Category Archives: erotica

The Maestro Delivers Us From EVIL! “P.O. Box Tinto Brass” and “IsTintoBrass” reviewed! (Blu-ray / Cult Epics)

Posted by Steven Lewis on


Tinto Brass, whose very name is synonymous with erotica cinema, presents a tantalizing series of letters and videotapes, written and recorded for him by adoring women executing their most sensual fantasies, exploiting their carnal desires, and giving the director a peak into their wet dreams. Brass’s lovely young assistant retrieves numerous submissions from his P.O. Box and as Brass scours through the countless correspondences, attempting to penetrate through the mundane to find that special something from his female fans, the stories become animated from text to short film visuals that involve spread eagle voyeurism, reluctantly desiring wife swapping, and a little husband and wife role playing to spice up their drab marital sex life by incorporating home movies. Each woman is able to confide in the maestro who harbors a gift for delivering classy and joyous erotica to not only the cinema market, but also into his admirers’ private lives.

While America became gradually engrossed by the Showtime syndicated erotic drama series, “Red Shoe Diaries,” hosted by “X-Files” David Duchovny that showcased unconnected sensual stories from women who bared it all in heated encounters with male companions, the Italians’, who were experts in erotica cinema that this time, had their very own, slightly more explicit, version released in 1995 in full-length feature form, cleverly titled “P.O. Box Tinto Brass,” from director, and as titular presenter, the erotic master himself, Tinto Brass. Originally titled “Fermo posta Tinto Brass” in the native dialect,” “P.O. Box Tinto Brass” arrives on a new and restored 2-disc Blu-ray release from Cult Epics and acts as a celebration on not only the filmmakers’ immensely arousing body of work, but also a celebration on the director himself who has the uncanny ability to unearth the hidden away desires in all from his tongue-and-cheeky intimacy story arcs that relieve suppression for exploration of our natural sexual ambitions without the culpability instilled by taboo cultures. Granted, some of the material presented might feel dated and not as salacious as every John and Jane Smith can now utilize their God-given bodies to amass a modest fortune across the world wide web of sex, but to understand today’s culture, which still seems a fair share of sexually oppressive forces, we must look at Tinto Brass’s gift in normalizing what once was bedroom only material. Brass, who sport smoking a signature cigar throughout the film, uses his platform and becomes the vessel of expulsion to remove the privacy and shaming barriers that hinder healthy sexual appetites and, literally, creates a tactile representation of sexual jubilee with little-to-no seething judgement other than that of the character’s own restrictions. There are a ton of Brass trademarks shots that include, but not limited to, the hairy vulvas, a playfulness toward the vagina, exhibitionist flaunting, loads and loads of butt and breast angles in and out of clothes, elaborate location patterns on a grand, maybe art deco, scale, and, perhaps his most notable trademark, the expansive range of setting up elegant shots reflected off mirrors. As a whole, “P.O. Box Tinto Brass” brings a lighthearted and free atmosphere that’s uninhibited and sexy during and between each segment and while Brass is no doughy-eyed David Duchovny, I would be remiss in the lascivious eyes of Tinto Brass if I didn’t mention that after immersing ourselves in the “P.O. Box Tinto Brass” anecdotes, me and my wife had the most passionate, free verse sex we ever had since we’ve tied the knot 8 years ago, an experience that’s akin to an economically-friendly version of sex therapy. Thank you, Maestro!

This leads us into the second disc of this Cult Epics epic release with a 2013 documentary, entitled “IsTintoBrass,” from a longtime Tinto Brass colleague and good friend, Massimiliano Zanin, who delves more into Brass’s political, experimental, and monumental work compositions that shaped the director into who is now the renowned eroticism auteur with a belief and a slogan that the ass is the window into the soul. Thought being born, bred, and flourish as an Italian filmmaker, “IsTintoBrass” speaks volumes about his French influences and his life guiding time at the Cinémathèque Française in Paris where he met Henri Langlois and Lotte H Eisner who exposed Brass to rare, unseen films His time Cinémathèque Française afforded him praise on his first films, such as “Who Works Is Lost” and “Attraction,” that were to the likes of French directors like Jean-Luc Godard and were labeled as a blend of part French New Wave movement and pop cinema. Zanin guides us through Brass’s continuous battles with censorship boards whose biggest problem with his filmic formations was not the nudity, but the supposed transgressions against conventional cinematic norms, especially with “Salon Kitty” that was an atypical example against the latter half of his career and used sex as a means of power of another person. His entrenched struggles didn’t end there as the documentary also shed lights on filmmaker’s most controversial work, “Caligula,” which became not his work due to a an underhanded producer who decidedly desired more sex than story and fought Brass, in more than one court of law, for the rights. Notable friends, colleagues, and film critics go through the eclectic Tinto Brass timeline, recalling and reexamining his decisions and aspirations into a multinational praise of his work. Some of these speakers included Franco Nero (“Dropout”), Helen Mirran (“Caligula”), and Sir Ken Adams (“Salon Kitty”). Plus, there is plenty of T and A to go around,

If Tinto Brass didn’t have a stroke in 2010, Zanin’s documentary wouldn’t have been made three years later as it’s a highlighted tribute of one remarkable Italian filmmaker’s life achievements stemmed from something as terrible as a life threatening ailment; yet, that’s how these things usually go, right? A retrospective acknowledgement, usually overwhelming positive in general, of a great artist whose work is greatly admired, frequently in a posthumous manner. In this case, Zanin saw fit to encase a historical record on Tinto Brass before meeting his maker, beginning with a really vigorous look into his inspirations at the Cinémathèque Française, chalking up much of his earlier work to his time spent looking through reels upon reels of avant garde films, but then Zanin quietly fades out of the path that elevated Brass as the cherished erotic connoisseur. Zanin’s story takes this awkward tangent to only skim the surface of Brass’s erotic films, which is strange since Zanin’s known and collaborated with Brass the last 20 years, about 13 years when this documentary was released, and penned a pair of his Brass’s saucy scripts, “Cheeky” and “Monamour.” Yet, the last 20, if not 30, years is surprisingly fleeting in Zanin’s capsulated effort to immortalize Tinto Brass. Still, the overall film is perhaps more endearing than Tinto Brass would have ever imagined, especially as brash and as perverse as his image portrays him outside the parameters of the filmic dome. Inside that dome, Brass has obtained throughout the decades a following of professional admirers and adoring fans who see him for what he truly is, himself. “IsTintoBrass” isn’t a gratuitous or perverted exhibition of an old man’s horniness; it’s an intoxication of what it means to actually be free from the repressive nature of censorship, the rapturous high of being an unchained artist, and being an obsequious master craftsman of cinema.

Cult Epics delivers a 2-disc limited edition Blu-ray of Tinto Brass’s “P.O. Box Tinto Brass” and Massimiliano Zanin’s “IsTintoBrass.” “P.O. Box Tinto Brass” has been newly restored and re-mastered in 4K high definition from the original 35mm negative and presented is a widescreen, 1.85:1 aspect ratio. The picture is absolutely stunning that revels in the burst of primary colors Brass was keen to implement. The details and the tones on the naked skin flesh out every beauty mark, fiber of hair, and every pore. Typically, Tinto Brass films run purposely a little soft to create a dreamlike, if not fantasy-like, setting to obtain a jovial mood setting for the uninhibited moments, but the details are still strong throughout. “IsTintoBrass” is presented in a widescreen, 1.85:1 aspect ratio, from a 2K transfer scan of digital video, aside from the snippets of Brass’s work. Video presentation is like crystal that obviously wouldn’t distinguish any kind of transfer anomalies because there wouldn’t be any. The Italian language 2.0 Mono LCPM/DTS-HD Master Audio 2.0 Mono (“P.O. Box Tinto Brass”) and the DTS-HD Master Audio 5.1 Surround (“IsTintoBrass”) are clearly discernible in all regards, especially in the Tinto Brass directed feature form ’95 with a clarity in the speech, a softer ambience that supports the dialogue rather than be level with it or overwhelm it, a range that mingles to support the dialogue as well. English subtitles are available on both discs. To smooth off any rough edges is a score by Riz Ortolani (“Cannibal Holocaust”) with a vibrant, cheeky score that fits perfectly into Brass’s wheelhouse of curvy, adventurous women. Bonus features on the first disc includes a 2003 interview with Tinto Brass who gives a brief background on his cinematic start, poster and photo gallery, and the trailer. Disc 2’s bonus material includes an interview with writer-director Massimiliano Zanin providing his reasoning for this documentary, a Tinto Brass achieve photo gallery, a couple of short interviews praising Brass’s passion, and trailers The package is also a work of art sheathed inside a cardboard, black and blood red slipcover and inside the casing is a 48-page booklet of Gianfranco Salis stills from the Tinto Brass achieve which are beautiful and almost Playboy-esque. To experience Tinto Brass is invaluable enough, but to experience his films in high definition is without a doubt worth it’s weight in gold with the powerhouse release of “P.O. Box Tinto Brass” and a retrospective documentary “IsTintoBrass” from Cult Epics!

Check out the LIMITED EDITION “P.O. Box Tinto Brass” release!

Spies, Lies, Thighs, and EVIL Guys! “The Dallas Connection” reviewed! (Mill Creek Entertainment / Blu-ray)

Posted by Steven Lewis on


Chris Cannon and Mark Austin are back to save the world from a devious organization once again as the two bureau agents are assigned to protect the last world-renowned scientist that developed an International World Arms Removal (I/War) satellite project that could detect terrorists’ weaponry no matter how concealed, but when the other three scientists from around the globe are brutally assassinated, the odds are stacked up against them and the bad guys are always one step ahead of them. Given four computer chips to guard at all times, I/War assigns their best agents to the task of securing hope for the project, called The Dallas Connection, for three days until a specifically timed launch to coordinator with a passing asteroid field that’ll power the satellite for years decades to come, but the well-armed and well-organized crime uses all assets and their power of seduction to gain control over the satellite at all cost.

The L.E.T.H.A.L. ladies series continues with the second buddy-cop picture, “The Dallas Connection,” helmed by Christian Drew Sidaris, son of the erotically charged-action producer and filmmaker, Andy Sidaris that follows up on the first Drew Sidaris prospecting fracas, Enemy Gold. “The Dallas Connection” is the tenth installment of the series, known also as the Triple B series (that’s Boobs, Bombs, and Bullets) that has little-to-nothing linking the entire series cache together aside from being exclusively explosive wrapped with a sensual rouleau of Playmate and Penthouse centerfolds, tightly coiled around the tight and firm half-naked bodies of it’s leading stars. The Sidaris team, under the Malibu Bay Films and Skyhawks Films banners, one again economically ignite a successful B movie that promises 90’s attired, flamboyant action on set at a few familiarly recycled locations in Shreveport, Louisiana and Los Angeles, California, redressed for a not-so different genre or distant premise.

As aforementioned, centerfolds are a staple in any Sidaris, father or son, girls and guns feature and “The Dallas Connection” is no exception, starting off with their main squeeze, good friend, and cult movie icon, Julie Strain, as one of the chief co-antagonist under the nom de guerre, “Black Widow.” Strain is tall, sexy, and a wild villain capable of restraining the violent kick of an AK-47 in thigh high boots and a low-cut open jacket that embodies gun nuts most delectable dreams. The once Penthouse Pet of the Year stays quite reserved compared to her tantamount villainous role in “Enemy Gold” by going topless only in a couple of instances in a death grip roll that involves a lap dance before her prey’s demise, a specified attribute to the beautiful and deadly small spider she spins her call sign from. Black Widow is joined the just as deadly Cobra, fellow Penthouse Pet of the Month February 1993, Julie K. Smith, and Scorpion, the equally as Julie Strain tall, Playboy Playmate of the Month December 1991, Wendy Hamilton. Smith and Hamilton offer up polar features that doesn’t make “The Dallas Connection” a one-type of woman show, but both are voluptuous in their own rite, adding sizzling hot tub sex scenes and long-legged strip shows to accentuate “The Dallas Connection” amongst the B movie fray. “Phantasm II’s” Samantha Phillips becomes the whip cream on top, rounding out Sidaris’ centerfold assembly, as another the third Penthouse Pet of the Month, June 1993. There’s also Bruce Penhall and Mark Barriere, but who cares about these shirtless studs who drag race old Plymouths and jet ski when you four gorgeous women to ogle over? Penhall and Barriere mark their return as Chris Cannon and Mark Austin from Enemy Gold in a buddy-cop adventure loaded with a Dirty Harry Magnum .357 and a M1 Grenade launcher assault rifle. Kaboom! Rounding out the cast is Gerald Okamura (“Big Trouble in Little China”), Roland Marcus, Cassidy Phillips, Ron Browning, Tom Abbott, and Rodrigo Obregon as a satellite scientist.

After finishing “The Dallas Connection,” I wanted to say that I’ve seen this movie before and not because of some misplaced form of déjà vu, but, rather, that I, in fact, HAVE seen this movie before in the precursor film of the L.E.T.H.A.L. ladies series, “Enemy Gold.” The story’s been tweaked slightly to a story with the same framework. Hell, like also mentioned, when you throw in some of the same locations as in “Enemy Gold,” Sidaris’s home with the hot tub and the cabin the woods, and redress the same actors, Julie Strain, Bruce Penhall, Mark Barrier, Rodrigo Obregon, Tom Abbott, and Ron Browning all in the essentially the same roles, “The Dallas Connection” just feels like an extension or a mirror image of that former film, making the story a weary one with nothing really new to spectacle except for three pairs of new, large-and-in charge, breasts in Smith, Hamilton, and Phillips. One difference noticed is that the bureau agents this time around are a lot dafter with skulls thick as a brick and unable to use common logic in the most practical situations. There have been many a time when producer Andy Sidaris commented his films to James Bond, but at least Bond had the smarts to always be on guard; Chris Cannon and Mark Austin do indeed think with their other head that do, in benefit, leave the door open for some saucy hot tub sex that’s perhaps the best simulation from Sidaris reel I’ve seen to date.

Available for the first time on Blu-ray, “The Dallas Connection” will get your rocket launchers off with ton of gunplay and is loaded with beautiful women. The region A, 1080p high definition presentation from a 4K scan restoration has an aspect ratio of 1.78:1 widescreen. The image’s simply gorgeous from the 35mm negative baring a few minor faint scratches that linger only for seconds at a time. There’s quite a bit of noise during the night scenes that almost make the scene look daylit, but skin tones, especially gleaming with water, are remarkably velvety and the textures on clothes and skin looks great for a low budget action. The English language DTS-HD Master Audio dual channel mix medleys appropriately, dialogue is clear and upfront and ambience has proper depth and range. Explosions are powerful coming through the dual channels with a hefty LFE and gunfire can rip just as good as Dutch blasting away at a trophy hunting alien in Predator. Even the sexy lounge soundtrack from Ron Di Iulio is on point despite being a rehash of “Enemy Gold” once again. Hardly any blemishes or distortions coming from the audio track. English SDH subtitles are optional. The bonus features mirror that of “Enemy Gold” as well with Andy Sidaris and Julie Strain doing this awkwardly coy and sugar daddy bit showing off “The Dallas Connection” merchandise and international posters that lead into Andy’s film school where him and his wife, Arlene, go onto commentary on how to shoot scenes and edit them together, using an action and a sexy scene from “Return to Savage Beach” as reference. In the same behind the scenes, there’s an equally bizarre Joe Bob Briggs interview where the legendary MonsterVision and The Last Drive-in Host seems uncomfortable with Andy and star Julie K. Smith about how he persuades to get these beautiful centerfolds to be in his films. Other bonus material includes a commentary on the film itself and theatrical trailer. “The Dallas Connection” is a Texas-size IED with a busty ornate façade, but acts more like a duplication of something we’ve already experienced, making the sophomore feature from Christian Drew Sidaris just a more of the same.

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Hard Bodies, Hot Vixens, Civil War Gold, and an Evil Bolivian Druglord in “Enemy Gold” reviewed! (Mill Creek Entertainment / Blu-ray)

Posted by Steven Lewis on


Agents Chris Cannon, Mark Austin, and Becky Midnite go in guns blazing on a drug smuggling operation operated by the goons of a Bolivian drug lord and club owner named Santiago. Furious with their meddling that cost him a hefty dividend, Santiago employs the crooked agency director, Dickson, to do something about his rogue operatives, but with his bureaucratic hands tied, Dickson can only get the agents suspended until further investigation clears them of any wrongdoing. During their leave, the three go on a gold finding expedition based off the tale of a legendary suicide mission conducted by a Confederate Lieutenant during the American Civil War that involved infiltrating behind enemies lines and stealing Union gold to fund the rebellion cause. The gold is believed to be hidden deep within the woods, a secluded area Santiago just happens to learn about while eavesdropping on the agents movements. Deciding take matters into his own hands, Santiago hires an exotic hitwoman, Jewel Panther, to hunt them down for elimination.

Perhaps the Tinto Brass of action films, Andy Sidaris wrote, directed, and produced an extensive filmography of weaponry-packed James Bond-esque films crammed with robust eroticism from the late 1980’s to the heart of the 1990s under his, and his wife’s, own independent banner and though “Enemy Gold” has all the markings of a Sidaris’ productions, including many, many female assets and rock hard abs, his son, Christian Drew Sidaris is handed the sovereignties of the 1993 bodacious hot-body, action-comedy in which he co-writes with Wess Rahn. The cult film showcases the best parts of the most beautiful people who have less-than-stellar thespian chops, hiring outside the conventional casting agencies to lure the attractive attributes of what Playboy and Penthouse have to offer, and sticking them into the tightest and skimpiest clothes that would put Miami’s South beach flamboyantly wild atmosphere to shame. Let me not bring in East Coast flavor to a production that stretches from California to Louisiana under Sidaris’ economically savvy Skyhawks Films company, in association with MBP and Starlight Films.

I wasn’t joking when I said Sidaris scouted out Playboy and Penthouse centerfolds that sizzle with sex appeal when strapped with an automatic weapon. The concept is every gun-toting redneck’s wet dream when the producing Sidaris’ employ the well-endowed to be the center of the action. Penthouse Pet and cult horror icon, Julie Strain, certainly fits the description. The voluptuous 6ft 1in actress has the best role in the house as Jewel Panther, the scantily-cladded assassin with a pugnacious attitude that can turn a quarrelsome skirmish into an oddly erotic babes and bombs moment as she whacks a couple of clueless park rangers in nothing more than her thong bikini. Not only does Strain play the best monikered character in the flick, but is a tantalizing, Amazonian lioness of a personality on screen. Suzi Simpson is another centerfold working for truth, justice, and the lethal way as Becky Midnite. The blonde bombshell Playmate does a little dirty work in her cut-off, daisy duke jeans, wriggling in and out of tight situations, and tight clothes, when being eyed up and down by Santiago’s thugs. Midnite’s not as interesting as Jewel Panther and Simpson acting mirror’s than par level posture with rigid aesthetics, even during her sex scenes with Bruce Penhall (“Body Count”). The last Playboy centerfold is Tai Collins, aka Taquil Lisa Collins, and before she was a renowned philanthropist, founding multiple foundations, and spearheading charities for children, Collins was a D.C. suit, an agency head that oversees operative missions, who saw fit to be in a romantic relationship with a subordinate (“Fit to Kill’s” Mark Barriere”) and underneath that suit, you guessed it, was dressed-to-kill lingerie. Then, of course, you have the Bolivian drug lord, Santiago. The role was awarded to one of Andy Sidaris’ casted actors, the late Rodrigo Obregon. The square jaw and poofy-haired Obregon quarterbacked all of Santiago’s antagonism toward the extermination of all the beautiful people aka the agents, but was in reality, or at least in character, was a big softy compared to Jewel Panther who ended up being more despicable in her foxy iniquity. “Enemy Gold” rounds out with Alan Alabew (“Bulletface”), and “Day of the Warrior’s” Ron Browning and Tom Abbott.

Though saturated with plenty of T&A, the Sidaris team keeps scenes classy, sexy, and elegant without stepping a foot into pornographic territory that would ultimate undermine and reclassify “Enemy Gold” as another Axel Braun flesh-flick. Granted, the acting is as cheesy as a cheeseball growing on a cheesy-cheeseball tree and every fit bod sports a cut off T-shirt and vest while pretending their early 1990’s Lenny Dykstra by wearing his baseball shades and fitting a mini-mullet, but for the value, “Enemy Gold” is a goldmine of cut-price epic action providing a variety of numerous explosions and marginal Michael Mann style gun fights. Throw in lengthy scenes of nudity, such as thorough shower scenes and a primal topless with a sword around a firepit, and you have “Bullets, Bombs, and Babes!” so says the tagline. It ain’t lying! Rahn and Drew Sidaris’ script fairs as the weaker link to the entire package that setups a really good criminal retaliation premise that recoils back to one half of the titular element, gold. The film opens up during CIvil War time with a narrative prologue of a Confederate suicide mission in attempting to steal union gold and burying it deep within the forest. The preface only becomes relevant when Christ and Mark decide to use their sudden suspension leave to go on their annual treasure hunt for the buried gold. Santiago’s reprisal of his drug bust forces the Civil War backstory and the gold to be subservient, debasing the story to an unbalanced point that it can’t seem to recover from the absurdity of events.

“Enemy Gold” is worth it’s weight in buxom gratification with a well-endowed Blu-ray plus digital release from Mill Creek Entertainment. The transfer hits Blu-ray for the first via a 4k restoration presented in 1080p, high definition widescreen with an aspect ratio of 1.78:1. The immense details is exquisite when regarding the show of excessive skin in nearly every segment. Exterior scenes look and feel lush within the trees, bushes, and lakeside landscape. Some of the grain is inconsistent, leaving exposed some fluctuations of blockiness to hurtle over. The transfer did suffer some irreparable minor damage, such as some deep scratches that are noticeable in editing and a moment of reel flare that pops up briefly. The English language 2.0 DTS-HD Master Audio offers a respectable mix helmed by the clearly prominent dialogue though, at times, renders a bit soft. Explosions are nicely discernable even in the dual channel. “Repligator’s” Ron Di Iulio’s “Night Court” meets “Red Shoe Diaries” score dips into a monotonous swanky-funk, but is an appeasing instrumental. English SDH are optional/ Bonus features include an introduction by director Andy Sidaris and, if you didn’t get enough boob action, a flirtatious Julie Strain that build up what to expect in a dated DVD launch intro. If you want even more Julie Strain topless, the behind the scenes featurette offers a little more of that DVD launch promo plus a gag of Sidaris guide to filmmaker, plus some interviews with wife Arlene and Drew Sidaris, an interview with Joe Bob Briggs, and some a brief history into the Sidaris legacy. There’s also an audio commentary and trailers. “Enemy Gold” is a prime example of the best erotica action before the turn of the century, fearlessly proud and independent to be perfectly content in the content that’s centerfold perfect. Recommended.