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2 Reviews
A misnomer but well performed by the cast
lor_6 April 2015
James Avalon's initial entry in THE ESCORT series for Sweet Sinner stretches the title premise in order to get in the usual quota of sex footage, perhaps too much sex given its extremely long running time. But the femme cast especially is up to the task.
Feature opens without the usual story setup - all we hear is a phone call voiced over, ordering up escort Sapphire (Dana De Armond, whose real character name changes or remains mysterious, depending on your interpretation). Despite the service's admonition that she is strictly escorting guys on the town, with no hanky panky, the viewer knows better. So when Dana arrives in a very sexy, almost fetish, outfit at Chad Alva's hotel room, all he has to do is wave several big bills at her and it's off to the XXX races.
She's dominant and he's loaded with tattoos, so Sweet Sinner's dictum of natural sex seems abandoned this time out. Title might as well have been THE PROSTITUTE or THE CALL GIRL, but movie's script keeps insisting till the bitter end that we're dealing with escorts, just as SS's long-running THE MASSEUSE series keeps up the pretense that no "happy endings" are promised in the rubdown salon, yet every single time the patron gets one and usually more than that.
An entirely separate vignette follows, though the story's flow-through is re-established later. Bounteous Chanel Preston (she vaguely resembles Mira Sorvino around the time of her Woody Allen-generated Oscar) is introduced bickering with hubby Evan Stone -they seem like an old married couple though she's far too young for that. She huddles with her accountant James Deen (slicked up in suit and tie he is completely unconvincing in this role), and then they hump in his office. The contrast of pleasantly filled out, well-tanned Chanel opposite sickly pale and thin looking Deen is a turn-off for me - I admire his longevity but don't understand his prominence in the industry at all.
Chanel proposes a sex game with Evan, whereby he's to go to a bar and flirt with women until she arrives late, and he'll pick her up (for a hot sex tumble) as if they've never met. Instead we know it's a scheme concocted to get the infidelity goods on Evan so as to break duo's pre- nuptial agreement, and earn her half of his fortune. A scheme concocted by Deen and Chanel.
Of course the escort assigned to the ruse turns out to be Dana, now using the name of Cheryl. It backfires and Evan falls in love with her, reciprocated by Dana/Cheryl and we get an odd montage of them being soft-core romantic, replete with a soul ballad "I get so lost when we're together" sung over on the soundtrack.
Plot thickens with some twists and turns that give Chanel her comeuppance and chart some serious ups & downs in Evan & Dana's relationship. Along the way, the requisite Act III variation sex scene has Dana's boss (or just co-worker, it's not made clear), Presley Hart injected into the proceedings as a dominatrix doing a number on a most willing guest star Mr. Pete. Extras in a bar scene and elsewhere (non-sex roles) get credits: Bubbles Couture, John Conman, Marlynn Lane, Leo Wang and my favorite pseudonym in the bunch: Clit Eastwood!
Though way overlong, it's entertaining and only really falters when a discussion of being a "pro" (referring to escorts vs. hookers) struck me as having an unsavory connotation applicable to porn performers, definitely not intended. Also lame is the contrived happy ending.
I really liked the ladies, and was pleasantly surprised that in this strong showcase of her talent Dana De Armond reminded me of the wonderful '60s cult favorite Audrey Campbell, she of OLGA s&m movies fame.
Feature opens without the usual story setup - all we hear is a phone call voiced over, ordering up escort Sapphire (Dana De Armond, whose real character name changes or remains mysterious, depending on your interpretation). Despite the service's admonition that she is strictly escorting guys on the town, with no hanky panky, the viewer knows better. So when Dana arrives in a very sexy, almost fetish, outfit at Chad Alva's hotel room, all he has to do is wave several big bills at her and it's off to the XXX races.
She's dominant and he's loaded with tattoos, so Sweet Sinner's dictum of natural sex seems abandoned this time out. Title might as well have been THE PROSTITUTE or THE CALL GIRL, but movie's script keeps insisting till the bitter end that we're dealing with escorts, just as SS's long-running THE MASSEUSE series keeps up the pretense that no "happy endings" are promised in the rubdown salon, yet every single time the patron gets one and usually more than that.
An entirely separate vignette follows, though the story's flow-through is re-established later. Bounteous Chanel Preston (she vaguely resembles Mira Sorvino around the time of her Woody Allen-generated Oscar) is introduced bickering with hubby Evan Stone -they seem like an old married couple though she's far too young for that. She huddles with her accountant James Deen (slicked up in suit and tie he is completely unconvincing in this role), and then they hump in his office. The contrast of pleasantly filled out, well-tanned Chanel opposite sickly pale and thin looking Deen is a turn-off for me - I admire his longevity but don't understand his prominence in the industry at all.
Chanel proposes a sex game with Evan, whereby he's to go to a bar and flirt with women until she arrives late, and he'll pick her up (for a hot sex tumble) as if they've never met. Instead we know it's a scheme concocted to get the infidelity goods on Evan so as to break duo's pre- nuptial agreement, and earn her half of his fortune. A scheme concocted by Deen and Chanel.
Of course the escort assigned to the ruse turns out to be Dana, now using the name of Cheryl. It backfires and Evan falls in love with her, reciprocated by Dana/Cheryl and we get an odd montage of them being soft-core romantic, replete with a soul ballad "I get so lost when we're together" sung over on the soundtrack.
Plot thickens with some twists and turns that give Chanel her comeuppance and chart some serious ups & downs in Evan & Dana's relationship. Along the way, the requisite Act III variation sex scene has Dana's boss (or just co-worker, it's not made clear), Presley Hart injected into the proceedings as a dominatrix doing a number on a most willing guest star Mr. Pete. Extras in a bar scene and elsewhere (non-sex roles) get credits: Bubbles Couture, John Conman, Marlynn Lane, Leo Wang and my favorite pseudonym in the bunch: Clit Eastwood!
Though way overlong, it's entertaining and only really falters when a discussion of being a "pro" (referring to escorts vs. hookers) struck me as having an unsavory connotation applicable to porn performers, definitely not intended. Also lame is the contrived happy ending.
I really liked the ladies, and was pleasantly surprised that in this strong showcase of her talent Dana De Armond reminded me of the wonderful '60s cult favorite Audrey Campbell, she of OLGA s&m movies fame.
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