When Evil Strikes in Holy Gotham City, Only One Hero to Call… “Bat Pussy” review!


Good for nothing Buddy and his two-bit working girl wife Sam bicker slangily about their sexual performances. As Sam lays nude in bed and a naked Buddy flips through a sleazy magazine in search for the new positions to experiment, the two become inspired to ravage each others’ privates all the while expletives toward one another fly. Soon, Buddy decides to start snapping photographs of his nude wife as part of a plan to create an adult spread, like in the magazine. Deep inside Bat Pussy’s headquarters, a tingle in her twat informs her that somebody, somewhere is creating porn in her holy Gotham City and she quickly dresses from nightgown to bat suit to spur into action. The not-so-caped crusader jumps onto her Hoppity Hop and makes haste across town to intervene, but as soon as Bat Pussy dives in to stop the perversive pornographic nature, she dives right into the fold of lustful, foulmouth appetites.

American Genre Film Archive and Something Weird Video, partnered with distributor MVDVisual, releases a restoration of one of the earliest known porn parodies, “Bat Pussy,” onto Blu-ray that spoofs, horrendously, the Adam West starred “Batman” television series from the late 1960s. As far as a porn is considered, “Bat Pussy” lacks any sensical sexual action resulting in a double one-two punch wham!-bam! of no plot and no actual sex; instead, Buddy and Sam’s southern caints and worsh tub conversing of ignorant and pointless potty mouth conversation is more entertaining than Buddy’s limp impotence that dangles between the legs of being bizarre foreplay with the very freckly and curvy Sam. Since both of whom are seriously unattractive in appearance and performance, “Bat Pussy” has the stigma of being the worst porn ever produced. The actress behind “Bat Pussy” has far superior attributes than compared to her costars, but lavishes in a twang that’s hard to ignore and her vigorously tasteless implementation into Buddy and Sam’s awkward makeshift threesome is beyond the point of cringe worthy.

“Bat Pussy’s” gridlocked and effortless plot isn’t much to write about unless a bonus movie accompanies it and, in this particular release, “Robot Love Slaves” waits to be received in the bonus material. The bonus feature tells the story of Clark, a mad scientist who creates pleasure gifting robotic women in spite of a conniving wife whose scheming to be handicapped to steal her Husband’s groundbreaking work and be in the arms of her illicit and conspiring lover, Dr. Dicks. Clark constructs four pleasure bots, testing two of them on his friends with their specific built in sexual qualities, and keeping two for himself until the very right moment to strike against those who seek to dethrone him of his creation.

“Robot Love Slaves,” also known as “Too Much Loving,” is another early 1970s stag film. The science fiction sexploitation arouses a little better than the main feature and consisting of a plot that starts from A-to-Z and more striking women involving Sandy Carey (“Drive-In Massacre”), Sandy Dempsey (“Country Hooker”), and Candy Sampler (“Flesh Gordon”). Though roughly and technically hardcore, “Robot Love Slaves” is more softcore not by directorial design, but by edited manipulation that serves as a drastically cut-downed final product; nonetheless, the overall tone plasters a more earnest setting of deception, sadism, and pleasure rather than fooling around in a waste of runtime. Billy Lane and Adam Ward costar.

AGFA and Something Weird Video’s MVDVisual distributed “Bat Pussy” and “Robot Love Slaves” is a restoration of cult bric-a-brac right onto Blu-ray home video presented in the original aspect ratios of 1.33:1. “Bat Pussy” has been through a 2k scan from the only surviving 16mm print in existence found in the back room of Paris Theater in Memphis, Tennessee. The restoration puts the pieces in order that result in a slightly washed glaze from the dated print. Scratches and grain remain evident, but, like the not-so-hardcore material, nothing too obscene. The mono audio track is more interesting with pieces of the audio track removed upon the unknown director’s direction; during some points of the awkward romping, the audio would cut out, Buddy would look up, audio would come back in, and Buddy would say, “what?” and then the audio would cut back out. You’d have to see hear it to believe it. “Robot Love Slaves,” which also went through the 2k scan from the 16mm elements, suffers far worse from father time. Doesn’t help that the film is also heavily cropped and edited to avoid being extremely explicit. The audio track cuts in and out near the end, popping with distortion under a low ranged ceiling, and flushed with hisses. Bonus material includes a commentary track from Something Weird’s Lisa Petrucci and Tim Lewis, crime-smut trailers and shorts from Something Weird Vault, and liner notes by Lisa Petrucci and Mike McCarthy. The vivid and hilariously illustrated “Bat Pussy” blu-ray cover is perhaps the most remarkable aspect of this release. Though both films are of unknown origins and much of the cast and crew are an enigma, “Bat Pussy” and “Robot Love Slaves” revel in a sexploitation realm all their own with wish-washy filmmaking and poor, but exuberant, performances from a cast who never spoke of these two, under an hour, cult hits ever again!

It’s Bloggin’ Evil Interviews “Love is Dead” director Jerry Smith!

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Horror Film Journalist and Filmmaker Jerry Smith

I would like to start off with the readers receiving some slight background on you. Can you provide us with a short bio about where you’re from, where you’re at now, and what prominently influenced you into the person you are today?

I was born and raised in the Central Valley of California, in a mid-sized City named Visalia. It’s grown into a city without any real film culture or following so I try to stay away as much as possible. I spend my days going back and forth between Los Angeles and Visalia due to my kids.

I came from a really rough childhood. As a kid, I was taken by my stepdad to see “The Accused” in the theater and being around six or seven, watching a film focusing on the gang rape of a woman really affected me. It scared me and made me uncomfortable for both Jodie Foster’s character and myself. That night, when we got home, my stepdad molested me, something that lasted for a good while. It turned a wild and outgoing kid into a scared little boy who was afraid of everything and everyone. He was a real piece of shit and an alcoholic, so my mom would give me enough money to go to the nearby theater to stay there all day watching movies. It was pre-Columbine obviously, so they didn’t give a shit about carding people. I saw “Child’s Play“, the latest “Friday the 13th” and the latest “A Nightmare on Elm Street” and in those films, I found solace in how the survivors would go through hell and come out ahead. It made me feel safe and horror became the love of my life because of it. Seriously though, I love the horror genre as much as my kids. Because I was a horror (and just films in general) fanatic, I would write stories and sequels to films as a kid and I became enthralled with Stephen King and Clive Barker at an EARLY age. I was sent to the principal’s office for bringing and distributing a backpack of Stephen King novels to the kids because one girl’s mom had an issue with “The Tommyknockers.” So I read and wrote and always wanted to be a writer and a filmmaker.


How did you begin your journalistic career toward some of today’s top horror news outlets, such as Fangoria, Shock Till You Drop and being editor-in-chief at Icons of Fright?

I owe my whole career in horror journalism/film critique to Rob Galluzzo (Co-Founder of Icons of Fright and Senior Editor at Blumhouse.com). I had read Icons of Fright for years (it was started in 2004) and kind of became acquaintances with him online via Facebook and at the time he was working at Amoeba in LA, so I would talk to him when I was there for something and he was always so friendly and kind. He’s seriously one of the most giving individuals I know. Well one day, a few friends went to LA and I was stuck in Visalia doing something and it frustrating me that I wasn’t doing anything with my love for writing. I messaged Rob and asked him for advice on starting your own site. He said he would give me advice, or if I wanted to, I could just start writing for Icons of Fright. I was blown away. Here there was a site that I read for years, and now I was getting to write for them. As time went on, I was pretty crazy about being on top of Icons and Rob took a job at FEARnet (RIP), so he asked me to be the Editor in Chief and steer the ship, so to speak, and I did that for five years. It was because of Rob that I began my writing career and it was because of him that I was vouched to Rebekah McKendry (Then at Fangoria, now Editor in Chief of Blumhouse.com) at Fangoria to start writing for them as well and when it was because of Rebekah, that I vouched to Chris Alexander, who not only was running Fangoria at the time but started Delirium Magazine and in time, moved over to Shock Till You Drop. When Rebekah and Rob went to Blumhouse.com, they were nice enough to allow me to write for Blumhouse. So my career has been full of wonderful people. Those said individuals, as well as genre professionals, like Heather Buckley and Ken Hanley, have all been wonderful to me. As far as Icons of Fright, the site is kind of in sleep mode. I was offered the position of Senior West Coast Correspondent for Fangoria and we’re all so very busy with our other professional writing gigs, that it felt like a disservice to pay little attention to it and post stuff here and there, so we kind of just put it in sleep mode for the time being to focus on other things.

Rob Galluzo

Rob Galluzo

According to your IMDB.com page, you’re a self-proclaimed workaholic. Can you describe how you manage your time between contributing, being editor-in-chief, and producing films while juggling, if any, a personal life?

It’s quite difficult to be honest. I’m a divorced father of three (two of my kids live with me), I write for three sites and two magazines and I’m a filmmaker as well. I have three film projects in the works, all with my wonderful collaborators over at Sickening Pictures in Cleveland and one with Turnstyle films helping out. As with any film journalist, we’re sent quite a few films to review, we got press junkets and premieres, conduct interviews, etc. It’s fucking insane, but I love it…and a plus side, my kids love the genre, so they’re always watching the more friendly horror films with me.

What possessed you to pursue your own production company, Dexahlia Productions, in 2010, creating your own pieces of filmic art?

I started Dexahlia back in 2010 and began to make short films here and there, but in all honesty, none of them were that spectacular at all. I just made them with friends and such. The closest to being “happy” with one was one called “Damnation Woods,” which was a relationship drama that had a handful of scenes I REALLY liked in between my incompetence at the time haha. I put a lot of that on hold in favor of my writing career for some time, but after meeting Zach and BJ, decided to just do both.

Can you delve into the personal inspiration behind your current short “Love is Dead” and what compelled you make a film about the circumstance?

Yikes. The inspiration behind the film came from my own life and my former marriage. It was something that began as a really wonderful joining of similar spirits, but somewhere along the way, things got DARK. All on my side of things. I began to drink a LOT and had other issues I won’t list and it made me into somebody who was never physically abusive but angry a lot and I took that anger, which in all honesty was anger that came from hating myself at the time, and directed it at her. Things got crazy and she tried to take her own life and it really woke me up and made me realize that I had pushed somebody I cared about to the absolute brink. I felt disgusted with myself and HATED myself for a long time, something that eventually made things bad. We divorced but remained best friends (we’re still very close) and I wanted to kind of tell the story of that, in a somewhat fictional way. Also, as I’ve said a lot over the years in many conversations with people: John Carpenter is my God, but I also worship John Cassavetes. His films were always so raw and unhinged as if you felt like something was going to blow up at any time. Cassavetes was a major influence in “LOVE IS DEAD.”

How did you approach the creation of “Love is Dead” with the association of BJ Colangelo and Zach Schildwachte’s Sickening Pictures?

There were a few false starts with the film. I did a crowdfunded campaign on Kickstarter and got 95% to the goal but was just short of making it so we got nothing. We went to another crowdfunding venue and ended up getting, I think, 1/4 of the original budget, so I was pretty bummed. BJ has been a really wonderful friend of mine for years now and Zach and I became friends because of their personal relationship, so their professional relationship came into play as well eventually. Zach and I had written a feature script together (which we’re still going to make) and were trying to pitch that around LA for a while. When “LOVE IS DEAD’s” campaign ended, Zach and BJ offered to come aboard and FORCE me to make the film. They flew into LA and we made the film. They were and are two of the most talented people I know and I owe them so much. I love those crazy motherfuckers. Ps- BJ Colangelo is one of the best film journalists around as well.

How did Joanna Angel, Aaron Thompson, and Ruben Pla come to star in this short?

I was familiar with Aaron from his work in the Adult Film Business and, also, I saw him play bass once when he was in the band Fenix TX. He really fit the exterior of what was in my head and I just had a great feeling about the guy so I reached out to him. He read the script and signed on, saying he’d drink a bunch of Jack Daniels and listen to Nick Cave until shooting to get into character hahaha. Ruben did the film almost as a favor to me. He’s been such a huge supporter of my writing and I’ve known him through the horror community. He directed an EXCELLENT short film called “HEAD” (look it up, it’s awesome!) with Matt Mercer and I loved the hell out of that and just loved Ruben’s work in everything he’s been in. The guy can play anything. His work in “24” was great. I remember watching “INSIDIOUS” in the theater and thinking to myself “that guy has a presence to him.” So when it came time to cast the role of Michael, the psychiatrist, I asked Ruben if he’d be down and he had the shooting date open and came and did such a great job and was so very professional. I love that guy. Love him. Originally, we had a different actress cast as Mara and throughout the crowdfunding campaign and right up until three days before shooting, she was attached. There was something of a misunderstanding (nothing bad or drama-related, she’s absolutely great) and so we had to postpone shooting and literally at the same time, I got a text from BJ and an email from Aaron saying we should cast Joanna. Truth be told, I didn’t think Joanna would ever do it, so I had never even thought of asking her. When they mentioned it, I sent her the script, she signed on and we were good to go.

Being an actual couple off the camera, was there some coaching to get Angel and Thompson in the right mindset before the pouring of assorted emotions into the shower scene? Or how did Angel and Thompson prepare for their characters Mara and Peter?

I was worried that they would be able to go to those dark and sad places being that they were (and are) a real life couple. So I was nervous right up until the first take of the shower scene. It took literally ONE take for that nervousness to go away because, holy shit, were they both amazing. It broke all of our hearts to watch them act, they were so passionate and just genuine in their performances. I talked to them here and there mostly about altering the dialogue to what would feel more natural to them, but aside from that, they were all set to get dark right from the beginning. I’m still shocked by how great Joanna, Aaron and Ruben were. I watch the short and it makes me sad, in a good way. They did their job, they destroy the viewer.

I feel like Joanna Angel would be very enthusiastic about an emotional roller coaster of a story of this magnitude and a bit of a change of pace from her staple work. Was that the case along with the rest of the cast and crew being equally as enthusiastic?

Joanna and Aaron were both stoked to do something different and the crew were professional but giddy as fuck the entire time. I mean c’mon, it’s fucking Joanna Angel. There’s no playing around or lying. She’s a legend in her field and as huge fans of everything Burning Angel does, we all were excited to work with them. The best part for me, aside from the actual filming, was the times in which we would take a lunch break and just talk about stuff. We all are into the same things: bands, movies, etc., so it quickly became a tone of feeling more like you were making a film with friends. It led to us wanting to work with them again, which we are going to do.

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Joanna Angel and Aaron Thompson

Ruben Pla is a trained actor whose had roles in major productions such as “Insidious.” How was the dynamic between Pla and Aaron Thompson whose background is comprised of being a bartender, a musician, a screen printing business owner, and, most recently, a porn star?

They clicked right away. We were with Aaron for hours and hours before Ruben showed up for his scenes, so Aaron had all of his questions about the scene already figured out and such. When Ruben showed up, I had to surprise him with the fact that we had to change the scene from a scene of his character leading a men’s group to a one-on-one psychiatrist angle because of one of the actor’s having a heart attack!! Ruben literally took five minutes to alter his script, and was ready to go. He was dialed in and the two of them really just worked well together. It was great.

Even though “Love is Dead” completely tells Peter and Mara’s story in just over 10 minutes, there seems that there could have been an ample amount of content that might have been left untold. Your previous short “The Heart of Evil Things” also focused on problematic relationships. Could we expect another short, or perhaps a feature, in the future that would be a continuation, or as it’s own entity, that would extend more into the enduring human condition of struggling compatibility?

Yes, most definitely. Because of “LOVE IS DEAD,” I’ve kind of become the guy who casts porn stars in non-porn roles. My next two projects have adult film stars leading the cast and one of them is a continuation of the theme of a dysfunctional relationship. That one is more about accepting somebody for who they are and a look at a relationship within the adult film industry. I’m also working on something completely different and that’s probably what I’m going to be doing next. It’ll flip the southern noir thriller subgenre on its head. It’s kind of my cross between “Blood Simple” and “Bound.”

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Aside from deriving from personal experiences, what else drives or influences your creative process?

I’m just obsessed with how people talk and the power of words. That was why I called “LOVE IS DEAD” an emotional horror film. It’s about using words as a weapon and how they could be just as dangerous as knives or guns.

I read your blurb on Icons of Fright that you “adore all things [John] Carpenter,” but absolutely despise the Michael Myers and Laurie Strobe sibling connection in “Halloween 2.” I’m sure fans of “Halloween 2” and of yours could go toe-to-toe in a debate about the Myers’ legacy. Can you elaborate on your disgust with that film and discuss your thoughts on how Myers has progressed, or treated, over the years?

The “HALLOWEEN” franchise is like my baby in a lot of ways. I love it, but sometimes it does things that i don’t approve of or like. It’s like a child. The magic of the first film, which in my opinion is the greatest film EVER made, is the mystery of Michael Myers. He’s a pervert almost, watching the girls, stalking them for no reason other than Laurie dropped the key at the Myers house. It’s terrifying that a stranger would do that, that the person would stalk and kill people with no reason at all. The decision to make Laurie Michael’s sister just takes the mystery out of it and suddenly turns the entire series into that angle. It’s frustrating. That being said, HALLOWEEN 4 is still one of my FAVORITE films of all time, even with it being Michael trying to kill his niece, so I guess I’m a bit of a hypocrite. HALLOWEEN 3 is pure perfection and always has been. I’ve loved it since childhood. HALLOWEEN 5 is 70% terrifying and 30% off the rails crazy and the series never recovered. It just went down and down and down. I mean, in the Producer’s Cut of HALLOWEEN 6, Paul Rudd stops Michael with FUCKING MAGICAL RUNES. I want to start a band called, “Paul Rudd’s Magical Runes,” we’d rock. Luckily, the series is at Blumhouse now and with Jason Blum, Ryan Turek and John Carpenter involved in the development, I’m excited as hell for the next film.

Since you’re a John Carpenter fan, is it say to safe that your top three favorite movies of all time are Carpenter films?

Actually no. “HALLOWEEN” is my favorite film, but the other two go to Wes Craven’s “THE LAST HOUSE ON THE LEFT” and “FRIDAY THE 13TH PT. IV.” Recent films like “BEFORE I DISAPPEAR”, “COMET” and “DARLING” are edging close to the top though.

What’s next on the horizon for Jerry Smith? Are there any future projects on your docket that you can discuss with us at this time? Or is there any projects that you’re not helming that you’re highly anticipating?

Just the projects I spoke of earlier in this interview, the relationship drama and the southern noir thriller. As far as projects I’m NOT helming, there’s a script I co-wrote with Zach Schildwachter that he’s going to direct that I am DYING to see happen. He’s such a talented director and it shows in his films “SCUM” and “GETTING OVER.” It’s another fucking weeeeeeird movie.

In conclusion, is there anything you would like to add or share with your readers, fans, or enemies?

Thank you to everybody who has read anything I’ve written or watched “LOVE IS DEAD.” The reception has been amazing and I couldn’t be happier or more grateful to have so many awesome people tell me it affected them in one way or another. As far as fans or enemies, I doubt I have either. I don’t have any enemies, at least on my part.

Bonus Question: For all those who experienced “Love is Dead,” I’m sure there is a bit of curiosity surrounding one particular scene. Considering two of your three actors, was the shower fellatio scene simulated or did Joanna Angel go full blown ChloĆ« Sevigny on actor/director Vincent Gallo in “The Brown Bunny?”

Funny question that leads to a fun story. When we were filming, Ruben kind of pulled me aside and asked, “So uh, Jerry, I know that Joanna and Aaron are into the Adult Film Industry,…the fellatio scene isn’t going to be real, is it? I personally don’t really want to do porn.” and was so friendly about it but had to ask and I told him the truth, which I’ll tell you now: It’s fake. They’re just great actors and as far as a certain fluid shown in the film…that’s a secret I’ll keep.

I appreciate your time once again, Jerry. We hope to hear more from you and your production company soon in future film endeavors and look forward to reading more of your work as well.

Pornstar Priya Rai Couldn’t Erect this Evil! “Isis Rising: Curse of the Lady Mummy” review!

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King Osiris and his black magic queen Isis rule ancient Egypt and were beloved by all. All except Osiris’s brother Set whose envy led to the murderous slain of Osiris. Isis, heartbroken and vengeful, tries to use her black magic to rise Osiris from the grave and seek revenge on all who wished their demise. In the middle of Isis’s ritual, Set interrupts and decides to dismember his brother’s body in order for the ritual not come to fruition and snaps Isis’s neck to ensure his will, but Isis’s vow to return and curse anyone who stands in her way. Present day, a college research group along side an Egyptian historian stay overnight at a closed history museum to study closely lost Egyptian artifacts. Isis’s spirit is accidentally released from her sarcophagus and seeks to finish what she began by taking the body parts from the research students in order to reconstruct the body her love Osiris and put the world into an eternal damnation.

“Isis Rising: Curse of the Lady Mummy” resembles the much loved late night Cinemax skin flicks without any of the nudity or the sex. All the elements are there: busty women, bad acting, and the underlined plot that is overshadowed by the soft core love scenes. From the DVD cover and the two well established porno industry actors in this film, one would, without a doubt, conclude that “Isis Rising” would fall right into the middle of that sleazy category. What the Lisa Palenica directed film is is a C-movie production that attempts to take itself seriously in the horror genre with completed results that are whole-heartedly felt in micro-budget, non-horrific, and non-stimulating, efforts.
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Priya Rai is a big busted porn star of Indian background and she headlines the film as the vengeful Isis and while Priya isn’t riding the big Egyptian camel hump, her role is severely limited in dialogue and in on screen appearances. Isis’s powers include turning into a digestible body inhabiting mist, fireball conjuring, and teleportation, but Isis’s real threats are her massive chest bombs – bigger and pointier than the great Egyptian pyramids themselves. To be technical about the film’s title, Isis isn’t even a mummy. Yet the film’s subtitle is “Curse of the Lady Mummy.” The definition of mummy is the preservation of the body by removing internal organs and treat the body with resins and wraps. Isis is more like a spiritual demon and this oil should ought to be bettered labeled and regarded as “Curse of the Lady Egyptian” rather than “Curse of the Lady Mummy.” That is, if you wanted to be technical.
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James Bartholet, mainly a supporting actor in all those XXX parody movies, makes his presence felt as the bumbling and perverted security guard Harry. The rest of the cast is rounded out with relatively unknowns with minor film credits to their names. Director Lisa Palenica also had a role in the film as Felicia, the goth girl who probably received one of the better death scenes in the movie. The characters are a rather stereotypical horror ensemble. There is the jock, the nerd, the hot chick, her goth-hipster friend, the nerdy asian girl, and pot head who ends up smoking the resurrection essence that awakens Isis from her slumber dooming all to savagry, as well as seductively, of detaching limbs and heads from the characters’ bodies. The only character that has girth and background value is Isis with her tragic backstory filled with treachery and black magic. Killing off characters is a lot more understandable when there is a motive.
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The special effects are truly shameful, especially in a time where CGI has been perfected to the point where anybody with a Mac computer can create stunning effects. “Isis Risings” doesn’t even seem to try by implementing seriously awkward post-CGI effects, Halloween prop store plastic severed limbs, and even going as far as adding in fake exhaled smoke from our essence-high smokers. Some of the Egyptian scenes in the beginning reminded me of how Mortal Kombat 1 and 2 looked on a Sega Genesis console with the still background and the engaged, superimposed fighters. Some of the more practical effects where encouraging, but only a few scenes had those types of effects.
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“Isis Rising: Curse of the Lady Mummy” resurrects another disappointment in the ever-failing Egyptian related horror genre. When will Brendan Frasier’s “The Mummy” ever be dethroned? Perhaps Alexandre Aja’s “The Pyramid” will be the next ruler of such said genre. Tom Cat Films, a production company much like Asylum Entertainment, develops the film into reality but “Isis” fails to wrap itself into a neat little mummified package of terror. I would rather have seen more of Priya Rai conducting ominously seductive measures in her quest of blood and resurrection and a little more effort in the effects, because if you’re going to have a porn star headline your film, you might as well go all Sasha Grey-out and make the experience worth wild. But don’t take my word for it and judge for yourself by heading over to MVDVisual and purchasing “Isis Rising: Curse of the Lady Mummy.”

Nudity Report

Priya Rai – Body Painted Boobs

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Trailer: Open Windows

I’ve never really been an Elijah Wood fan until this year. Wood has really impressed me with this recent film selections by going head first into horror thrillers: Grand Piano, Maniac, and the just announced The Last Witch Hunter with Vin Diesel.

A few days ago a trailer was released for the thriller Open Windows costarring the ever so lovely, porn starlet turned actress Sasha Grey.

When Nick (Elijah Wood) discovers that he’s won a dinner date with his favorite star Jill Goddard (Sasha Grey), he’s incredibly excited to finally get the chance to meet her. That excitement deflates when Jill refuses to honor the contest and all of Nick’s hopes are dashed. He’s intriged when Chord (Neil Maskell), a man claiming to be Jill’s campaign manager, offers him something he can’t quite refuse: Chord will give Nick the ability to constantly view Jill via computer. Nick is initially reluctant but Chord persuades him by saying that he should get at least some entertainment out of the actress. However, Nick is unaware that this decision will put himself and Jill at risk.

Sounds great. Even looks great. Can’t wait to see it. Directed by Timecrimes Nacho Vigalando with no release date set yet.

Sasha Grey

Sasha Grey