This dystopian sci-fi feature is set in 2020 L.A., where that familiar porno theme stipulates sex having been outlawed for the general public by the state. Instead, people get vicarious thrills watching sex on stage at a cabaret named Pleasure Dome.
Unfortunately, the movie is sorely lacking in any sort of interesting story material or characters. It tediously shows musical and sex acts one after another, with our stolid hero Taylor, a hired cop played by Greg Derek hunting for whoever stole an important decoder (the movie's MacGuffin).
So we get to see some solid talent humping away, including Candie Evans and Bunny Bleu, but heroine Krista Lane is largely wasted in what should have been a femme fatale Sean Young role like this movie's mainstream equivalent "Blade Runner". Derek is a boring, unappealing central character, and the movie lacks any significant antagonists for him to combat.
Having seen dozens of classic Adam & Eve movies made by Cabaret Sin's artistic team of composer/designer Saint and director Philip O'toole a decade later (with the key factor of Nicholas Steele heading up the corps there, not involved here) I was sorely disappointed at the mediocrity of their work here. The show looks cheap and unimaginative visually, and is a hodge-podge with some shots of neon repeated endlessly. So of course that bogus organization AVN nominated it for best editing -what a joke!
Unfortunately, the movie is sorely lacking in any sort of interesting story material or characters. It tediously shows musical and sex acts one after another, with our stolid hero Taylor, a hired cop played by Greg Derek hunting for whoever stole an important decoder (the movie's MacGuffin).
So we get to see some solid talent humping away, including Candie Evans and Bunny Bleu, but heroine Krista Lane is largely wasted in what should have been a femme fatale Sean Young role like this movie's mainstream equivalent "Blade Runner". Derek is a boring, unappealing central character, and the movie lacks any significant antagonists for him to combat.
Having seen dozens of classic Adam & Eve movies made by Cabaret Sin's artistic team of composer/designer Saint and director Philip O'toole a decade later (with the key factor of Nicholas Steele heading up the corps there, not involved here) I was sorely disappointed at the mediocrity of their work here. The show looks cheap and unimaginative visually, and is a hodge-podge with some shots of neon repeated endlessly. So of course that bogus organization AVN nominated it for best editing -what a joke!