Five scenes, well executed and well performed. All are shot in daylight, or a reasonable facsimile (there's one indoor loft scene I can't vouch for), and all feature dependable talent having fun.

Director Yuma is also having fun, mixing in outtakes and post-producing within an inch of his life, adding stutter edits, black-and-white and sepia color shifts, film scratches and shutter jumps and even a burn-through. Locations vary from a sunny deck overlooking Hollywood to a farm where a couple are fucking next to a massive wall of hay bales easily 20 feet high and extending out of frame in both directions. In a long shot.

Coral Sands stands out in her three-way with Brick Majors and John West, and Cassidy's midday tryst with Tyce Buné - by the hay bales - and the Evan Stone/Jessica Drake opener also are notable for their use of place and performers. The g/g/g/g with Keri Windsor, Blair, Lauren Montgomery and T.J. Hart playing first touch football, then just touch, has a nice casual feeling that implies that if there were no cameras there the same thing(s) would have happened.