With its less than 80 minutes, Mandy Candy makes a brilliant case for the age-old postulate that quality will always trump quantity. An ode to the very beautiful Mandy Morbid, Candy is as visually striking as its punk-pixie star, and by an equal degree erotic.

Not that we'd expect any less from director Kimberly Kane, but this may well be her most trouser-broiling effort to date. Kane gives herself the second most screen time after Morbid, including the only scene without her, a closing POV-style blowjob. She also appears at the beginning as a mysterious cloaked woman who meets up with Mandy and Zak Sabbath at a hotel room and, after carefully laying out an arsenal of sex implements on the bed, launches into an incendiary lesbian tussle with Mandy while Sabbath videotapes it. As an ingenious touch midway through the scene, the camera diverts to the shadow on the wall of Mandy bucking in reverse cowgirl atop a dong strapped to Kimberly's leg. Like all great horror directors know, forcing the viewer in this manner to mentally picture what's taking place heightens its effect immeasurably.

In another play on the mind, one scene seemingly depicts Mandy basking in an extended golden shower from an unseen person, until it's eventually revealed—perhaps for the sake of avoiding any legal trouble—that Kimberly is simply squirting her with a water gun. Even if the intent really is just to toy with the viewer, it's most memorable.

In any event, pretty much all other action here is not left to the imagination, and it's plenty scalding. The second scene has Mandy wielding a video camera, herself, and goading exotic Devi Lynne to masturbate for it. Next, a purple-wigged Mandy gets fucked back in the hotel room by Sabbath, who works up to a volcanic pop via boffing her fabulously mammoth bosoms.

What a wonderful showcase for the very scarcely seen Morbid. She makes a terrific muse for Kane, and here's to hoping they collaborate many more times to come.