Marc Stevens hams it up as usual in JAIL TIME GIRLS, a slipshod porn comedy revived on Vol. 70 of Something Weird's Dragon Art Theater series.
Since Andrea True is playing Claire Lee, and both she & Marc as the journalist interviewing her in jail sport poor Southern accents, I took this to be a veiled spoof of Truman Capote/Harper Lee circa "In Cold Blood", but there's no point or punchline. And thankfully Marc doesn't try to do a camp Capote impersonation, though he could have if this were a gay porn outing.
There's lesbian sex in stir, and one of my favorites, Judy Craven (porn's answer to Shelley Duvall) pops up as well. Besides some other attractive (but unidentified) actresses, especially a top-heavy girl cast as Loretta, the film also includes mixed combo sex and even a rape scene.
The premise of Marc writing Andrea's lifestory never amounts to anything, and the original title THE MILLIONAIRESS is misleading. Film's conclusion is in the usual "who cares?" mode, fitting to what amounts as strictly sex filler from the untalented NYC-based filmmaker Leonard Kirtman.
Eclectic musical score steals from Blood, Sweat & Tears, Elton John, the Rolling Stones and even throws in the "One Note Samba".
Since Andrea True is playing Claire Lee, and both she & Marc as the journalist interviewing her in jail sport poor Southern accents, I took this to be a veiled spoof of Truman Capote/Harper Lee circa "In Cold Blood", but there's no point or punchline. And thankfully Marc doesn't try to do a camp Capote impersonation, though he could have if this were a gay porn outing.
There's lesbian sex in stir, and one of my favorites, Judy Craven (porn's answer to Shelley Duvall) pops up as well. Besides some other attractive (but unidentified) actresses, especially a top-heavy girl cast as Loretta, the film also includes mixed combo sex and even a rape scene.
The premise of Marc writing Andrea's lifestory never amounts to anything, and the original title THE MILLIONAIRESS is misleading. Film's conclusion is in the usual "who cares?" mode, fitting to what amounts as strictly sex filler from the untalented NYC-based filmmaker Leonard Kirtman.
Eclectic musical score steals from Blood, Sweat & Tears, Elton John, the Rolling Stones and even throws in the "One Note Samba".