Cycle Sluts
Cycle Sluts is a somewhat more casual contrivance that emphasizes sex much more than violence and even contains a strong strain of improvised humor. A couple of shake-sipping chippies are picked up at a roadside burger joint by a pair of girl-hungry hog jockeys. The foursome retires (after much jagged camerawork and inaudible location sound) to the home of one girl's aunt, who is reputedly away on business. The bigger of the two saddlemen - a garrulous Hell's Angels type with goggles and a greasy beard - extemporizes compulsively with the feistier gal, offering up such schoolyard witticisms as "What kind of material is your shirt?' (Grabbing her boobs): "Now it's FELT!" His compatriot is somewhat more taciturn, lighting up a spliff and getting down to business. Eventually the pairs begin to copulate on the couch, although most of the sequence remains focused on the motor mouth and his sex-savvy playmate. After the requisite number of numbers, the troglodyte finally empties his crankcase onto the lady's labia, adroitly synched to an unlicensed loop of the late, great James Brown (I shit you not!), shouting "Get on up! Get on up!" over and over on the soundtrack. After that, the focus immediately switches to the second couple, who are suddenly found performing in a bedroom. They suck, 69, screw in a variety of positions. Not to miss a beat in the copyright infringement department, CCR's "Born on the Bayou" accompanies their exertions for a while until the bad boy squirts his grease gun all over the lady's lawn. Cut to the plot complication (belatedly, but give 'em a chance, folks). Outside the bungalow, a car suddenly pulls up and a lady with a suitcase gets out. This is the long-anticipated aunt, returning home early from her business junket. Inside she finds her niece ensconced in a fetid four-way and immediately tries to drive the deflowering degenerates out with a belt. The girls run away in terror but the two leather-bound lotharios decide that auntie is sweeter pickin's than her underage kin. They immediately begin to fondle her and auntie soon grows aroused. "She sure is cooperative," her would-be rapist muses, perhaps intended to prep the audience for greater absurdities to come. Remembering something he left in his coat, the Wild One then leaves the frame, only to return with a vibrator (yes, a biker who drives around with a vibrator in his coat). He puts the machine to good use on auntie's well-trimmed bush while she sucks on his partner's sprinkler system. After a certain amount of flaccid three-way action - undermined by camerawork that constantly misses its mark - the suckee finally takes matters into his own hands and wanks his crank to orgasm. A jump-cut then scoots the big guy around to auntie's backdoor; he shoots his bolt all over her well-lubed pelt. At times, Cycle Sluts reminds one of an early Paul Morrissey film, but with little of Morrissey's charm and (inconceivably) even more primitive production values. With the exception of the more loquacious of the two bikers, the rest of the cast dissolves into invisibility, lost against a background of suburban ticky-tacky and meandering, endless sound takes. At times one has the impression that the camera operator thinks the shutter will stop functioning if the zoom lens is not liberally jerked off every few seconds; in several instances, the fantastically magnified and unfocused close-ups he achieves compete with the work of Stan Brakhage for sheer optical incomprehensibility. Such deficiencies aside, however, Cycle Sluts certainly fills its quota of squirt shots, split beavers and bouncing breasts, all wrapped up in a greasy layer of sexy sleaze.
Studio:
After Hours Cinema
Genres:
FOR WOMEN
Features,CLASSICS
70's,FOR WOMEN
Classics,PLOT ORIENTED
Classic
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