Title sounds like just a marketing gimmick, and Paul Thomas's feature hiding behind that moniker comes off as little more. It is interesting to me that anything the legendary Adult star/director did earned industry award nominations, even this junker, a telltale sign of either corruption or brains going dead.
Compared to PT's masterworks, or even just his interesting assignments, this one is very sloppy and ultimately pointless sex filler. Sure, it's pretentious thanks to a script by the talented Raven Touchstone, but empty nonetheless.
First bit of irony comes with the fact that the central character, an extremely well-built but suicidal blonde character Sophie played by Dasha, is not mentioned in the title. Her billing up front and in end credits is quite variable (ranked #11 vs #3 respectively), and her only sin (other than appearing in the hit "The 8th Sin") was to be a former rather than then-current Vivid contract star.
So it's all about promotion, and not so much about entertainment per se. Besides collecting a paycheck, Thomas limns a familiar and none too interesting tale of a roué played almost self-mockingly at times by Rocco Siffredi, and the poor, hapless femme beauties left in his wake. Monique Alexander, bubbly, fresh and sexually proficient early in her career is the current victim, with Dasha her immediate predecessor. Bosomy Lexie gets her licks in sex-wise, but is an afterthought from a script point-of-view as Monique's BFF.
The fact that Dasha is a more interesting and empathetic character here than Monique is just symptomatic of the film's dramatic failings, causing it to devolve into mere sex filler including a requisite but thoroughly boring orgy at Rocco's pad. Scripter Raven probably after a few rewrites could have fashioned an interesting story about Dasha, but then they would have had to change the title to Dasha Loves Rocco, and Vivid's marketing department would have hit the ceiling - "You can't do that!".
I was amused in the Behind the Scenes short subject to hear Monique declare that she wasn't going to get a boob job, a noble sentiment that proved false: a decade later she is riding high in MILF roles with big, fake breasts a la Nina Hartley.
Compared to PT's masterworks, or even just his interesting assignments, this one is very sloppy and ultimately pointless sex filler. Sure, it's pretentious thanks to a script by the talented Raven Touchstone, but empty nonetheless.
First bit of irony comes with the fact that the central character, an extremely well-built but suicidal blonde character Sophie played by Dasha, is not mentioned in the title. Her billing up front and in end credits is quite variable (ranked #11 vs #3 respectively), and her only sin (other than appearing in the hit "The 8th Sin") was to be a former rather than then-current Vivid contract star.
So it's all about promotion, and not so much about entertainment per se. Besides collecting a paycheck, Thomas limns a familiar and none too interesting tale of a roué played almost self-mockingly at times by Rocco Siffredi, and the poor, hapless femme beauties left in his wake. Monique Alexander, bubbly, fresh and sexually proficient early in her career is the current victim, with Dasha her immediate predecessor. Bosomy Lexie gets her licks in sex-wise, but is an afterthought from a script point-of-view as Monique's BFF.
The fact that Dasha is a more interesting and empathetic character here than Monique is just symptomatic of the film's dramatic failings, causing it to devolve into mere sex filler including a requisite but thoroughly boring orgy at Rocco's pad. Scripter Raven probably after a few rewrites could have fashioned an interesting story about Dasha, but then they would have had to change the title to Dasha Loves Rocco, and Vivid's marketing department would have hit the ceiling - "You can't do that!".
I was amused in the Behind the Scenes short subject to hear Monique declare that she wasn't going to get a boob job, a noble sentiment that proved false: a decade later she is riding high in MILF roles with big, fake breasts a la Nina Hartley.