element here is a result of fate, out of one's control.

The undeniable enjoyment of watching Vincent act up a storm as such a heartless character abruptly ends 1/2 way through the show when Foch murders him with a rifle, the only way to protect her son. By this point it is crystal clear that the society's treatment of women, subjugated to the will of their husbands, gave her character no other way out, as his insistence that she leave but not take her boy or ever see him again (a threat backed up by the law and his powerful status in society) left her no choice. That fact, different but not fully changed today especially with right-wing attitudes opposing women's rights gaining headway, starting with the Supreme Court, should be a central issue in the script but instead is relied upon as a given.

Plot twists in the second half are all contrived and based upon hopelessness -the inability to effect change. "Climax!" is designed here to divert our attention from real problems and instead escape into melodramatic stories right out of previous centuries.

Harry Bellaver, famous from his continuing role on "Naked City", is fine as Price & Foch's gardener, whose subsidiary story takes over for the second half of the show, a story that is not believable at all, just there to keep the tired plot's pot boiling.

I don't know who to blame: filmmaker Paul Thomas or his writer Rick Marx (disclosure: I knew Rick back in the day and admired his work), but their Vivid feature "Mask" is awful.

It doesn't resemble the hit film starring Cher by this title, but instead aspires to be an exploitation movie that deals with the stigma of disfigurement and people's callousness. Boy, does it fail!

Its short running time is supported by a lack of connective tissue between scenes, one of porn's most frequent failings. This Cliff Notes approach ruins the movie.

Plot is simple: lab scientist Mark Davis's face is horribly disfigured by an accident caused by his ineptitude; when doc Paul Thomas removes his bandages, his fiancee Lene is repulsed and calls off his marriage.

Our hero becomes a voyeur, hiring prostitutes to watch them hump studs, then his fellow scientist fits him with a special mask and he looks normal again, with Jon Dough the guy in the role. Just to be confusing, he was named Dave before when Mark played the role but is now named Mark played by Jon.

With the new face, an uncredited bum is friendly rather than hateful to him and a couple of hookers (Brittany O'Connell and Sierra) don't mind having a threesome with him. Final reels of the film consist of a dumb romance (in pantomime) in which Lene accidentally meets him and of course doesn't recognize him, so she's nice and humps him too.

Ending is atrocious and mean-spirited, meant to make a point about how cruel and self-centered people can be. It pounds home how terrible a person Lene's character is, and I was amused by it immediately being followed by a screen card advertising Lene's fan club!

Perhaps the worst element here is how absence of proper makeup effects have Jon Dough just walking around with his normal face and we're supposed to believe it's some experimental mask. This gimmick apparently worked in the old "Mission: Impossible" TV series with Martin Landau, but here it's ridiculous. Another in-joke has the scientist who gives him the "realistic" mask played by the show's makeup artist Alan Bosshardt.

Adult Time seems intent on recycling its library footage, once again turning to its lengthy features "Grinders" and "Women's World" for excerpts.

The "Grinders" segment focuses on stars Maya Woulfe and Lucky Fate having outdoor sex after attending a musical performance. It's okay sex, merely out of context relative to the original 3-hour opus.

"Women's World" provides two sex scenes with four of the original's lovelies, almost an hour out of the original's lengthy 4-1/2 hour running time. Again, the lesbian sex action speaks for itself, but the story and effectiveness of the feature is lost.

Simply an example of the calculation (unfortunately probably right) that Adult Time's target audience is interested in watching explicit sex rather than making a commitment to becoming involved in lengthy story-driven. I would argue that the problem is not in the storytelling but rather that current sex scenes run a half-hour long or more each, overwhelming the story material.

Patti Rhodes takes on the old-fashioned, stagey drawing room comedy genre in "Mischief in the Mansion", with very weak results. Her other half, Fred Lincoln, served as production manager and 5 years later he directed his own offering "Mistress of the Mansion", unrelated.

The six characters are introduced in the dining room to open the movie: Randy West and Megan Leigh are the haughty couple who own the mansion, while their servants number Victoria Paris, Jade East, Jon Dough and Joey Silvera.

The entire story, such as it is, relies upon the notion that West and Leigh have fallen out of love and plan to divorce. That means unemployment for their trusty servants, but Jade comes up with a plan, she will concoct an aphrodisiac to slip into their dinner to rekindle their passion and save the day.

That potion works on everyone, so six XXX sex scenes later things are back to normal in time for a happy ending, including group sex for the four servants. The sex scenes are as formulaic as this outline, and another disposable VHS feature is in the can.

Writer Reginald Rose, whose list of credits include the classic "12 Angry Men", wrote this fantasy tribute to the BIll of Rights, broadcast the same day the title book by Supreme Court chief justice William O. Douglas that inspired Rose was published. Its dramatic emphasis on the importance of the freedoms enshrined in those amendments is still extremely important and relevant, but the presentation is dated and heavy-handed.

Townsfolk of varied ages (including kids) arrive at a building for a meeting none of them know why they're coming and as a storm hits outside they feel trapped there. Something supernatural is up, when they discover time is standing still for them, and the only coincidence is that they have beat up a visitor to town the day before and many are anxious to beat him up as "the other" once again.

This plays like an act of God and is filled with familiar cliches about basic themes of prejudice, scapegoating and the narrowmindedness that has resurfaced recently in book banning and right-wing interference with school boards and education.

It turns out that this is occurring on December 15, the anniversary of the adoption of the Bill of Rights, though Rose and the show get it wrong, stating 1789 when 1791 is correct. When folks jump up to declare all the protections those amendments guarantee they recite most of the familiar ones, but thankfully leave out entire #2 the right to bear arms, which I personally was glad to have omitted, as it has been perverted (by Supreme Court decisions made many years after this broadcast) to be the overly broad and dangerous interpretation we live with today in a gun-crazy society.

The outsider everybody wants to beat up (for no good reason) is played by Sandy Kenyon, the actor with a distinctively saturnine-looking face (not the entertainment reporter by that name who recently left WABC TV in New York). I didn't recognize any of the other players, but casting had them all white. One ethnic guy playing the town tailor as well as the town newspaper editor are also victimized by prejudice.

But the facile solution to this paranormal event and its preachiness are counterproductive in terms of getting the message out, especially now that MAGA is a deeper threat than the McCarthyism of Rose's era to our most basic freedoms.

This sequel seems slapped together -no continuity, just a continuation of the saga of vampire Shayla LaVeaux tempting beautiful writer Stacy Valentine with eternal life (as a vamp, of course).

Sex is delivered in several flashbacks, including Tricia Deveraux servicing soldiers during World War II (and demonstrating a skill that undoubtedly appealed to her future husband Buttman. There's an important flashback from 1959 revealing Shayla's true love (played by an unknown actor named Anthony).

Stacy has plenty of sex, but it is arbitrarily staged, as when she returns to her own bedroom and finds Peter North and Holly Hummer mysteriously appearing there for a threesome (and sneaky Pete giving her a long distance money shot landing right in her eye).

When Shayla and her butler Tony Tedeschi bare their fangs, Stacy realizes it's time to skedaddle, but Tony stops her as she is set to depart, suitcases in hand, and Shayla invites her to attend the annual celebration "The Feast of the Flesh", namely a 12-person orgy. It climaxes with the big decision: will Stacy agree to become a vampire via Shayla's bite on her neck?

A delightful short story from Four Star Playhouse displays Charles Boyer's amazing subtlety as an actor, cast in a role one would not expect for him.

He plays a WW II vet who commanded a PT boat, but was traumatized during the war and is now mentally addled, taken care of by his family headed by Nestor Paiva and Jeanette Nolan. Everybody in town loves him and feels sorry for him, accommodating to his forgetful and occasionally out-of-it behavior.

That's because he is such a kindly soul, and unfortunately selfish Jeanette takes advantage of Chuck, treats him mean, and is the source of the show's drama.

She is looking forward to the marriage of Frank, the youngest in the family, but he kills a gambler one night and she decides to pin the blame on Chuck -what's the worst that could happen to him -be put in a sanitarium where he'd be taken care of? Nestor and Frank are too weak to object and the show climaxes with the cop taking Chuck away -our hero all too eager to protect his brother, just as he did back when they were schoolboys.

The talented writing team of Gwen & John Bagni have a smooth, surprise ending in store, ending the drama on a heartwarming note.

A spellbinding departure from the Naked City format, filled with theatrical acting from an outstanding guest cast, this segment reminds me more of the live TV of the era rather than the usual police-procedural.

Precredits opening teaser is out of a horror movie, with stage star Robert Morse flamboyant in a nightmarish fantasy staged in a warehouse with surreal lighting, camera angles and fantasy elements.

The main story is built around four flashbacks, detailing the crime of a theft of industrial diamonds and killing of a security guard from different points of view: Morse, his dad James Dunn has just been unjustly fired from his job at the warehouse, and a very young Dustin Hoffman as Morse's best friend who has witnessed the events of the fateful day.

As in the classic "Rashomon", the truth is elusive, and McMahon and especially Burke hash out the contradictions in these stories in order to deduce who's telling the truth and what really happened. This format creates considerable suspense in the "whodunit?" sense, tied up rather too neatly in Sy Salkowtiz' script by the end of the hour.

The almost over-the-top performances here are most impressive, and unusual for this series. There's no chase scene, no shootout with the cops, instead highly theatrical setpieces of dramatic acting, led by Morse and Dunn, plus a breakout early Hoffman performance. Adding a strong, steady force is Jan Miner as Morse's mom/Dunn's wife, putting up with their outbursts. Over a decade later she was terrific as Hoffman's mom Sally Marr in Bob Fosse's classic "Lenny", and the two of them have a powerful scene together at the end of this episode.

Little more than sex filler with some vintage costume rentals, "Ghost Town" finds Kelli Holland/Toni English in throwaway mode. It's merely silly, not funny, from Vivid's Wave division.

Lori Michaels' acting is awful, as she and hubby Bobby Vitale are stranded in the ghost town of Providence, waking up in the Old West version of same, where everyone f*ks almost non-stop. Attempted comedy relief is provided by an old coot (George Kaplan, hiding behind a fake stage name "Foz"). He speaks in a steady flow of nonsensical aphorisms, and is almost as annoying to listen to as the constantly complaining Michaels.

Their car magically works again and they drive away, leaving behind a worthless video.

An equestrian theme defines the Eleventh Lesson in this popular Dorcel series, entirely set at a horse stable. It's an annual outing for the schoolgirls, with Tarra White starring as their chaperone.

She doesn't take that job seriously, too busy having sex with the horse trainer Horst Baron and others. There's a spirit if hedonism here, away from scholarship, as all the girls indulge in outdoor sex or humping in the hayloft with a familiar group of French studs.

Kathy Nobili and a young, more natural looking Aletta Ocean shine in the supporting cast, with minimal dialogue in English supplemented by voice-over narration. Director Herve Bodilis has established a workable format for these easy to watch, no story exercises to create carefree, escapist porn.

Paul Norman brings plenty of style to this Wicked Pictures hit starring Chasey Lain. With a solid supporting cast, it exemplifies why she was such a top star in the early years of the label, preceding Jenna Jameson.

Story is downplayed: just Chasey as a call girl enjoying the independence of the lifestyle. Central element is built around Chasey and her lover Kaylan Nicole at the racquet ball court looking ultra-sexy in their athletic garb, with the club's attendant T. T. Boy mesmerized by her beauty.

Norman depicts his erotic fantasies of Chasey in such a way as to render reality and fantasy as interchangeable, as when he imagines her posing nude on the court pressed up against a glass barrier tantalizing, or when she services him there in the final reel -liely imaginary but perhaps a dream come true?

As a fellow call girl filling in for Chasey, Kaitlyn Ashley has a hot threesome with Jay Ashley and Nick East, while Tiffany Mynx and Cody Adams get it on after their own racquetball match. Movie began with a sultry Chasey doing a striptease for two well-heeled customers Tom Byron and Peter North, also ending in a threesome.

It's an arousing, easy to watch Wicked picture before the leading porn distributor turned to the likes of Brad Armstrong to produce large-scale "blockbusters".

Take a dull script, no-name cast and the 1/2-hour time slot and you're stuck with "No Compromise". This forgettable segment fails to generate the intended suspense or any audience involvement.

Stephen McNally plays the Texas Ranger on assignment in Alabama to bring a wanted criminal back home by railroad, who must be wary during this solo mission concerning helpers and confederates trying to effect his escape.

It's a one-note story, brief but still boring, and with an arbitrary, unsatisfactory ending when the prisoner is delivered successfully. With no time allotted to building up McNally's character (unlike a traditional 1/2-hour show with a week-after-week beloved hero) it's had to root for him or care about his law-enforcement mission.

Adult Time puts together a couple of scenes from web projects on this okay VOD.

One is unnecessary: "Fixing You", that was just released a month ago on the DVD titled "Love Is in Your Future". It was made and available to Adult Time subscribers in the "ASMR Fantasy" series, dedicated to fans of that audio sensation experience.

Serene Siren stars as a lab technician on a white-on-white set tinkering with the newest model of a femme sexbot, testing it prior to readiness for being put on the market. The static POV camera has become familiar (in a more distorted wide angle way) in so-called Virtual Reality porn, but here it is the sound that is amplified.

Fine casting of the bot has flat-chested beauty Christy Love doing an impressive job of remaining absolutely motionless as a nude corpse-like figure for the first half of the vignette, as Siren performs simple tests. As an in-joke, she pours a decanter of water into the bot's off-screen mouth to prime it, reminding me of the set-up of a modern mini humidifier or air conditioner, which will spray mist in the air when turned on.

In this case, the turned on bot makes love to Siren, who has removed her lab coat and clothing (including high heels) for the XXX second half of the segment, and lustily drinks in Christy's famous squirting fountains of water, aimed at the camera but mostly directly into Serene's mouth. It's a rather uneventful lesbian scene, with a very minor, unnecessarily negative final twist added.

The other scene dates back to 2020, part of a series "Our Love Stories" created by Bree Mills. Titled "Taking the First Step" it stars Demi Sutra taking a chance via sex of falling in love with stud Isiah Maxwell. Kira Noir plays a supporting role as her friend, and it has a wistful quality closer to Bree's serious "True Lesbian" series" than her more popular work, but it doesn't pack much of a dramatic punch.,

Given that it's a porn parody scripted by Cash Markman, I expected the worst, but was bowled away by the craftsmanship of actor-director Buck Adams. I would even call "The Hustlers" an homage rather than a mere ripoff of the classic Robert Rossen movie.

The format is very similar to the original (Markman hardly one to be original), but fine performances and tight direction by Buck maintain a cool, relentlessly cynical film noir mood. Buck's character Fast Freddie has pipe dreams, but the air of fatalism hangs over everyone throughout.

Buck's prowess at shooting pool is buttressed by very fine photography (by Jack Remy) of the pool shots, including a brief but effective use of overhead camera placement to show the shots were not faked. A very sexy femme cast adds to the parallel of prostitution to the gambler/hustlers, adding a dimension (backed up with XXX performances) not possible in a mainstream movie.

Keeping things low-key throughout impressed me, though I assume the absence of over-dramatic situations or violence is perhaps why this is an obscure title rather than elevated to classic status. Buck's acting never strays into his usual hamminess, and a clean-shaven Ron Jeremy, dressed in a tuxedo yet in the Minnesota Fats role, plays it straight for a change to fine effect. Weak link among the principals is Tony Martino in the George C. Scott role, giving a merely okay, functional turn.

As Savannah's final film role, she fits the glamorous needs of the part, while several hot ladies do a solid job. Pacing is quite good, not overstaying its welcome.

Stills By Alan returns to Girlsway in a big way with this collection of four segments he directed for the label seven years ago. They're fine chestnuts reissued by Adult Time.

The sort of title segment is titled "Penchant for Pricey Panties", though despite inflation the word "pricey" has now been omitted. It was issued on the DVD titled "Lesbian Hookup" in 2018.

It's a rather cutesy seduction scene in which Georgia Jones catches her roommate Maddy O'Reilly stealing her panties, but Maddy immediately turns around the situation, accusing Georgia of having a crush on her and soon they're making love. I didn't like this vignette when it was new, but found considerable nostalgia value revisiting it now, recalling how these two stars of yesteryear (time really flies!) were quite appealing.

"Plastic Surgery Markup" (first issued on a DVD titled "The Breast Doctor Around" in 2018) is potentially controversial in retrospect. Gia Paige is the patient with doc Blair Williams strongly encouraging her regarding the wonders of plastic surgery, especially touting a "Brazilian Butt Lift". Gag has Gia's body covered with magic marker denoting where Blair plans cuts.

There's no operation but instead Blair seduces petite Gia for some hot sex. However, in real life Paige did go under the knife a year or so later, converting her from a jail-bait type to a zoftig sex symbol boasting one of porn's biggest butts, proportionally second only to Lela Star who had a similar transformation. Life mirrors art, for better or worse.

"The Model Teacher" is part one of a two-parter released in 2018 on the DVD titled "Sexting the Teacher". It stars Lily LaBeau and Celeste Star, with Star as a photography teacher seducing her student Lily. Both are great Adult actresses, but Lily is too old for her role. Appearing briefly in the set-up to the sex scene is Jessa Rhodes as Lily's friend.

In "Girlsway's Newest Crew Member" (issued on the DVD "Girlsway Crew" in 2018), producer Bree Mills points the camera back at herself and her crew members in this mock look at how her Lesbian porn empire shoots X-rated content for their various websites, including of course Girlsway.

The heightened acting style becomes heightened overacting for comic effect, especially by Lyra Law portraying a starstruck production assistant. She's working on a scene involving lovely Natalia Starr and an uncredited Ivy Jones (with a cameo appearance by makeup artist Lisa Sloane), but it is Lyra who gets her wish fulfilled by having sex with Natalia after latter star catches her masturbating in a bedroom between takes.