From: "Frans Postma" <[email protected]>
Newsgroups: rec.arts.movies.erotica
Subject: Review: Jenna's Build for Speed
Date: Tue, 17 Jun 97 18:03:58
Review: Jenna's Build for Speed
##Jenna's Build for Speed
#Wicked, Brad Armstrong, 1997
. Jenna Jameson, Serenity, Shayla LaVeux
. Jenna Jameson, Brittany Andrews [scene in b/w]
. Jenna Jameson, Felecia
. Jenna Jameson, Missy, Nadia
. Jenna Jameson, Jill Kelly
. Jenna Jameson, Serenity, Shayla LaVeux, Melissa Hill
& Felecia, Jill Kelly
This movie is directed by Brad Armstrong and it shows. I will not *EVER* rent or buy a movie where that man is listed anywhere in the crew-list. Most of scenes are filmed like a Music Video; too loud music (over real soundtrack), cuts too quick from one position to another (uses softfocus for those cuts as well).
In short, anything he films usually sucks. Too bad I didn't realize he had also directed this movie (_Jenna's Build for Speed_) before I bought it. This one is definitly NOT worth buying...
For all scenes goes; or the music is too loud or the sound is muffled out 'cos the Director wanted to say a LOT. (final scene has approx 20% original sound for example, rest is music)
Why can't they do like in _Unbrideld Lust_, put Music on the left track and Sounds on the right track.(stereo tracks) That way I can just select 'Right only' and be done with it.
The scenes;
1. Jenna Jameson, Serenity, Shayla LaVeux
This scene is not too bad but it's shot from all the wrong angles, I could swear the camera-man avoids all angles I would like too see, leave alone filming faces or full-body shots. And those annoying slooooow panning shots should be skipped. (a woman's leg is nice but not if it takes 45seconds to pan from toe to breast).
This scene also suffers from an over-active editor, some really nice angles or actions are only shown for a second or two and then we skip to the next angle, which is inevitable less good <sigh>. Am I the only one that prefers to see full-body shots as opposed to close-up? (I prefer to choose what I look at, close-up kinda denies you that choice)
For those into feet, there's some feet-licking here.. The glass-dildo was kinda cool, too bad the camera kept zooming on it, makes it hard to see the 'effect' of the dildo thingie (gimme more full-body or at least some face shots, dammit) why not look at the girls faces when they use a double-dildo? The dildo itself isn't all that interesting...guess I'll never figure it out.
2. Jenna Jameson, Brittany Andrews [scene in b/w]
Someone provide me a reason why this scene is in black and white and maybe I'll watch it again. I haven't seen a single scene that improved when in b/w as opposed to color. And Brittany doesn't do much for me either so this is FF-able.
3. Jenna Jameson, Felecia
Felecia, Felecia...why did you put up with that horrible make-up? Both girls have truly horrible make-up here. Scene itself revolves around/in an expensive car (the kind where the doors go up instead of side-ways) When you actually get real sound it's a pretty nice scene but for some reason that only happens for some very short intervals, the rest is filled with some old music. Felecia uses a fairly large glass dildo on Jenna, looks nice.
4. Jenna Jameson, Missy, Nadia
Aha, so that's Nadia. Had never seen the girl before, looks nice enough. Missy is the best girl in this scene of course:) For a change we get most of the original sound and some nice camera-work. The position where Missy is on her hands and knees and Nadia lies with her back on her (kinda like reverse doggy) is weird but nice. (Brad Armstrong is good in making up weird scene-positions, usually they end up being un-film-able but this one went OK)
5. Jenna Jameson, Jill Kelly
Jenna wears a wig (black) here, what the heck? This is the scene in a Rolls Royce (I think,the one with the horse logo) and Jill play's Jenna's driver (for about 10seconds that is:).
6. Jenna Jameson, Serenity, Shayla LaVeux, Melissa Hill, Felecia, Jill Kelly
Now this scene was the best of the entire tape. Not too suprising considering that most of the girls are in it. The overhead camera isn't properly used but the normal camera's capture at least some of the action well. Particulary nice is the Felecia/Serenity part, much better then their scene in _Erotic Visions_. The camera actually stays in a good position for more then a minute in this scene, amazing.
This is also Melissa Hill's ONLY scene in the movie, which sucks. Melissa should have been in at least another scene, preferable one with real sound too. 'cos the sound in her part is mostly dubbed out or hopelessly out of sync; she did have fun though, you could tell even without sound.
The verdict:
postive points:
+ nice scenery/cars which must have taken some effort
+ good Serenity/Felecia scene and some nice g/g with Melissa Hill
negative points:
I care
scene excepted)
This movies sucks & Brad Armstrong should be shot 'cos he caused it. Look at the castlist again and *please* explain too me how someone can make such a horrible movie which is hardly worth renting leave alone buying (for $20.95 I might add:() I will never rent or buy one of his movies again (and yes that includes _Where the Boys Aren't #9_)
Rating: 1.5 , rent only if you wanna see some pretty girls.
Definitly don't rent if you expect too see well shot g/g scenes or if you throw RC's at the screen when frustrated.
Current director-avoid-list (no Jeff, not you:)
1. Brad Armstrong
2. Nic Cremer
3. Bud Lee
===end-list===
Comments and other opinions are VERY welcome.
Frans Postma
169 “I can arrange all that.” Such Apaches as had not gone back on the war-path returned to the States with the troops; but there were five months more of the outrages of Geronimo and his kind. Then in the summer of the year another man, more fortunate and better fitted to deal with it all, perhaps,—with the tangle of lies and deceptions, cross purposes and trickery,—succeeded where Crook had failed and had been relieved of a task that was beyond him. Geronimo was captured, and was hurried off to a Florida prison with his band, as far as they well could be from the reservation they had refused to accept. And with them were sent other Indians, who had been the friends and helpers of the government for years, and who had run great risks to help or to obtain peace. But the memory and gratitude of governments is become a proverb. The southwest settled down to enjoy its safety. The troops rested upon the laurels they had won, the superseded general went on with his work in another field far away to the north. The new general, the saviour of the land, was heaped[Pg 305] with honor and praise, and the path of civilization was laid clear. Parliament met on the 10th of January, 1765. The resentment of the Americans had reached the ears of the Ministry and the king, yet both continued determined to proceed. In the interviews which Franklin and the other agents had with the Ministers, Grenville begged them to point to any other tax that would be more agreeable to the colonists than the stamp-duty; but they without any real legal grounds drew the line between levying custom and imposing an inland tax. Grenville paid no attention to these representations. Fifty-five resolutions, prepared by a committee of ways and means, were laid by him on the table of the House of Commons at an early day of the Session, imposing on America nearly the same stamp-duties as were already in practical operation in England. These resolutions being adopted, were embodied in a bill; and when it was introduced to the House, it was received with an apathy which betrayed on all hands the profoundest ignorance of its importance. Burke, who was a spectator of the debates in both Houses, in a speech some years afterwards, stated that he never heard a more languid debate than that in the Commons. Only two or three persons spoke against the measure and that with great composure. There was but one division in the whole progress of the Bill, and the minority did not reach to more than thirty-nine or forty. In the Lords, he said, there was, to the best of his recollection, neither division nor debate! His cheek paled for an instant as the thought obtruded that the man might resist and he have to really shoot him. "Good, the old man's goin' to take the grub out to 'em himself," thought the Deacon with relief. "He'll be easy to manage. No need o' shootin' him." "Them that we shot?" said Shorty carelessly, feeling around for his tobacco to refill his pipe. "Nothin'. I guess we've done enough for 'em already." John Dodd, twenty-seven years old, master, part of the third generation, arranged his chair carefully so that it faced the door of the Commons Room, letting the light from the great window illumine the back of his head. He clasped his hands in his lap in a single, nervous gesture, never noticing that the light gave him a faint saintlike halo about his feathery hair. His companion took another chair, set it at right angles to Dodd's and gave it long and thoughtful consideration, as if the act of sitting down were something new and untried. "Besides," Norma said desperately, "they're only rumors—" "Oh, I've found a way of gitting shut of them rootses—thought of it while I wur working at the trees. I'm going to blast 'em out." During the next ten years the farm went forward by strides. Reuben bought seven more acres of Boarzell in '59, and fourteen in '60. He also bought a horse-rake, and threshed by machinery. He was now a topic in every public-house from Northiam to Rye. His success and the scant trouble he took to conciliate those about him had made him disliked. Unprosperous farmers[Pg 124] spoke windily of "spoiling his liddle game." Ditch and Ginner even suggested to Vennal that they should club together and buy thirty acres or so of the Moor themselves, just to spite him. However, money was too precious to throw away even on such an object, especially as everyone felt sure that Backfield would sooner or later "bust himself" in his dealings with Boarzell. "Let's go home," she said faintly—"it's getting late." HoME干别人老婆嗯啊小说 ENTER NUMBET 0017