From [email protected] Sun Dec 18 19:40:09 EST 1994
Article: 42186 of alt.sex.movies
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Date: Sun, 18 Dec 1994 06:47:06 UTC
Subject: Review: Michael Ninn's Sex
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Status: RO
# Michael Ninn's Sex
c 35 1994 VCA, Michael Ninn
. Sunset Thmoas, Gerry Pike
. Tiffany Million, Ritchie Razor
. Chasey Lain, Jon Dough
. Debi Diamond, Gerry Pike, Jane A, Jane B
. Asia Carerra, Misty Rain
* Diedre Holland, Jon Dough
. Tiffany Million, Gerry Pike
Plot: Pike works at a gas station in the desert. He leaves his girlfriend
to seek fame and fortune in the big city. He finds it, but it eats
him up.
The cinematography is great. The images are crisp, the color and lighting
virtually flawless. But this film really doesn't live up to the hype. In
many respects, it looks like it belongs on a softcore cable channel--It's
very slick and has some plot. It also works as a couple's video, I think.
In some ways this film is as good or better than a lot of Andrew Blake's
more recent work (Hidden Obsessions, Sensual Exposure, etc). For one thing
it not quite as soft. There's more hardcore footage, and more male/female
intercourse. There are a number of beautiful women: Sunset Thomas, Chasey
Lain, and Diedra Holland, for example. The sound and music is also very
good. The sound is far superior to Blake. You can actually hear the
performers during the sex scenes. But overall the erotic impact is not as
great, I think.
One major flaw I think is the plot. It's overly-ambitious. With a title
like "Sex", I thought that's what it would be about.
>From the previews I thought it would be a collection of stylish vinnettes
(sp) The previews for this film looked great. (Don't they always?). They
should have made a video that was all previews.
There really isn't enough time in a porn video for both plot and sex.
Unless you have a really talented write who can advance the plot during the
sex scenes, but what would a writer with that kind of talent being doing
making these kinds of films? To get around the time constraints, they use
a voice-over for the plot exposition, but the narration is annoyingly
pretentious at times (although are a few good lines). That's one thing
Blake has over this film. He doesn't really bother with the pretense of a
plot. He usually just has a basic theme or premise around which the sex
scenes are organized. I think they should concentrated on the sex, but
that probably doesn't sell well on cable.
Another thing, a more ambitious story requires better acting from the
performers, and Gerry Pike wasn't always up to the task, although at times
he reminded of the guy from the Highlander series. Dough and Million gave
credible performances in their roles as the evil modeling agency execs.
The most serious flaw is the editting. The editting really sucked a lot the
eroticism out of the sex scenes. There was prodigious use of looping, and
they tried to cover this up with clever editting techniques. Many shots
simply weren't held long enough to have their full erotic impact, and there
was an annoying overuse of slow cross-fade edits.
One editting technique I did like was used in the final scene with
Million and Pike. Between each cut an extremely rapid montages of
sexually images was insert, done in synch with the music (a staccato
drum beat).
As I mentioned before the sound is very good, and well synched with the
action and edits. The music is two cuts above the usually porn dreck, but
it still doesn't merit a soundtrack CD (which they are actually offering).
The lyrics are highly repetitive, often a single phrase sung over and over
with variations over a pseudo-jazzy instrumentation.
Scene by Scene:
. Sunset Thmoas, Gerry Pike
My favorite scene in video. Sunset and Pike make love on the
rear deck of a huge (Cadillac) convertible in the middle of the
desert. Spoiled somewhat by the editing.
. Tiffany Million, Ritchie Razor
Tiffany and Ritchie get it on in the back of a cab driven by Pike.
Tiffany is not my cup of tea (fast foward).
Afterward, Tiffany asks Pike to call her at her modeling agency.
Tiffany brings Pike to Dough, the head of her agency. It's sort of
implied that Pike is forced to give Dough a blowjob.
. Chasey Lain, Jon Dough
Tiffany brings another prospect to Dough's office. This time we get to see
him fuck her. Chasey is gorgeous, but the scenes not that well done.
. Debi Diamond, Gerry Pike, Jane A, Jane B
Pike becomes famous. Learns that his old girlfriend (Sunset) was raped by
three cowboys (now that's a scene I would have liked to see), and is now a
basket case. He feels guilty and starts to drink. In a drunken stupor he
dreams about his current girlfriend (Debi) and two anonymous models.
Weird dream sequence with lot of video monitors in the background and
computer generated special effects.
. Asia Carerra, Misty Rain
Lesbian kink.
* Diedre Holland, Jon Dough
Dough does Holland, while Asia and Misty continue to masturbate in the
background. Nice facial shown twice. Otherwise, a pretty ordinary scene.
. Tiffany Million, Gerry Pike
Interesting editing technique. See above. Pike fucks his manager and
leaves the business. He goes back to the desert and becomes an old man
working at a gas station.
She said, "Think of me from time to time."
And now he thinks of nothing else.
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169 “I can arrange all that.” Such Apaches as had not gone back on the war-path returned to the States with the troops; but there were five months more of the outrages of Geronimo and his kind. Then in the summer of the year another man, more fortunate and better fitted to deal with it all, perhaps,—with the tangle of lies and deceptions, cross purposes and trickery,—succeeded where Crook had failed and had been relieved of a task that was beyond him. Geronimo was captured, and was hurried off to a Florida prison with his band, as far as they well could be from the reservation they had refused to accept. And with them were sent other Indians, who had been the friends and helpers of the government for years, and who had run great risks to help or to obtain peace. But the memory and gratitude of governments is become a proverb. The southwest settled down to enjoy its safety. The troops rested upon the laurels they had won, the superseded general went on with his work in another field far away to the north. The new general, the saviour of the land, was heaped[Pg 305] with honor and praise, and the path of civilization was laid clear. Parliament met on the 10th of January, 1765. The resentment of the Americans had reached the ears of the Ministry and the king, yet both continued determined to proceed. In the interviews which Franklin and the other agents had with the Ministers, Grenville begged them to point to any other tax that would be more agreeable to the colonists than the stamp-duty; but they without any real legal grounds drew the line between levying custom and imposing an inland tax. Grenville paid no attention to these representations. Fifty-five resolutions, prepared by a committee of ways and means, were laid by him on the table of the House of Commons at an early day of the Session, imposing on America nearly the same stamp-duties as were already in practical operation in England. These resolutions being adopted, were embodied in a bill; and when it was introduced to the House, it was received with an apathy which betrayed on all hands the profoundest ignorance of its importance. Burke, who was a spectator of the debates in both Houses, in a speech some years afterwards, stated that he never heard a more languid debate than that in the Commons. Only two or three persons spoke against the measure and that with great composure. There was but one division in the whole progress of the Bill, and the minority did not reach to more than thirty-nine or forty. In the Lords, he said, there was, to the best of his recollection, neither division nor debate! His cheek paled for an instant as the thought obtruded that the man might resist and he have to really shoot him. "Good, the old man's goin' to take the grub out to 'em himself," thought the Deacon with relief. "He'll be easy to manage. No need o' shootin' him." "Them that we shot?" said Shorty carelessly, feeling around for his tobacco to refill his pipe. "Nothin'. I guess we've done enough for 'em already." John Dodd, twenty-seven years old, master, part of the third generation, arranged his chair carefully so that it faced the door of the Commons Room, letting the light from the great window illumine the back of his head. He clasped his hands in his lap in a single, nervous gesture, never noticing that the light gave him a faint saintlike halo about his feathery hair. His companion took another chair, set it at right angles to Dodd's and gave it long and thoughtful consideration, as if the act of sitting down were something new and untried. "Besides," Norma said desperately, "they're only rumors—" "Oh, I've found a way of gitting shut of them rootses—thought of it while I wur working at the trees. I'm going to blast 'em out." During the next ten years the farm went forward by strides. Reuben bought seven more acres of Boarzell in '59, and fourteen in '60. He also bought a horse-rake, and threshed by machinery. He was now a topic in every public-house from Northiam to Rye. His success and the scant trouble he took to conciliate those about him had made him disliked. Unprosperous farmers[Pg 124] spoke windily of "spoiling his liddle game." Ditch and Ginner even suggested to Vennal that they should club together and buy thirty acres or so of the Moor themselves, just to spite him. However, money was too precious to throw away even on such an object, especially as everyone felt sure that Backfield would sooner or later "bust himself" in his dealings with Boarzell. "Let's go home," she said faintly—"it's getting late."