Starts with a clever credit sequence, with a big tiki mask dominating the frame, then big blocks of color and a selection of '50s typefaces declaring the title, then a little animated man in a tiki mask rises into the frame, waves two skulls on sticks at you, then runs around each name as it appears on the screen.

What follows is a seven-scene fantasia where people in '50s-decorated rooms have their way with one another. Voodoo and Nicole Sheridan do a scene in a restaurant that has a giant plaster tiki in the background. Mechanic Herschel Savage lusts after the girl on the calendar (Kelsey) who walks up and starts to stroke his wrench, then follows up on Hersch. Allysin Chaynes, vacuuming, and absently taking her clothes off in the heat, fantasizes herself with Jonathan Morgan as a leopard-smoking-jacketed paramour. After some physical comedy - and nobody is better at that than Jonathan - they get down to getting down. A two-couple luau party where Ezra catches a couple locked in eye contact (the actual fucking is going on just off-camera) before the girls, nose to nose, double-suck each guy to climax. T.J. Hart suntan-oiling herself up on a "beach" as Dillion Day shoots her with a vintage 8 mm camera, then getting together with him on the tailgate of a vintage woody (!) station wagon. All well-shot, well-edited, and with the heat that not having a plot can give you the freedom to show.

A well-deserved pre-nom for art direction. Damn near every prop and costume rings true, from the pointy bras to the grass skirts to the wall coverings. Sometimes witty, like T.J. lying on a beach ball while getting her vosburg plowed. Or the seagull on a string that sails over the beach scene in the high long shots. Some lapses, including body adornments and tan lines, are to be expected, but the rest is letter-perfect.