Let's see if I got this straight — you have a beautiful house, in a beautiful neighborhood, a beautiful wife and a beautiful career. Everything is beautiful in its own way, but you're not happy and feel the overwhelming compulsion to venture forth into sick games territory.

My parents always had a good comment for behavior like that.

"Someone like that needs a good, swift kick in the ass," they'd say.

So, with Killer Looks, Toby Philips' follow-up to The Pamela Principle, I suppose your perception of the main characters depends upon your leanings toward the parental principle.

A good alternative title to Killer Looks would certainly be "killer legs." Sara Suzanne Brown, who plays the lure in her husband's (Michael Artura) web of neo-violent peeping Tom-ism, has them in abundance. Browne, whose credits include Secret Games 2, Mirror Images 2 and The Bikini Carwash Company I & II, appears to be specializing in films with numbers or roman numerals, and her specialty in this scenario is spelled, m-a-n-t-r-a-p.

Browne starts off by seducing a plumber (Gerry Pike), then being seduced by a girlfriend (Diane Hurley aka Dyanna Lauren), and ends up in the sack with a psychotic millionaire control freak as her husband watches in the wings, waiting for the ripe opportunity to confront the poor sucker or suckers with a gun. Of course, one suspects all along that this little set-up is going to backfire sooner or later, but one would also anticipate it happening more devilishly cleverly than it does in this film.

Restaurateur Len Donato, at first the object of Brown's personal agenda, develops into this Machiavellian string-puller with mixed results, most of which seems to be a series of fisticuff psychoanalytic exchanges with Artura, who looks like James Darren with a Paris Island haircut.

Visually, the film winds up in better straits than the storyline. Browne is terrific-looking and has lots of oomph to back it up with a couple of great nude/love scenes. Janine and Lene Hefner, familiar to XXX fans, hang around Donates mansion like the brides of Dracula. Without dialogue to impede them, Janine and Lene's resources are best served for three gratuitous lesbo sex scenes, thus turning this project into an ersatz Vivid cable movie.

Killer Looks gets way too preachy and moralizing for its own good when its real impulses direct it instinctively into noir territory. So much for John Garfield. But then, he probably wasn't as good-looking, naked, as Sara Suzanne.