Farrah

Chloe Nicole

Alexandria Quinn

Raven Touchstone

Fred J. Lincoln

Broad Strokes

Even Chloe can&apos;t save this stinker

I cannot confirm the IMDb mention of this feature sitting on the shelf for seven years, but clearly it represents an off-day for all concerned. Story of illustrator Chloe time-sharing her home (and studio therein) to tenant Ian Daniels is structurally a mess.

Director Fred Lincoln, whose vast list of films I&apos;m gradually watching with no end in sight, presumably botched up this non-story-boarded Vivid exercise, produced by the illustrious Toni English and scripted by the great Raven Touchstone. Any way you slice the auteur theory, this is a mess no one would want to take artistic ownership of.

It&apos;s marketed as a Farrah vehicle, a particularly untalented &quot;star&quot; around the turn of this century who made innumerable features for Cash Markman, none of which I look forward to sitting through. But in this mish-mash, her role makes no sense, thanks to incredibly sloppy sequencing of scenes, with the show playing like an unfinished project.

To illustrate, mid-way through the feature Chloe and her studly male model Mark Davis are waiting in vain for the female model to show up, and finally Chloe sends him home. Later on there&apos;s a followup scene to this one, placed out of sequence, and Farrah is the model.

But we&apos;ve already seen her as the lead actress, girlfriend to lead actor Daniels. At one point she locks Chloe in a storage room but the film&apos;s finale has a contrived &quot;tying up of loose ends&quot; in time-honored rom-com tradition that is thoroughly unbelievable. We&apos;re supposed to buy that Farrah is not only Ian&apos;s jealous girl friend (jealous of artist Chloe) but that she&apos;s also coincidentally one of Chloe&apos;s regular models, but Farrah&apos;s behavior belies all this. Just an excuse for a bunch of sex scenes and Chloe&apos;s famed anal sex and deep-throating routines.

Also thrown in for padding is Alexandria Quinn (misspelled in the credits as Alexandra), as another model. I love Chloe but really felt sorry for her being trapped in this clunker.

I cannot confirm the IMDb mention of this feature sitting on the shelf for seven years, but clearly it represents an off-day for all concerned. Story of illustrator Chloe time-sharing her home (and studio therein) to tenant Ian Daniels is structurally a mess.

Director Fred Lincoln, whose vast list of films I'm gradually watching with no end in sight, presumably botched up this non-story-boarded Vivid exercise, produced by the illustrious Toni English and scripted by the great Raven Touchstone. Any way you slice the auteur theory, this is a mess no one would want to take artistic ownership of.

It's marketed as a Farrah vehicle, a particularly untalented "star" around the turn of this century who made innumerable features for Cash Markman, none of which I look forward to sitting through. But in this mish-mash, her role makes no sense, thanks to incredibly sloppy sequencing of scenes, with the show playing like an unfinished project.

To illustrate, mid-way through the feature Chloe and her studly male model Mark Davis are waiting in vain for the female model to show up, and finally Chloe sends him home. Later on there's a followup scene to this one, placed out of sequence, and Farrah is the model.

But we've already seen her as the lead actress, girlfriend to lead actor Daniels. At one point she locks Chloe in a storage room but the film's finale has a contrived "tying up of loose ends" in time-honored rom-com tradition that is thoroughly unbelievable. We're supposed to buy that Farrah is not only Ian's jealous girl friend (jealous of artist Chloe) but that she's also coincidentally one of Chloe's regular models, but Farrah's behavior belies all this. Just an excuse for a bunch of sex scenes and Chloe's famed anal sex and deep-throating routines.

Also thrown in for padding is Alexandria Quinn (misspelled in the credits as Alexandra), as another model. I love Chloe but really felt sorry for her being trapped in this clunker.

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