Hiding behind the name "Cleo Edwards", Paul Thomas directed this rather cryptic movie vehicle for Vivid contract star Taylor Hayes. I found it intriguing much of the way, but the movie (perhaps emulating Antonioni, whose work Thomas is certainly famiiar with) soon drifts away into no-continuity land.
Mickey G, given his adventurous credits on-screen including pegging, is well-cast as Taylor's willingly submissive husband. He does the housework as a stay-at-home spouse, while she's at work as an advertising executive. At least that's what he thinks, as we see the way oversexed Taylor having sex in the office with bald coworker Anton Michael.
An atonal piano score generates some suspense as the movie drifts along, beginning promisingly with a kitchen scene of Mickey preparing breakfast, and Taylor abusing him verbally, establishing her as the movie's heavy, and Mickey loving it.
I liked the almost Chantal Akerman depiction of the dullness of everyday life that followed, as we watch Mickey doing mundane chores at home, cross-cut with sexy Taylor's antics out in the world. A key scene is extremely spare: Taylor & Mickey entertain with Brittney Skye and Evan Stone as a couple invited to dinner, but given no character names and no dialogue. Mickey enthusiastically tells his guests how wonderful wife Taylor is, a star at work, and she just gets angry at him, takes him aside and bawls him out for having the temerity to talk about her. Meanwhile, Evan and Brittney have sex out on a balcony, and Taylor the voyeuse watches them.
A strange sequence begins with Taylor in their Mercedes convertible flashes a couple of studs (Rafe and TJ Cummings) driving alongside in their convertible while Mickey is driving. They park and the two studs have sex one after the other with Taylor while Mickey watches, with a gun holding him captive (even though the viewer is aware he probably is enjoying it).
This is interrupted by the screams of a beautiful young homeless girl (Cherie, a porn actress with innumerable credits but who I can't recall seeing), that scare away the pair of bad guys.;
At this point the movie falls apart, as if director Thomas (or should I call him Cleo?) shot a bunch of sex scenes but didn't have enough coverage to string them together properly in the finished film. Fade up to Taylor alone driving her convertible to a warehouse where six people including Cherie have group sex. She watches and nearly joins in.
After the final cum shot, she wanders outside to the dumpster where Cherie is sleeping (back in her homeless girl ragged clothing, no continuity at all between these three successive scenes) and she silently takes her home, for a lengthy bout of lesbian sex in the bathroom and bedroom.
Finale has Mickey coming to the bedroom with a tray of brandy for the girls, announcing: "I live to serve". In the alternate universe of Paul Thomas, those are words to live by.
Mickey G, given his adventurous credits on-screen including pegging, is well-cast as Taylor's willingly submissive husband. He does the housework as a stay-at-home spouse, while she's at work as an advertising executive. At least that's what he thinks, as we see the way oversexed Taylor having sex in the office with bald coworker Anton Michael.
An atonal piano score generates some suspense as the movie drifts along, beginning promisingly with a kitchen scene of Mickey preparing breakfast, and Taylor abusing him verbally, establishing her as the movie's heavy, and Mickey loving it.
I liked the almost Chantal Akerman depiction of the dullness of everyday life that followed, as we watch Mickey doing mundane chores at home, cross-cut with sexy Taylor's antics out in the world. A key scene is extremely spare: Taylor & Mickey entertain with Brittney Skye and Evan Stone as a couple invited to dinner, but given no character names and no dialogue. Mickey enthusiastically tells his guests how wonderful wife Taylor is, a star at work, and she just gets angry at him, takes him aside and bawls him out for having the temerity to talk about her. Meanwhile, Evan and Brittney have sex out on a balcony, and Taylor the voyeuse watches them.
A strange sequence begins with Taylor in their Mercedes convertible flashes a couple of studs (Rafe and TJ Cummings) driving alongside in their convertible while Mickey is driving. They park and the two studs have sex one after the other with Taylor while Mickey watches, with a gun holding him captive (even though the viewer is aware he probably is enjoying it).
This is interrupted by the screams of a beautiful young homeless girl (Cherie, a porn actress with innumerable credits but who I can't recall seeing), that scare away the pair of bad guys.;
At this point the movie falls apart, as if director Thomas (or should I call him Cleo?) shot a bunch of sex scenes but didn't have enough coverage to string them together properly in the finished film. Fade up to Taylor alone driving her convertible to a warehouse where six people including Cherie have group sex. She watches and nearly joins in.
After the final cum shot, she wanders outside to the dumpster where Cherie is sleeping (back in her homeless girl ragged clothing, no continuity at all between these three successive scenes) and she silently takes her home, for a lengthy bout of lesbian sex in the bathroom and bedroom.
Finale has Mickey coming to the bedroom with a tray of brandy for the girls, announcing: "I live to serve". In the alternate universe of Paul Thomas, those are words to live by.