It's hard to tell where this film went wrong. Usually, the attempt to use symbolism in porn is an indicator - in case one couldn't tell, this film is a send-up of the Pied Piper legend - and having all the guys' nastiness be drained from them and turned into rats certainly qualifies as an attempt at symbolism.
But the sad fact is, this movie, obviously aimed at couples, is more likely to anger its intended audience than arouse them, largely because the script is so misogynistic. Seems there's this village lost somewhere in time - its inhabitants still have to do the washing at the local creek and fetch water in buckets, yet all use modern idioms and a bit of liberation rhetoric in their speech - where all the women are practically slaves, and all the men are basically male chauvinist pigs who fool around on their wives, make them do all the work and don't fuck them nearly often enough.
Now, the intelligent (female) viewer, at a point about 15 minutes into watching this film, is going to be asking herself, "Who'd want to fuck these guys, anyway?" (The intelligent men should have a problem with it as well.) Unfortunately, the female characters within the play aren't that bright, because even after they've all had a meeting at the local inn where they've resolved to kill their husbands, every single one, as soon as she gets home, immediately succumbs to that ever-so-romantic line, paraphrased here, "All right, baby; bend over and spread 'em."
So along comes Raylene as the Piper, offering to take the "rat-iness" out of the guys for five gold pieces each... and a bit of girl-girl loving that involves pretty much the whole female cast. And sure enough, the lightning flashes, the rats appear and all the guys become nice, offering to carry the water and do the washing for their wives. And how to the women react? Paraphrasing again, "Yo; peel me a grape, dude... and fuck me some more." In other words, the wives essentially turn into the female equivalents of what their husbands once were.
And this is supposed to be attractive to couples?
Now, to be fair, there is some quite-decent sex to be seen here, not the least of which is the third "scene," where each of the wives - Dasha, Claudia Adkins, Renee LaRue - lays down her weapon and gets ridden (anally, in Adkins case) by her respective husband. Fortunately, each of these ladies has enough heat to overcome the fact that the camera (or, actually, editor) never stays with any one couple long enough for the viewer to get off on the heat generated.
Also well worth watching are the two final scenes, both featuring Raylene, first with Steven St. Croix (cowgirl, doggie) and then with Eric Masterson (doggie, reverse cowgirl).
But the trouble is, many viewers won't be able to divorce the admittedly decent sex from the swinish characters that are performing it. And that's a problem.
Don't know what scriptwriter Dean Nash, who won AVN's Best Screenplay - Film award in January for Fade to Black, could have been thinking.