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Voyeur (VCA)
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Voyeur (VCA)

Studio: VCA
Category:  Classic , Feature film
Directed by:
Starring: , , , , , , ,
Released on: 
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Kelly's ratings for Voyeur (VCA):
Overall Rating 4 stars
Voyeur (VCA) overall rating 4 stars
Female Looks Voyeur (VCA) Female looks rating 4 stars
Male Looks Voyeur (VCA) Male looks rating 2 stars
Sex Voyeur (VCA) Sex rating 2.5 stars
 
Plot/Acting Voyeur (VCA) Plot/Acting rating 3.5 stars
Extras Voyeur (VCA) DVD Extras rating 2 stars
Audio/Video Quality Voyeur (VCA) A/V Quality rating 4 stars
Rating Scale
Reviewed by Kelly  on  1/22/2006
Title: Voyeur
Company: VCA (LFP, Inc.)
Length: 77 minutes
VHS Release: 1985
DVD Release: December 20, 2005
Condoms: None

Directed by: Chuck Vincent
Director of Photography: Larry Revene
Written by: Chuck Vincent and John Blaise

BOXCOVER SYNOPSIS:
One man's pleasure is another man's obsession! Erotic auteur Chuck Vincent brings you an uncommonly well made sexual adventure. Voyeur is a mix between Hitchcock and huge, stiff cock made in the lavish Hollywood style. Featuring Robert Bullock, we follow a bitter ex-cop as his life takes a bizarre twist the day he meets a shady lawyer. After being hired to spy on a wealthy and promiscuous socialite he finds himself beyond obsession with this lustful and mysterious woman. As his sexual intensity mounts from watching the socialites smoldering encounters Robert must sweat it out while watching from afar. Like an animal driven by savage passion, he must finally confront the image of his desire and you get to witness it right along with him.

THE MOVIE:
Itís not everyday that you pick up an adult movie with a boxcover that compares itself to Hitchcock. Itís also not everyday that you actually watch an adult film that truly reminds you of Hitchcock. But thatís exactly the case on both accounts with Chuck Vincentís Voyeur (1985). The film centers on Julius Kurtz (Robert Bullock), a ďbitter ex-copĒ who is hired by a lawyer named Quentin Jones (Jack Wrangler) to spy on an attractive socialite named Lauren Aldridge (Sheri St. Clair). It seems as if Mrs. Aldridge is buying up the stock in a certain company, and Jonesí boss wants to know what sheís up to. Of course, Kurtz slowly becomes obsessed with Aldridge, loses his wife (the always cute Taija Rae) as result, and is stunned when he discovers who Jonesí boss really is.

So, how is it Hitchcockian? Well, Kurtz doesnít exactly force his wife to dress up exactly like Sheri or anything, but it becomes pretty clear that he is a combination of the Jimmy Stewart characters from Rear Window (1954) and Vertigo (1958). At first, he follows her in his car, and fans of Vertigo know what that means: prolonged sequences where the only audible noise is the musical score. Eventually, he figures out where she lives, and rents an apartment in the building across from herís. His leg isnít broken, and heís not in a wheelchair, but this is pretty much Rear Window. Instead of watching her murder someone, though, he witnesses her fucking two of her maids on the balcony and then later fucking a prisoner she freed on the same balcony. All the while, her husband stays in the background and watches with a blank expression on his face. These sex scenes, of course, are filmed from Kurtzí POV, and as result they are highly erotic. In fact, St. Clair is consistently depicted in this manner through the film, not just during the sex.

So, Vincent creatively meshed together two of the best American films of all-time, and did it for a porno no less. Kudos. Unfortunately, he didnít have Hitchcock on-set with him to manipulate the actors into delivering the proper performances. While St. Claire and Wrangler need no improvement, Bullock and Rae sure could have used some help. Their non-sex scenes together are increasingly wooden, particularly the penultimate one that ends with her crying, ďI hate you. I donít like you anymore!Ē Bullock replies to this cold declaration by melodramatically punching their apartmentís front door panel as if he were the lead singer of A-Ha and hitting the door repeatedly would turn him from black and white to color (a labored reference to the music video for ďTake On MeĒ, I know). You get the feeling that Bullock was handed the role of his career, and he just didnít quite have the acting chops to pull it off. Luckily, St. Clair was up for the challenge.

THE SEX:
Scene 1: Sarah Bernard w/Jack Wrangler (2 minutes)
Jack is in the back of Robertís cab. Sarah, a girl with a rough face and big brunette hair, gets in and gives Jack a blowjob for money. It is very brief.

Scene 2: Taija Rae (cover girl; brunette hair here, the photo on the cover is from later in her career) w/Robert Bullock (7 minutes)
Bullock has the job, and is testing out his new camera that he bought with his advance. Of particular interest to him is how well the feed from the camera looks on his television. In the room with him is Taija, wearing a red and black leotard with leg warmers and doing leg crunches. She looks hot, and Robert recognizes that. So, they have some fun with the new toy. They set up the camera on a tripod, and point it at the TV. They then stand in front of the TV and fuck. This is pretty hot, what with shots of Taija watching herself watching herself give a blowjob. Unfortunately, they only fuck in standing doggy, and it's brief. He shoots off on her ass.

Scene 3: Sheri St. Clair (brunette, sleek body, natural B cups, nasty streak) w/George Payne (5 minutes)
Our PI finds himself in a precarious position here. He has snuck into Sheriís apartment, only to be forced into hiding under a table when she comes home unexpectedly. He is trapped there for two hours as she poses nude for an artist making a sculpture of her. We, the audience, only see ankles though because thatís what Kurtz would be seeing. It gets interesting when St. Claire, all hot and bothered, propositions the sculptor and pushes him to the side of the glass table and starts sucking his dick. Bullock looks up through the glass to watch the action and thatís how the whole scene will be filmed. Itís pretty hot, if nonsensical (why canít they see him through the glass?) Sheri gives one hell of a blowjob, deep throat and all, before taking it standing doggy. George pulls out and shoots off on top of the table.

Scene 4: Sheri St. Clair and Tish Ambrose (attractive, everyday blonde, nice natural body) w/Michael Knight (11 minutes)
At around 2 PM, Tish and Michael arrive at Sheri and husbandís apartment to help them cater a party to be held that evening. They were sent over by an agency. The husband is an incredible ass to them, and Sheri brilliantly condescending. The day progresses, with passage of time being depicted with re-occuring shots of a clock in Bullockís apartment, and Tish creates floral arrangements as Knight slaves over a hot stove in the kitchen. The hired help do eventually change into proper attire, Tish in a modest black and white maid outfit and Michael in a butlerís tuxedo. However, they eventually learn that they are in fact the party. Sheri hopes to make good friends with them. Tish understands perfectly, and explains that they didnít come from an escort agency. Suddenly, her tune changes when the husband waves a check in front of her face. So does Michaelís. The sex is on, and itís fun. Sheri and Michael lick whip cream off Tishís chest, and then she coats Michaelís dick with butter so that Sheri can better deep throat it. Both girls get fucked standing doggy style on the balcony. He shoots a decent load on Sheriís ass, and Tish licks it up.

Scene 5: Sheri St. Clair w/Anthony Casino (7 minutes)
Days later, Bullock catches this encounter after itís all ready begun. Somehow, Sheri and her husband have a prisoner in their apartment. She explains that she does a lot of charity work, and one of her programs is giving a convict 24 hours of monitored freedom. Anthony, of course, is apprehensive, especially since Sheriís husband is holding a gun aimed at him. But Sheri calms his nerves, informing him that she wants him to unload his four years worth of saved up sperm on her. Sheís his, and heís to do whatever he wants with her. He agrees to it, and as soon as she unlocks his cuffs he pulls on the back of her hair and pushes her to the balcony. However, Anthony just doesnít have much Erik Everhard in him-thatís normally a good thing. He canít bring himself to dominate Sheri. In fact, sheís the one initiating most of it, doing her best to make it seem like heís the one in charge though. Her loud moans during the blowjob are clearly ADRed, but it seems on the up-and-up during standing doggy. She jerks him off onto her hand at the end.

Scene 6: Sharon Kane w/Robert Bullock (5 minutes)
This is a bizarre scene. Bullock goes to a bar after his break-up fight with Rae, and he drowns his sorrows in far too many beers. He has a verbal spat with the bartender, and out of nowhere comes Sharon Kane in a police outfit. She claims to be throwing him out of the bar, but instead takes him to the back room and makes him eat her pussy. She even uses her nightstick as a make-shift double-ended dildo, one end in his mouth and the other in her pussy. This seemed more like a clever way of working Sharonís strong dom persona into a script than it did a logical progression for the film. She is quite good at dominating him though. Costume fetish fans might note that she keeps her outfit on the whole scene, lifting but not taking off her skirt and not even touching the blue police blouse.

SPECIAL FEATURES:
Slide Show, 3 Trailers

AUDIO/VIDEO:
This appears to be a very fine transfer on both ends. While the video quality is clearly not going to be as crystal sharp as current releases, this is due to aging and differences in technology as opposed to a lackluster DVD.

FINAL THOUGHT:
The story is interesting, the camerawork, cinematography, and music at a level beyond most modern pornographers, and the eroticism enticing. In short, itís one of the better adult films Iíve seen in quite some time. If only the sex had been longer. With that, I would have really loved this one. It appears that this was one of (if not the) last film(s) that Chuck Vincent produced before dying of AIDs. Itís not exactly a masterpiece, but itís not a bad film to be remembered by.

About the Author:
I am an undergrad in college writing reviews of porn DVDs from time to time, hopefully giving you enough (sometimes overly serious) information to aid in porn shopping decisions. My favorite porn stars of all time are Avy Scott, Christy Canyon, and Taylor St. Claire. Among the active girls, I enjoy Naomi, Sunny Lane, Sara Stone, Harmony Rose, and Riley Mason. I also appreciate some of the stars of yesterday, particularly Taija Rae, Joanna Storm, Jacqueline Lorians, April West, PJ Sparx, Victoria Paris, Nikki Dial, and Zora Banks. As such, you could say Iím a brunette man, ass-man, and breast-man (implants almost always turn me off though). I avoid Max Hardcore, Ed Powers, Evasive Angles, JM Productions, and compilations like the plague. I keep track of new releases from Platinum X and Evil Angel as well as new-to-DVD classics from VCA and Caballero. When it comes to directors, I enjoy the vintage films from Henri Pachard, Paul Thomas, John Leslie, and John Stagliano whereas I currently enjoy the work being done by Chris Streams and Dirty Sanchez (Bangbros). My favorite porn films of all time include Sex Life of a Porn Star (1986), The Ultimate Guide to Anal Sex for Women 1 (2000), and The Fashionistas (2003).



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