Some people seem to have the idea that to be a really high scorer, a feature has to contain lavish sets, high-profile performers in all the roles, monster computer graphics and plenty of action sequences between bursts of pithy dialogue.

Fortunately, that idea is, to coin a phrase, "so three-hours-ago", and perhaps that's part of the reason why Crossroads is so refreshing.

There are really three stories being told here. One starts with Stephanie Swift giving boyfriend Erik Everhard a good-bye fuck (cowgirl, mish) as he heads off to college, while the other has waitress Coral Sands seeing the opportunity to escape small-town life with attractive stranger Tony Tedeschi. Sands has come a long way as an actress, as is evident by her repartee with Tedeschi in the diner. We smell pre-noms for both her and Swift's performances.

Additionally, a minor plot line has newcomer Tara Patrick willing to spread her legs (vertically and in spoon posish) for loverboy Alec Metro, but she's just a little put out when she later discovers Alexa Rae hiding in his car, and figures out what they've been doing (just a b.j., because it's only their first date). We'll be keeping an eye on Patrick for a possible Best New Starlet nom in the Year of Kubrick.

But complications arise. Stephanie, it seems, is pregnant, a fact she discloses in a touching scene in Erik's pick-up; but if he marries her, how will he face his father (Cyril Yano) who wants Erik to become more than a farmer? (Yano, a vedeographer, audio tech and dad in real life, plays a midwestern farmer's reaction to the disheartening news just as one might expect; and his "make-up" scene with Erik later is nearly as good, as is a similar confrontation between Stephanie and mom Veronica Hart.)

Coral confronts her dilemma with equal passion. Even though she and Tony don't hit it off after their horsie and mish melding in the back seat of Tony's convertible, she can't bear to go back to boss/lover Herschel Savage, so our last sight is of her, head held high, thumbing a ride to the Big City.

The simple fact is, we like just about everything about this feature, from the moody but laid-back guitar soundtrack to the excellent location, Armstrong takes over an entire town to tell his story, to the nom-worthy direction that manages to intertwine (and keep the viewer's interest in) both the story line and the hot sex. What can we say but.... pre-nom this baby for Best Video Feature.