I've panned many Bob Kirk films, only because they are all terrible. This discovery courtesy of After Hours Cinema gets the usual shilling by their resident purveyor Pete, but is the pits.
Despite his numerous shortcomings as a filmmaker, Kirk is always blowing his own horn, this time with opening narration that foolishly promises a better and twistier story than both Agatha Christie and Rod Serling! If you believe that, ole Pete will sell you the Brooklyn Bridge.
First reel is less than promising, shot MOS and playing like a stag loop, as Frisco regular John Seeman is intro-ed as Mr. Grant, having a nooner. Mrs. Grant has an extramarital affair too in scene 2 including '69' position as Erroll Garner's "Misty" is followed by Muzak.
Back to more MOS, Seeman goes to a hooker's place and humps her, with blood appearing on his dick halfway through (unedited) -she's menstruating! This would be a kinky novelty except that I've already seen Kirk include the not-quite-ready-for-fetish-ville scene in another stinker: METER-MADES. Perhaps he thought it was cool.
After Grant shoots on her backside, Tyler Horne pops in the room as Reginald Baxter wearing a stingy-lapels suit and waving a gun, and begins the yapping that constitutes Kirk's idea of a twisty plot. Too bad the Bay Area auteur decided to put the entire plot into dull speeches or even phone calls instead of actually staging anything -that might be too cinematic for the fans to take. Or perhaps he was thinking XXX porn would be suitable to radio plays?
In any event, Horne owns the place, Felecia the call girl works for him and he reads the riot act to poor Grant. He narrates a confusing (and ultra-cheap) flashback of a Black girl apparently named Babette (though Seeman verbally refers to a previous Babette, but this isn't making much sense anyway) who Seeman tortures on an X-shaped cross contraption and chokes to death with a rope while humping her. It's meant to be in poor taste but comes off as merely dumb. Mainly, it injects mixed combo action, bondage and elements of a Roughie into an otherwise bland vanilla porn outing.
Tyler's out for revenge for this dastardly act. Putting a belt around Seeman's throat, the guy is forced to lick Felecia's vagina. We then see another flashback, this time of Tyler humping Mrs. Grant (oh the horror!), taking her down to the same cheap set that served as Seeman's dungeon with Babette, and after his money shot in low angle direct at the camera (too bad Kirk couldn't afford 3-D), he chokes the Mrs.
They let Grant escape and he goes driving off. Tyler humps Felecia and after another emission, Horne gets on the land-line and delivers more exposition - I smell a twist, especially when he confirms that the "brakes have been altered" (uh, oh!).
Next morning Tyler is reading the paper, with a story about Grant's car having crashed - we in the audience don't even get to experience the tingle of a no-budget movie of the '40s or '50s where at least a sound effect of a car crashing and glass tinkling (a favorite of so many deejays back when) was played while the action took place off-screen. No, Kirk has everything off screen.
Coup de grace is the camera revealing all 3 of them are at the breakfast table - Tyler, Felecia and good old Mrs. Grant. Yes, reports of her choking were intensely exaggerated and the trio is poised to share in Seeman's money now that he's gone. Not exactly the climax to my all-time favorite THREE STRANGERS (Jean Negulesco - 1946, from a John Huston/Howard Koch script) but at least BK and the drunken clown Pete thought it was terrific.
Despite his numerous shortcomings as a filmmaker, Kirk is always blowing his own horn, this time with opening narration that foolishly promises a better and twistier story than both Agatha Christie and Rod Serling! If you believe that, ole Pete will sell you the Brooklyn Bridge.
First reel is less than promising, shot MOS and playing like a stag loop, as Frisco regular John Seeman is intro-ed as Mr. Grant, having a nooner. Mrs. Grant has an extramarital affair too in scene 2 including '69' position as Erroll Garner's "Misty" is followed by Muzak.
Back to more MOS, Seeman goes to a hooker's place and humps her, with blood appearing on his dick halfway through (unedited) -she's menstruating! This would be a kinky novelty except that I've already seen Kirk include the not-quite-ready-for-fetish-ville scene in another stinker: METER-MADES. Perhaps he thought it was cool.
After Grant shoots on her backside, Tyler Horne pops in the room as Reginald Baxter wearing a stingy-lapels suit and waving a gun, and begins the yapping that constitutes Kirk's idea of a twisty plot. Too bad the Bay Area auteur decided to put the entire plot into dull speeches or even phone calls instead of actually staging anything -that might be too cinematic for the fans to take. Or perhaps he was thinking XXX porn would be suitable to radio plays?
In any event, Horne owns the place, Felecia the call girl works for him and he reads the riot act to poor Grant. He narrates a confusing (and ultra-cheap) flashback of a Black girl apparently named Babette (though Seeman verbally refers to a previous Babette, but this isn't making much sense anyway) who Seeman tortures on an X-shaped cross contraption and chokes to death with a rope while humping her. It's meant to be in poor taste but comes off as merely dumb. Mainly, it injects mixed combo action, bondage and elements of a Roughie into an otherwise bland vanilla porn outing.
Tyler's out for revenge for this dastardly act. Putting a belt around Seeman's throat, the guy is forced to lick Felecia's vagina. We then see another flashback, this time of Tyler humping Mrs. Grant (oh the horror!), taking her down to the same cheap set that served as Seeman's dungeon with Babette, and after his money shot in low angle direct at the camera (too bad Kirk couldn't afford 3-D), he chokes the Mrs.
They let Grant escape and he goes driving off. Tyler humps Felecia and after another emission, Horne gets on the land-line and delivers more exposition - I smell a twist, especially when he confirms that the "brakes have been altered" (uh, oh!).
Next morning Tyler is reading the paper, with a story about Grant's car having crashed - we in the audience don't even get to experience the tingle of a no-budget movie of the '40s or '50s where at least a sound effect of a car crashing and glass tinkling (a favorite of so many deejays back when) was played while the action took place off-screen. No, Kirk has everything off screen.
Coup de grace is the camera revealing all 3 of them are at the breakfast table - Tyler, Felecia and good old Mrs. Grant. Yes, reports of her choking were intensely exaggerated and the trio is poised to share in Seeman's money now that he's gone. Not exactly the climax to my all-time favorite THREE STRANGERS (Jean Negulesco - 1946, from a John Huston/Howard Koch script) but at least BK and the drunken clown Pete thought it was terrific.