Look at Buck Adams' face and what do you see? A boxer? Add a slouch hat and trenchcoat, and maybe he's a 40s shamus? I think even Buck would agree with that. So where does this guy, who's apparently never been to film school or had any normal cinematic training, come off directing two major film hits in a row? And both with Buck himself as the major actor. Imagine Francis Coppola directing himself in Apocalypse Now, or Spielberg essaying Oscar Schindler.

Of course, Buck is careful not to work outside his range. His character here of escaped loony Colin Nesler is not too far, emotionally and intellectually, from his drifter character in The Hustler — and both have a long tradition in film noir, stretching back though such box-office hits as The Petrified Forest and Gun Crazy (the '50s version, of course), and more recently covered in Kalifornia.

The movie opens as any good thriller could: shouts and screams in a darkened house, followed by gunshots, and a lone figure racing toward a Cadillac convertible. That's Buck, of course — but what's going on here? The viewer is immediately intrigued.

Cut to a roadside shot, probably somewhere in the Hollywood Hills. There, buxom blonde Rebecca Wild, in voice-over, gives us a recap of her abused life so far — when who should come along but Buck and his convertible. Rebecca is immediately attracted to him, more so as they get deeper into conversation, and nightfall finds them at a cheap motel, balling each other's brains out.

Arguably, this is the best sex scene of the picture. Rebecca rarely lets her libido loose these days, but there's something about Buck that seems to bring out the animal in her. Her new guy kisses her tits, laps her labia; then she takes over, nearly deep-throating his cock, camping on his peg both front- and rearwards even to the point of lying full on his body with his cock still embedded in her. Watch her face during all this and you'll see pure pleasure registered along with her squeals of delight. Then Buck takes over again, plowing her pussy missionary style, then doggie, back to missionary till he makes a gooey splash on her stomach.

Oh, and in ease you're still wondering what happened in that mansion at the beginning of the pic, Buck chooses this point to have his flashback, as unrevealing as it is. Seems Buck makes his living answering the ads of swingers and people who want someone to watch them having sex. He shows up, the couple do it in front of him, he shoots them and takes all their money. Well, we knew he was a loony, right?

The first soon-to-be-deceased who live in the big house are Oyanna Lauren and Brad Armstrong, yuppie-types who are obviously hot for each other. Brad licks and fingers Dyanna's pussy before taking her front and back (no anal) from the standing position. The scene is very short, probably because its main purpose is to establish Buck's homicidal character. (Note; no bloodshed is shown on camera — but we always get to see Buck's remorseless facial expression, which is better!)

About this time, we're introduced to Jonathan Morgan and Steven St. Croix, the Mil guys trailing Buck, and local police detective Tony Tedeschi — who's apparently here for no other reason than to add a sex scene, ramming his cock up the ass of a very willing Chayse Manhattan. Morgan and St. Croix arc no slouches either, as they double-team extra-sultry, steamy Nikki Sinn, who looks just great in her cowgirl uniform, on a pool table, Nikki spreads wide for both guys, then takes a mouthful from Morgan and a body-basting from St. Croix. Buck's next victims are swingers Alexis DeVell and Dan Steele, who get it on by the pool — or at least try to, Steele has an obvious wood problem, which little Alexis covers as best she can, but the scene is mercifully short.

Og course, what would a real movie be without character development? And though it's done a little heavy-handedly here, it happens in the next scene, where Brittany O'Connell and Chante invite Buck to watch their girl/girl action. The girls decide to draw Buck into their revelries, which he enjoys so much — who wouldn't love eating out Brittany and Chante, getting a double b,j,, then cumming in Brittany's mouth? — that he can't bring himself to kill them.

But the damage has been done, and as he tells Rebecca as he tries to send her away, "I've lost my edge; I'm washed up." Buck tries one more caper: to collect some-monies owed by his lawyer Steve Drake. But even though Buck watches Drake have a quickie on the couch with girlfriend Asia Carrera, he still can't bring himself to shoot them.

The climax arrives by helicopter, as the I'BI guys track Buck to Drake's house, and Buck gets peppered with 9mm and rifle fire as he tries to escape — and if the damned helicopter spotlight hadn't had a black spot right in the middle of its beam, 1 would have compared this ending even more favorably to any decent erotic thriller costing hundreds of thousands of dollars more to make. Even so, it's a treat adult film fans have never seen elsewhere in the genre — and makes an excellent ending to the saga of Colin Nesler, not to mention a probable awards nomination in the film category for Buck Adams,