Practically from the first image that appears on the screen, you'll know that this is a movie that can only be described as "luxurious". I was unsurprised to see that the Director of Photography was veteran Jack Remy; nearly every shot is perfectly framed, perfectly lit, perfectly color-matched. The story admittedly rambles a bit, but it is basically sci-fi, a genre famous for taking a new concept by the ears and holding on for dear life as far as it takes you.

The "new concept" here is the Lovemaker II, a remote-control-sized gadget attached by a wire to what look like sunglasses. It's a gift from boyfriend Mark Davis to Kelly O'Dell, a businesswoman who's just returned from a long trip. The story is set in the near future, so Kelly finds out about the gift from her computerized apartment-care system named Athena (an excellent vocal acting job by Kansas Shea).

Kelly is technically the star of this feature, and it's instructive to compare her role here with an essentially similar part she played in intimate's Sensual Exposure. In that film, we criticized her for not taking enough part in the action; a wasted appearance. The same can hardly be said for this film, where she has four sex scenes, one a Sapphic encounter, plus numerous "glamour" tidbits scattered throughout, momentarily showing her playing with her pussy in doorways, leaning against the wall — again, all with near-perfect shadowing and framing.

Needless to say, once Kelly finds the Lovemaker, she's got to try it out. Getting ready for the experience seems to require exposing her pussy (though she continues to wear her boots and a leather or vinyl vest), relaxing on the couch, putting on the glasses and punching a couple of keys. A hunky young stud (Tony Tedeschi) appears and quickly begins licking her pussy, an action interwoven with shots of Kelly fondling herself. The "virtu­al" action then switches, without transition, to a cowgirl bounce on Tedeschi's peg, after which he lays her on the couch and finishes with a facial. It's everything my own experience with "virtual reality" (see last issue's CES report) promises someday to be.

Of course, Kelly's got to tell her friend Tina Tyler about this toy; it'd be perfect for her upcoming bachelorette party. We come upon Tina getting dressed, sensuously pulling her long, green pantyhose up over her well-shaped calves and red/brown bush — another treat from the cinematography department.

Kelly and Tina wind up on the couch, pussies exposed, fingering themselves as visions of the bachelorette party flash before their eyes. The guest stud is Matthew Sebastian, and all the ladies (including Laurie Cameron, Ariel Daye and Jalynn) want a piece of his stiff cock. The scene is reminiscent of a few moments from Fellini's Juliet Of The Spirits, with Tina in her wedding gown and veil, waiting her turn to suck.

A note on the extreme detail to which these filmmakers have gone: whenever the film cuts back to Kelly and Tina on the couch, playing with themselves, if you look carefully, there are tiny lights flickering under the sunglass lenses, simulating the projection of images on their eyes. I am impressed!

At this point, the film starts to explore its own concept, as Athena, the computer, suggests that Kelly plug the Lovemaker into "her." What follows is a sensual pool-side lesbian encounter, with Tiffany Mynx as the incarnation of the circuitboard, rising out of the pool with her hair slicked back — a sight to behold. Their lovemaking includes lots of fingering around Kelly's pussy and ass, as well as a mutual lick session.

By now, we're ready for the ultimate "virtual reality": Athena suggests that Kelly might like to find out what it's like to have sex with a woman as a man. A couple of buttons pushed, and presto-change-o, Kelly turns into Tony Tedeschi, a macho stud whose target is the gorgeous Deborah Wells. Wells is dressed to kill; in fact, I've never seen her looking lovelier, and her haute couture facade contrasts well with Tedeschi's sunglassed punk look. They make love both standing and reclining, finishing with a cumshot to Wells' ample tits.

As if all this weren't enough, the next scene could be extracted and easily turned into a music video, as Kelly hooks the Lovemaker up to Athena, and lets the two machines think up their own sexual scenario. What we see is iron-intensive, with Athena (this time played by a leather and vinyl-clad Tanya Summers) casting long, lingering looks at the Lovemaker (well-muscled Darrin Hart) working among heavy machinery. Sparks fly everywhere, till Summers interrupts the labor for a slow, sensuous b.j. The rest of their coupling is similarly paced; another contrast to the fast-moving realm of the microchip.

The finale of this exquisite film implies that the future may not be as monogamous as we might expect. Davis invites Kelly to his house, but when she arrives, he's embracing a slightly over-made-up Sierra. The pair invite Kelly to join their love-making, however, and the results, while not quite up to the art of earlier sessions, is still enjoyable. Look for lots of girl/girl kissing, as Davis pleasures both ladies in turn, ending with a cumshot to Sierra's tits.

At this point the movie doesn't so much end as fade out, but it's certainly an experience you'll remember for a long time. Retailers should stock this with other major VCA releases and in your Kelly O'Dell section for maximum customer interest.