Popping the Penthouse DVD into my player I had dreaded visions of another Cash Markman stinker, but fortunately this fantasy film was made by Marcus London instead, and represents fine, lightweight entertainment.
Contributing greatly to its success is the casting of India Summer as the Devil no less, appearing throughout the show to cajole and hoodwink her latest prospect for soul acquisition, that prototypical MILF bait Dane Cross.
He's feeling dejected at work, unable to get a tumble from his would-be girlfriend Jamie (Allyssa Hall, a dead ringer for the far more successful star Chastity Lynn). India materializes on his computer screen and grants him five wishes, in exchange for (you guessed it, perhaps an hour before Dane tumbles to the obvious) his immortal soul.
Filmmaker London, who along with his wife Devon Lee appears only briefly in a cameo role, has the gimmick of shape-shifting or body-transfer to translate this Faustian premise into five separate vignettes, as after each wish Dane appears in a different actor's body to have sex. That includes becoming a Hollywood Star as Tommy Gunn, who gets to play himself as if taken over by a young neophyte. Joke here is that Dane wanted to be a mainstream star, specifying too late "Brendan Fraser", rather than just a porno stud.
The sex scenes are well-performed with that added touch of unreality, with perhaps the most ambitious one in London's screenplay occurring when Dane wishes Jamie would love him. He ends up in Scott Styles' body as Jamie's dad and humps Jamie's mom Darryl Hanah, certainly stimulating but not what he had in mind.
He never gets to hump Jamie (Allyssa) herself who has sex with Marco Banderas while Dane, wishing to be rich, ends up in the body of Marco's gangster boss Nick Manning. As Nick he gets to ravish lovely maid Rebeca Linares.
Finale, of course, unites Cross in his own body with Summer, his usual acting mode mating with a MILF. She may be the Prince of Darkness, but fans will appreciate her many costume changes in varying fetish gear and degrees of latex.
Movie opens with a rock & roll version of "I Wish You a Merry Christmas on the Soundtrack", which proves oddly relevant when London unveils his final series of plot twists.
Contributing greatly to its success is the casting of India Summer as the Devil no less, appearing throughout the show to cajole and hoodwink her latest prospect for soul acquisition, that prototypical MILF bait Dane Cross.
He's feeling dejected at work, unable to get a tumble from his would-be girlfriend Jamie (Allyssa Hall, a dead ringer for the far more successful star Chastity Lynn). India materializes on his computer screen and grants him five wishes, in exchange for (you guessed it, perhaps an hour before Dane tumbles to the obvious) his immortal soul.
Filmmaker London, who along with his wife Devon Lee appears only briefly in a cameo role, has the gimmick of shape-shifting or body-transfer to translate this Faustian premise into five separate vignettes, as after each wish Dane appears in a different actor's body to have sex. That includes becoming a Hollywood Star as Tommy Gunn, who gets to play himself as if taken over by a young neophyte. Joke here is that Dane wanted to be a mainstream star, specifying too late "Brendan Fraser", rather than just a porno stud.
The sex scenes are well-performed with that added touch of unreality, with perhaps the most ambitious one in London's screenplay occurring when Dane wishes Jamie would love him. He ends up in Scott Styles' body as Jamie's dad and humps Jamie's mom Darryl Hanah, certainly stimulating but not what he had in mind.
He never gets to hump Jamie (Allyssa) herself who has sex with Marco Banderas while Dane, wishing to be rich, ends up in the body of Marco's gangster boss Nick Manning. As Nick he gets to ravish lovely maid Rebeca Linares.
Finale, of course, unites Cross in his own body with Summer, his usual acting mode mating with a MILF. She may be the Prince of Darkness, but fans will appreciate her many costume changes in varying fetish gear and degrees of latex.
Movie opens with a rock & roll version of "I Wish You a Merry Christmas on the Soundtrack", which proves oddly relevant when London unveils his final series of plot twists.