Porn-parody represent the worst of Adult Cinema, and this Penthouse Video release is a mediocre example of the genre. What sets it apart from the norm is obvious racism and a lack of creativity.
Bryn Pryor/Eli Cross/Mark Logan, a hack by any name, is responsible for this junker, though perhaps a boiler-plate error credits Skye Blue as director in the opening credits.
Raylene's acting and comedic skill offer some promise in early reels, as we see her and husband Charles Dera move into a new home in Bangkok, Connecticut, provided as one of many perks in Dera's new job for some advanced tech company. Turns out that the tech involved is robotics, as a local organization of husbands (led by NonSex regular for Penthouse, Slick Rhodes) has beautiful robotic wives at their beck and call.
It's merely a ripoff of the famous "Stepford Wives" premise, with the script emphasizing the husbands' search for perfection and submission in their spouses. Attempt at horror in Ray's headed for replacement by an instantly docile robot woman comes off poorly, more of a gag than having any power.
So what we get is merely the requisite 5 Penthouse sex scenes, well-shot by the same crew as a hundred other Penthouse productions under producer Kelly Holland/Toni English's aegis. Filmmaker Pryor is so condescending that the film seems to endorse rather than criticize the male chauvinism of its plot line.
Racism rears its ugly head in the form of all the robot women being designed as Asian, or at least played by Asian-American actresses, including the always exciting Jessica Bangkok and superstar Asa Akira (who I thought was exclusively under contract to Wicked Pictures when this was shot). Rhodes explains this blithely with a line indicating that we all know Asian women are more submissive than Western ones. Just another example of pornographers feeling free to violate norms with impunity, part of the long-standing "I'm an outlaw" b.s. stance of untalented practitioners in the genre.
Bryn Pryor/Eli Cross/Mark Logan, a hack by any name, is responsible for this junker, though perhaps a boiler-plate error credits Skye Blue as director in the opening credits.
Raylene's acting and comedic skill offer some promise in early reels, as we see her and husband Charles Dera move into a new home in Bangkok, Connecticut, provided as one of many perks in Dera's new job for some advanced tech company. Turns out that the tech involved is robotics, as a local organization of husbands (led by NonSex regular for Penthouse, Slick Rhodes) has beautiful robotic wives at their beck and call.
It's merely a ripoff of the famous "Stepford Wives" premise, with the script emphasizing the husbands' search for perfection and submission in their spouses. Attempt at horror in Ray's headed for replacement by an instantly docile robot woman comes off poorly, more of a gag than having any power.
So what we get is merely the requisite 5 Penthouse sex scenes, well-shot by the same crew as a hundred other Penthouse productions under producer Kelly Holland/Toni English's aegis. Filmmaker Pryor is so condescending that the film seems to endorse rather than criticize the male chauvinism of its plot line.
Racism rears its ugly head in the form of all the robot women being designed as Asian, or at least played by Asian-American actresses, including the always exciting Jessica Bangkok and superstar Asa Akira (who I thought was exclusively under contract to Wicked Pictures when this was shot). Rhodes explains this blithely with a line indicating that we all know Asian women are more submissive than Western ones. Just another example of pornographers feeling free to violate norms with impunity, part of the long-standing "I'm an outlaw" b.s. stance of untalented practitioners in the genre.