|Released||Aug 01st, 1999|
|Company||Sin City Ultra|
|Cast||Mikki Taylor, Ian Daniels, Inari Vachs, Violet Love, Sunset Thomas, Nina Hartley, Eric Price, T.T. Boy, Brian Surewood, Gina Ryder, Julie Meadows, Melissa Jay, Alec Metro, Teri Starr, Jill Kelly, Mia Smiles|
Um, we think the '60's are back....
At least, they were the last time we ate from a friend's special jar of orange marmalade and hallucinated that we were fucking and licking the toes of red and blue nymphettes (Inari Vachs, Mikki Taylor) in the Hog & Sweat Bakery, or following a funny-looking dwarf to an orgy.
Oh, wait, we have followed Scotty Schwartz around somewhere, but we really don't remember the top hat and red waistcoat....
We hasten to mention that it's not at all clear how Sunset Thomas gets from her boring birthday party to getting picked up on Mulholland Drive by Eric Price in his Caddy for a "trip" to the Looking Glass Motel, where the action takes place. Call it poetic license - or possibly someone's been using the hookah featured so prominently in Sin City's ad - but in any case, this psychedelic send-up of Alice in Wonderland hits the mark in just about every area.
Take that orgy, for instance. Actually, it's a three-couple scene, with Nina Hartley cowgirling Ian Daniels, Teri Starr facing the other way on Alec Metro, and Jill Kelly continuously b.j.ing Tony Martino, and the camera captures the action well, with few annoying intercuts.
Sunset herself gets two scenes, though in the first, she mostly just helps T.T. Boy keep his cock inside Violet Love during reverse cowgirl. Of course, if the footage had been there, we'd gladly have spent a lot more time watching Sunset's hips swivel as Violet eats her snatch. Quelle dommage. Sunset also gets the finale, where she's "devirginated" (yeah, sure) by Eric Price, with Gina Ryder and Mia Smiles helping suck him, and later, each other, as Eric rides Sunset's ass horsie style.
White Rabbit gets a pre-nom for Best Video, since every scene is eminently watchable, the art direction nostalgic and the camera-work "right on," and a Best Music nod for the zippy soundtrack by the Zen Cowboys and Louie Aqua Verde.