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  Hell,
Whores and High Hells; Pirate Video; Dir., Tanya Hyde; Stars:
Anita Black, Georgette, Layla, Monique Covet, Violet Storm...
An alterna-girl in B-Movie glasses, with tits the size
of Toledo, fucks a cue stick with her nipple ring. She’s
in red latex, zip-out tits and pussy; he’s in black
latex, both sporting little devil horns. She keeps the horns
on but removes her glasses to suck his massive member. Things
start getting Cro-Magnon when a white angel in wings, tiara
and an ass that belongs in heaven swings by. Angel uses
the toilet (with fur covered tank) as a getaway to black
dildo masturbation—something they don’t allow
you to do in heaven. What comes next is (you) a moment that
is lasciviously lewd: Angel lies down on a work-out bench
so her pussy can be violated by a giant, red-cocked fucking
machine. This is not a metaphor; I mean a mechanical, motor
driven, arms and levers device that sticks it to her with
so many strokes per minute.
“An
alterna-girl in B-Movie glasses, with tits the size of Toledo,
fucks a cue stick with her nipple ring.”
Astonishing. Robo-fuck. This sub perversion of Angel
continues with real cock and predictable results.
Next down, a woman on her knees in a black iron cage sucks
monster meat thrust through the cage into her happy mouth.
Feeding time at the zoo. Her handlers let her out so she
can have her other holes stretched out. Hell’s
fetish fashions have a forties fascist flavor as a platinum
blonde Sally Bowles deep throats American Wundercock...
right side up... upside down, on her back, on her knees.
Techno/electronica sounds tiring at times, but innovative
enough to keep the Master Race fucking to the end of Overman.
All white all the time. So many facials, so little time.
I like this director, Tanya Hyde, delivering unto fetish
what Andrew Blake has given erotic glamour. So we go medical,
naughty nurse, wheelchairs, interrogation, sexual torture/teasing
and high fashion fascism. Hell, Whores and High Heels
explodes off the screen. And you will, too. Rent it, beat
off to it and call me when you come. It’s rare rex
recommends anything, so, PAY ATTENTION HERE.
 New
Wave Hookers 6; VCA; Dir., Antonio Passolini; Stars: Ginger
Lynn, Tina Tyler, Kylie Ireland, Monique DeMoan, Steve Hatcher,
Michael J. Cox, Sean Michaels...
Sexually frustrated Audrey (Ginger Lynn—playing
the owner of All Girl Automotive) lusts after Chip, the
parts delivery boy. Ireland sucks off the parts boy on her
knees out in the garage. So what. So far, there’s no
set-up, premise or anything beyond above average acting
and photography. Ireland, who’s left her post as publicist
to turn full time VCA contract slut, takes the first scene
nowhere we haven’t fucked before. He dirty talk aside,
it’s all routine. Fortunately, VCA sent me a T-Shirt
with this one, easing the let-down. The off-camera cowboy
narration talks us into New Wave Hooker land as Audrey
offs herself with carbon monoxide poisoning in her own auto
repair garage... over Chip!? Audrey ends up in a netherworld
between here and hell where she has to whore herself back
to life. And that brings Audrey to the exam table of Dr.
Stinky Pinky (Sean Michaels) who gives her a thorough exam.
Lynn, who’s got to be pushing 40, is still a worthy
fuck toy as she hand over hands Michael’s legendary
chocolate bar into her throat.
Lynn gets topped by Tyler, but winds up looking bored, not
anxious, as she watches Mickey G sub for Tyler. Lynn, all
trussed up and spread-eagle in a swing, gets ahead in mistress
points fellating Micky G on her knees. Super Blow job. Micky
G gets more pussy being topped than a toilet seat. Unfortunately,
this heat comes too little too late to resurrect Audrey
from her “Hookers In Hell.” Or to revive this
video. As Audrey passes her “tests,” New Wave
Hookers 6 fails to deliver in the wake of Michael Nin’s
zenith, New Wave Hookers 5. Too bad. Given the cast,
the company and the T-shirt, I really thought #6 would be
new. In the end, Audrey learns how to use her power as a
Capitalist Boss to demand the delivery boy dick she craves—a
male paradigm message with only surface appeal to gender
equality. If only Audrey had learned in Hooker Hell to turn
All Girl Automotive into a worker owned collective... not
in the movies, dirty or not.
Sex World; Sin City; Dir., Alex Zoltan; Stars: Carmen,
Sophie, Fanny, Linda and other whores supposedly from around
the world
The premise for this video might be the world
wide search for women willing to shoot porn for the lowest
possible pay... So Sin City can shell-out less for production,
more for promotion. Typical of global capitalism. Naturally
we open in the Czech Republic where the poor girls probably
work for a cheeseburger and fries. Actually, there’s
nothing to indicate this scene is shot anywhere outside
LA, since moaning is a universal language. The first fuckee’s
gypsy jet-black hair and green eyes lends credence to her
hailing from Eastern Europe. Once again, Sin City production
designers roll out the silver moon blanket... wait a second.
This scene was shot on the left-over set from Linda’s
Gangbang! (Ed’s note: See Pornos, June ‘00
@ www.xmag.com) Since I already described this set a few
months ago, I won’t bother here. I will say this: I’m
more than a bit skeptical at this point that this scene
was shot anywhere off the Sin City lot. Next up is a fuckee
from Hungary, shot on the same set (No, I’m sure they
flew the entire set over to Czechoslovakia, then on to Hungary
to produce this video).
Oh, I get it. In spite of the opening footage establishing
exciting locals around the world, they actually just thought
about going there and how nice that would be. Then they
flew the porn star wannabe from Hungary to LA. Because you
can take the porn star outta Hungary, but you can’t
take the Hungary out of the porn star... thus guaranteeing
the tape’s Euro-efficacy. Back to the video... Girl-girl
scene 3, their moaning is voice-overed. Prominent gold cross
around the blonde’s neck; shooting porn for Jesus.
As we press on (nails in wood Jesus) deeper into this astounding
video, the scenes are shot in interiors that could be foreign.
Or it could be someone’s sleazy apartment out in the
valley. The audio for scenes three and four sounds tacked
on by Sin City’s post-production moaning actresses.
I can hear the director in the sound studio: “I want
you to moan like you’re from Hungary.” But, at
least it’s in stereo!
Finally, scene 5 drags it’s sorry ass around and we
get to see the box cover star, Carmen, from Spain. And rex
must admit, Carmen has a body that would stop a bull. And
a face like a young Cher—way back when she was with
Sonny. And the beat goes on. How the director can take such
a stunning woman and make such a boring scene is something
no one will contemplate beyond this sentence. At one point,
Carmen is taking the dick in some kind of hurdler’s
stretch, as the fog machine adds a certain je ne c'est quoi
to the inane proceedings. She makes her Sonny come without
getting a drop on her Pyrenees proboscis in the facial final.
To think of all those mercenaries fighting in the Spanish
Revolution so Spain could be a free-to-be-capitalist country.
I can hear Hemingway rolling over in his grave. “Ask
not for whom the bell tolls...” It tolls for Carmen’s
Spanish beauty extracted and exploited by Sin City Inc.
No wonder the old man shot himself in the head. Hemingway
must have seen Sex World coming.
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