Heralding a new age in adult motion picture entertainment, Stuart Canterbury's Dreams captures and holds the viewer's attention with a devastating sense of sexual purpose. Like the nocturnal fantasies which all the scenes (either real or imagined by the characters) emulate with pristine care, Dreams envisions a world of physical abandon and distress that refuses to let you go. With a stunning sense of cinema articulation, Dreams plays with your mind like a sadistic cat plays with a subjugated mouse, and the effect is spine-tingling, surreal, and arousingly hallucinogenic.
Kaitlyn Ashley begins our journey in a startlingly honest bedroom bang with T.T. Boy, which starts as a sweet, almost-innocent display of bodily kissing, and ends with a maniacal and uncompromisingly vicious fucking of Kaitlyn's round, beckoning behind. Kaitlyn screams with passion and begins ripping apart the pillows, showering her and Boy with a cascading cloud of drifting white feathers. The scene manages to combine basically hot sex with an element of mystery, and the feathers soon fall to the floor along with Kaitlyn's shattered dreams of romance.
Joey Silvera plays Kaitlyn's psychology professor, who, along with rebellious scientist Jeanna Fine, has become involved in some frightening new experiments in dream research. Borrowing slightly from Altered States, the premise of Dreams thus investigates Silvera's growing fascination with exploring the deeper recesses of his mind and his sexuality. In other words, what appears to be may not always be in fact, but every image is ripe with symbolism and a disturbing undercurrent of brutal personal revelation.
When Silvera first allows himself to be entombed in Jeanna's strange, tubular dream analyzer, he looks forward to a few moments of restful slumber. Instead, his mind's eye is greeted with an agonizing vision of his ex-wife (Melissa Hill) frolicking madly with Mike Horner in an ethereal bedroom. As Horner's lust grows more fervent and Silvera's jealousy more acute, Melissa throws her head back and swallows Horner's cock. When Melissa spreads her pussy for Horner's inflamed prick, her lips widen in a leering grin, and Silvera wakens in a sweat as he sees two shining red horns sprout from Melissa's laughing head.
Against Silvera's wishes, Jeanna enters the dream tube herself, and this strong, brunette vision of loveliness is transformed into a dead ringer for Marilyn Monroe, waiting in a stars and stripes-draped bedroom for her baseball-playing lover (Vince Vouyer essaying the Joe DiMaggio role) who enters to make passionate love to this perfect blonde goddess of United States Lust. Jeanna's resemblance to Marilyn is so uncanny that it's actually freaky, and the animalistic groans on the soundtrack underline the primitive fascination that lies beneath the surface of these baseball bat into apple pie American lovers.
Dreams' long list of nomination-worthy credits include: Best Couples Sex Scene (two: the Melissa Hill/Mike Horner nightmare fuck and the Jeanna Find/Vince Vouyer love match); Best Director (Stuart Canterbury); Best Script (Nigel Grinch-Gibbons); Best Editing (Estreta Walker); Best Actress (Kaitlyn Ashley); Best Actyor (Joey Silvera); Best Supporting Actress (Jeanna Fine) and last, but hardly least, Best Special Effects and Best Art Direction.
Dreams stands as one of the best film achievements thus far in 1996, and the response from your customers to this dick-draining masterpiece will probably be nothing less than overwhelming.