True to its title, the action heats up immediately and the pilot lights keep cooking until the very last frame. The skintones are warm and golden, the camerawork crystalline, the sexual performances, inspired. As the opening credits roll, we see only Ashlyn Gere's beautiful face and torso as she masturbates below camera range. When the shot widens, she's sitting on her bedroom floor to front of a Tiffany-style mirror, her legs splayed wide, decked out in black lingerie. It's a gripping self-love sequence filled with peaks and valleys, not to mention a silver vibrator. Still hungry, Gene wanders into her kitchen to find the maid, K.C. Williams, rummaging about for something to eat. The ladies share a 9 1/2 Weeks-esque outing in front of the open refrigerator door, complete with honey and jam.

It turns out that Gere is a control junkie who gets off telling people who and what to do. When she interviews Rod Ryker, a potential employee at her health spa, Gere doesn't do him herself. Instead, she observes and diddles as Ryker takes on Rayne. Gere's power games continue as she tries to seduce herold boyfriend Mike Homer. Interrupted by Homer's current beau, Sharon Kane, Gere leaves, while Kane and Horner enjoy a restrained "we shouldn't be doing this here "fuck. Of course, Gere watches from the doorway, stroking and poking.

When Gere's boyfriend Steve Drake tells her that money can't buy happiness, she disagrees. "Money buys power and power makes me happy," she quips, Drake retorts by saying they're two of the same kind; he gets off on power too. In fact, he'll only make love to her on his own terms. Gere agrees, is blindfolded and the twoway becomes a threeway when she and Drake are joined by Horner in the bedroom. Gere's S/M-ish getup (a collar, big wristcuffsand boots), the airof mystery and passion make this sequence the hottest of the bunch. How does the story end? I ain't tellin'... but I will say this: Gere is sweet, but sometimes revenge is sweeter.