Private Gold 65: Sex Angels Review

Review of 'Sex Angels' / 'Sex Angels: Special Edition'

Private has made 'Sex Angels' the subject of a full promotional campaign, investing the film with a real sense of occasion. The marketing strategy includes:

- a 'Sex Angels' mini-website with high-concept wallpapers;

- a DVD Special Edition;

- photo features in 'Private' magazine #182 and 'Triple X' magazine #59;

- privileged 'Sex Angels' entry buttons on the 'Other Titles' menu page of concurrent DVD releases;

- a dedicated page in the current 'Private' catalogue,

- and banners in the 'Private' on-line shop and on their members' site home page.

But does Xavi Dominguez's film live up to the expectations which all this hype has created? My answer is that it isn't quite the movie I expected, but I definitely enjoyed it and I'm happy to have added it to my collection.

The Hollywood 'Charlie's Angels' blockbusters are fast-moving parodies of the original 70s TV series, and they're sexy and funny in equal measure. Dominguez pursues the parody too, but he limits it to a handful of set pieces of variable quality. 'Sex Angels' is not the polished send-up that a Michael Ninn or a Michael Raven might have given us, and some of the post-production work could have been a little cleverer. Despite the fact that the 'Charlie's Angels' connection is the main publicity hook for 'Sex Angels', Dominguez largely eschews aesthetic virtuosity in favour of gonzo-inflected porn. The movie's actual 'centre of gravity' is not glossy, post-modern play but bread-and-butter, back-to-basics sex, with touches of S&M to spice it all up. Having said that, 'Sex Angels' boasts a stylish, explosive start...

Pre-credits sequence

A close imitation of the silhouetted, three-girl graphic logo used on the original TV show of 'Charlie's Angels' flashes across the screen, in time to an accurate musical arrangement of the show's ascending six-note jingle. Next it's the logo for Private films - a parody of the trademark logo of Columbia Pictures - and then we move into a pre-credits action sequence.

Our three cat-suited Angels are first seen attempting to defuse a time-bomb. They aren't sure which coloured wire to cut; Jennifer Dark insists it's the blue one. She severs the wire but - silly bitch! - her choice was wrong! The girls have only a few seconds left to sprint to safety and dive for cover. The bomb explodes in a plume of orange, sending rubble flying over their heads. Moments later they look up and their faces are all smudged with soot. Mya and Sandy give annoyed glances to an embarrassed Jennifer and the credits begin to roll.

This 'teaser' certainly starts the film off with a bang. For the special effect of the explosion Dominguez makes impressive use of CGI and CSO (Colour Separation Overlay). On the 'Making Of' Extra, we see some of the filming for this sequence, with the three actresses leaping onto a mattress in front of a blue screen while foam blocks are tossed over their heads. The 'Making Of' commentator is over-egging it when he remarks, "The extreme danger of this type of scene meant that some sequences had to be filmed against a blue screen so as not to place the actors' lives in danger." As if Dominguez would actually have blown up a building!

All three actresses are well cast. (i) Sandy Style's look lends itself perfectly to the role of an all-American fit blonde chick, though she's closer to the Cheryl Ladd version than to Farrah Fawcett or Drew Barrymore. (ii) Tall girl Jennifer Dark is a sexy cross between Jaclyn Smith and Cameron Diaz. (iii) Mya Diamond explains in an 'Extras' interview that "I am Lucy Liu!", and she chuckles at her own cheeky audacity in making such a claim. She's Oriental like Lucy Liu, and follows Lucy's lead in making her character something of a dominatrix, but to me she also looks rather like Kate Jackson, one of the original three Angels.
Jennifer and Sandy immediately display a talent for performing sexy light comedy - especially Sandy - and Mya's droll delivery provides a nice contrast. It's just a shame that the throaty voice used to dub Jennifer's lines in an American accent isn't anywhere near as pretty as the girl herself.

Scene 1

After the credits the film proper begins with a scene set in Wally's Private Investigator's Agency. Jennifer and Mya sit on the sofa opposite the computer screen, waiting for a transmission from Wally. They're jealous of Sandy (Marcy) because she's in an adjoining bedroom fucking two guys and won't share. "Hi, Angels!" says a voice through the computer link, and Jennifer and Mya return Wally's greeting. "Where's Marcy?" he asks. At this point the two girls exchange knowing glances and we hear a comedy xylophone effect. Cut to Sandy - who's on her back being fucked naked with a cock in her mouth, her body gently rocking up and down. She gives the cock a slurping, lip-smacking kiss before releasing it from her mouth and turning her head to reply with a bored groan: "Yes, I'm listening, Wally..." The red end of the fellated penis nudges against the side of her cheek as she speaks, swaying with the motion of her face and body. As soon as she's reassured Wally that she's paying attention to his transmission she turns her head back to the cock and guzzles on it again...

Wally briefs the Angels about their next mission, which involves taking on a villain who's into martial arts, and tracking down his henchwoman Silvia Lancome (Tania). Wally stresses that the security of the world is at stake, but by now our only interest in the scene is in watching Sandy get a good seeing-to...

The sex is unrushed and Dominguez keeps each position in focus for some time, so there's plenty of opportunity to savour it. Sandy's firm round body fills the screen at every turn. Surprisingly there's no DP - this omission is unusual for a Private scene featuring two guys with a girl - but Sandy's arse does receive plenty of attention. Her panting, moaning noises are all authentic, since in this movie no dubbing is used for the sex itself. A wipe-screen transition takes us into a long finale where Sandy is seen positioned on her back with her legs thrown over her head. Her arse hole is left open and exposed. Guy #1 works his cock in and out of her anus and eventually he shoots over it. He penetrates Sandy again, pushing the trickling cum into her arse hole with his prick. Having been well and truly fucked, Sandy puts her head around the door with a happy smile and announces to the other Angels that now she's ready to make a start on the mission Wally's given them!

In this scene there are a couple of examples of what I mentioned earlier as a relative lack of polish. My first question is: whatever happened to Guy #2? He has effectively disappeared by the time of the finale. Just before Guy #1 ejaculates over Sandy's arse, a shot of Guy #2's cock in her mouth is inserted into the sequence from what looks like footage used earlier in the scene. Accompanying this insert are some unconvincing Guy #2 vocals - spoken out of frame and obviously added during post-production. These are intended to suggest that Guy #2 is cumming out of view, inside Sandy's mouth. We hear him splutter, "All inside! All inside!" but it looks and sounds fake - merely an excuse for the lack of a real second cumshot. The reality must have been that by the time of the finale Guy #2 was no longer around at all, and his absence remains a mystery! My second problem with this sex sequence is the inclusion on the soundtrack of a version of the 'Charlie's Angels' musical theme: this track is too fast for the action we're seeing; it creates a gratuitous link to 'Charlie's Angels' but it doesn't match the tempo of the sex. In summary, the scene is a good one, and an absolute 'must' for fans of Sandy Style - but it is flawed.

Scene 2

Mya Diamond follows a lead to Chinatown and infiltrates the Dojo Xin-Lu where she spies on an exciting ninjutsu contest between two stave-wielding experts. After their combat is concluded the martial artists repair to the changing room - and there they get naked and start flicking each other's butts with their towels like a pair of locker-room gay boys. Mya emerges and pulls her gun on them, so they raise their hands in surrender and drop their towels. The funniest moment of the film is provided by a shot which pans down the bodies of these startled 'Muscle Marys'. The camera reveals that they both have raging hard-ons which have broken the fall of the towels - the towels are now hanging suspended over their stiffies! As Mya trains her gun on the guys a vision of Confuscious appears in her head and he utters the following words of wisdom: "Before using violence, it is better to be a slut." Accordingly Mya puts down her gun and strips out of her cat suit, wiggling to a seductive piece of striptease jazz. What a fantastic pair of tits! Then she moves in on those cocks, slowly but surely.

The ninjutsu contest is an action highlight of the film, performed by experts based in Barcelona who are devotees of this martial art. But the characters portrayed by these masked contestants are subsequently assumed by the pair of playful, well-hung studs, whose naked changing-room frolics provide a camp anti-climax to the demonstration of ninjutsu we have just admired. The cameo by Confuscious is hilarious, and the claims to philosophical sophistication made on behalf of Mya Diamond by the presenter of the 'Making of' documentary are so over-the-top and lacking in irony that they, too, are laughable: "the legend of Confuscious, the voice of conscience which appears to Mya Diamond's character, one of the most sensitive roles in the history of adult cinema..."!!

Mya has a trim, toned body and it's a pleasure to watch her suck and fuck. This sex sequence has none of the shortcomings which I mentioned in relation to Scene 1. Both guys give of their all and there's a DP to boot. In the end a streak of cum decorates Mya's right tit, and plenty more jism is splashed over her face, neck and shoulder. Mya gobbles up the stringy cum like there's no tomorrow, but her mind is still on her mission... She grabs one of the exhausted studs by the balls and forces him to yield the next clue - a postcard from the Alps is concealed in his locker.

Scene 3

Jennifer Dark and Sandy Style seek out Silvia Lancome in a lesbian bar known as 'Inferno'. They aim to get some information from Silvia while masquerading as a lesbian couple, but they exchange apprehensive glances before making their entrance to the bar. What are they getting themselves into?

The Angels' 'femme-babe' looks soon attract the attention of the rowdy, loudmouthed dykes who line the bar, but our intrepid investigators have to brave it out and home in on their target, Silvia, who's perched on the end stool. Unlike the other butch patrons, Silvia is as cool as a cucumber. She's a bad-girl bitch with an eye-patch, laconically smoking a cigarette. In order to satisfy herself that Jennifer and Sandy really are dykes she tells them to kiss each other there and then. They respond by smooching tenderly, leaving their penchant for girl-on-girl lovin' beyond question.
Sandy is all of a fluster and excuses herself to go to the bathroom, a shadowy, curtained-off area. Two pairs of anonymous female hands reach out from the darkness to grope Sandy, and before long they've stripped her naked. Presumably a couple of the bar dykes have been waiting to ambush some fresh meat in this toilet, though one wonders if the hands don't actually belong to Jennifer Dark and Silvia Lancome. In any event the mysterious assailants fondle and paw at our helpless Angel, exploring every contour of her body. A strong orange light bathes Sandy's squirming form from the front, illuminating her erotic contortions and the sensual motions of the prying hands, so that every intimate action is visible to the viewer despite the shadowy background. Sandy is vigorously finger-fucked and the wet, squelching sounds make this a scene of aural as well as visual pleasure, complemented by the girl's rasping, ecstatic moans. By the time Sandy emerges from the bathroom to rejoin Jennifer and Silvia, 'Sex Angels' has definitely earned credentials as a porno with levels of chick-flick, lesbian appeal...

Scene 4

Scene 4 extends the movie's lesbian content into a fetish-style piece which would not be out of place in a Tanya Hyde movie. Wielding a crop, Silvia leads Sandy and Jennifer into a sinister back room of 'Inferno'. Heavy chains dangle from the ceiling, encircling the cental space into which the girls move. Silvia instructs the Angels to undress. She returns a little later wearing a menacing strap-on, the main novelty of the scene. Sandy and Jennifer suck on the dildo and then Silvia fucks the pair of them with it, stretching their arse holes so that by the end of the scene they admit they can hardly walk. As they leave 'Inferno' Silvia pulls up beside them in her car and enigmatically gives them a card which directs them to go on to 'The Hairdresser'. Meanwhile, Silvia has a plane ready to fly her to Switzerland...

Silvia Lancome is a convincing domme who really knows how to use the strap-on, and Sandy and Jennifer are hot in their sub roles. They rise happily to the demands of a steamy girl-on-girl scene, especially when kissing each other. Nevertheless I feel that sequences where girls fellate dildos are rather pointless: Sandy and Jennifer lick and suck the strap-on with skill and artistry, but a dildo has no nerve-ends to tingle!

There are, again, some soundtrack oddities in this scene. Techno music is used as a backing track but it's too fast and strident for the action. Although the volume of this track is brought down for much of the time, it remains rather distracting. There is also some discontinuity with regard to the voice work. During the preliminary dialogue the actresses' lines are dubbed with American accents. This is the case in every scene, but as soon as the sex sequences begin the girls' voices are no longer dubbed. If the characters continue to speak during the heat of the sexual action it's the performers' own voices that we hear then. The actresses use the English language but obviously they have East European accents - Czech in the cases of Sandy and Jennifer; Slovakian in the case of Silvia. This begins to create a continuity difficulty, especially around the voice of Silvia's character. By the time we're into Scene 5 the transition from the dubbed voice to Silvia's own voice is overly crude, a major distraction. The problem is also to do with sound mixing: it's not just the change of voice and accent which is jarring, but the abrupt difference in sound levels which goes with this change.

My final reservation about Scene 4 is the 'look' given to Jennifer Dark. Jennifer is one of my favourite Private models and she is a naturally beautiful girl, but is she presented here as well as she could be? This is possibly just a cultural thing, but as a U.K. viewer it seems to me that her look in Scene 4 is a bit 'council estate' or 'chav' - the large round earrings, the 'real girl' facial complexion complete with a pimple on the cheek, the hair gelled and scraped back in a bun with a few strands around the forehead... I much prefer it part way through the scene when she lets her hair down and it hangs wildly around her face. The 'Charlie's Angels' conceit might have inspired some far more glossy work on stylings and fashion, exploiting seventies retro chic. Is Tania Russof still out there working as a make-up artist? Where are you when we need you?! I should add that my feelings here about Jennifer Dark's costume and make-up are a secondary issue, as her performances remain, for me, a main attraction of this film.

Scene 5

After the dark interiors of 'Inferno', Dominguez takes us out on location to the expansive, snow-covered landscape of what is meant to be the Swiss Alps. (It's actually the Spanish Pyrenees.) A lone snowboarder is pursued by two skiers in a beautifully-shot, sweeping action sequence which fully exploits this spectacular location and imitates the ski chase sequences in classic James Bond movies such as 'On Her Majesty's Secret Service', 'The Spy Who Loved Me' and 'A View To A Kill'. This homage to Bond is reinforced by Dominguez's use of a music track which efficiently parodies Monty Norman's 'The James Bond Theme'. (I've heard this track before in another Private movie, but at the moment I can't remember which one. It was probably first used in an action sequence in one of Pierre Woodman's espionage-based feature films.) In a movie which is meant to be a spoof of 'Charlie's Angels' it's arguably 'off-topic' and confusing to introduce a parody of the James Bond franchise too, but Dominguez's ski chase sequence definitely lifts 'Sex Angels', it fits the genre neatly, and the soundtrack on this occasion is highly accomplished. There are some excellent sound effects of the skis and snowboard slicing through the ice as the hunters and the hunted swerve skilfully towards the camera.

The two skiers are actually Silvia's henchmen - the guys from the dojo - and from a distance Silvia looks on, observing the chase through a pair of binoculars. The mystery snowboarder outwits Silvia's goons, causing them to topple in the snow. The dramatic climax of the Bond-style music is comically timed to coincide with Silvia's frustrated exclamation - "Fuck!" - as she watches the snowboarder escape. The snowboarder slides to a halt and pulls off her protective mask, revealing her identity. It's Mya Diamond! She laughs smugly to herself, pleased at having bettered the skiers. It has to be said that Mya is no great actress, and her dubbed laugh is an unintentionally funny let-down after the action. It works well, though - and its effect is similar to the moment when George Lazenby utters his famous anti-climactic line, "This never happened to the other fella!", just before the credits begin to roll in 'On Her Majesty's Secret Service'. Of course, in Mya Diamond's case "the other fella" would be Lucy Liu!

I have one further point to make about music in the action sequences of 'Sex Angels'. It's really a kind of 'If Only...' , and it revolves around Liam Howlett of the 'Prodigy'! My only memories of 'Charlie's Angels: Full Throttle' are vague. I've seen this movie just once - when it was first released - and I'd already had a few beers by the time I'd got to the cinema. But a scene which really sticks in my mind is an exciting, sharply-edited motorbike chase set to the 'Prodigy's whip-cracking hit track, 'Breathe'. 'Breathe' is a masterpiece of punk-fuelled electronica, and it fitted the action of 'Full Throttle' like the glove of a Hells Angels biker! Among his other credits, Liam Howlett has worked for Private, collaborating with 3D DelNaja of 'Massive Attack' in writing an original score for John Millerman's trilogy, 'The Uranus Experiment'. I guess this collaboration must represent one of Private's finest hours in terms of achieving a 'crossover' between the adult industry and celebrity talent from the mainstream media. Given the brilliant use of of 'Breathe' in 'Full Throttle', my 'If Only...' is a conjecture about how great it might have been had Liam Howlett been persuaded to return to Private to write one of his original, high-octane action scores for 'Sex Angels'!!

There's hell to pay when Silvia Lancome gets her two incompetent henchmen back to the chalet. As they grovel naked before her, she castigates them for allowing Mya Diamond to get away, and she whips their asses with her crop. She orders the hapless fools to give her pleasure and soon they're sucking her tits and licking her pussy through her shiny latex crotchless knickers. Silvia is terrific as a dominatrix in this scene, and the voice artist supplying her with an American accent makes her sound icily bossy and mean. The maternalistic scoldings Silvia gives her slaveboys as she begins to suck and play with their cocks are both amusing and arousing, and nothing I've seen in Private's 'Pirate Fetish Machine' series can top this scene in terms of playful, fetishistic fun. The sex begins in earnest as the guys fuck Silvia's pretty pink quim, and the sound of their swollen nuts slapping against her full, round buttocks is a joy. The action is hot and intense, including a couple of DP positions which really hit the spot. Silvia appears genuinely to relish the shafting she's getting, but for the cumshot she regains her haughty composure as the guys stand either side of her, ready to jack off all over their mistress. The first guy shoots cum across her neck and breasts, while the second guy decorates her face and eyepatch. But the scene's not over yet...

Mya Diamond has snuck into the chalet where she surprises the spent threesome, pointing her gun at them and ordering them to surrender. Silvia's lackeys put up their hands at once, their cocks bobbing pathetically, but Silvia believes that she's stronger than Mya and that she can overpower her. She ignores Mya's warning to back off and struts towards her, still splattered with cum. Silvia lunges for the gun, Mya pulls the trigger and - boom! - that's the end of Silvia. "I told you!" says Mya, as her enemy collapses. Mya then moves in on the guys, stepping over Silvia's body and grabbing the nearest pair of balls to extract information, just as she did in the dojo. She needs to know where the villan's bomb is hidden. As she ruthlessly squeezes her captive's bollocks he squeals something about a 'Hairdresser'...

At this point, a special mention is owed to actor Ramon Nomar, who co-stars with Andrea Moranti as one of Silvia Lancome's henchmen. Ramon and Andrea play rather fey, submissive characters who go weak at the knees whenever Silvia or Mya assert their sexual dominance over them, but they turn in highly creditable, energetic performances in their sex sequences, leaving no doubt at all about their masculine prowess as top-of-the-range studs. It's clear from the movie's Production Notes that Roman is an all-rounder who was able to help out with the stunt work, too: "When the production moved up to the mountains for the snow scene ... Ramon Nomar saved the day by doubling up as snowboard stuntman, his well known talents as a surfer proving a great success on a snowboard. The shoot attracted international media attention, with such high profile names as 'Hot Video' and Germany's 'Spiegel IV' present to record the event." An interview with Ramon Nomar is included in a 'Featurette' on the Extras disc of the DVD Special Edition of 'Sex Angels'. Ramon is wolfing down some lunch while explaining that he's on a break between finishing a magazine photoset with "Andrea and Celia Blanco", and shooting one of his fuck sequences for 'Sex Angels'. The interviewer is full of admiration for Ramon's herculean stamina in being able to deliver two sex shoots in one day, but Ramon himself is confident that he can handle the situation: he diffidently passes it off as the sort of challenge which he, as a working stud, is sometimes called upon to meet. The evidence of his success is on the screen. Ramon, you da man!

Scene 6

This scene begins with a visually striking sequence in which Jennifer and Sandy motor along the highway in an open-topped sports car. Jennifer is at the wheel and Sandy sits beside her in the passenger seat. The girls are jealous of Mya's opportunity to do a spot of skiing, but they're looking forward to arriving at their next destination - 'The Hairdresser'. They're excited by the prospect of a hairdo, and each girl tosses her free-flowing mane in an attitude of cute vanity. For this sequence Dominguez uses blue-tinted back-projection to create the illusion of a fast drive, while the shot of the girls talking is actually a stationary studio shot, directed over the bonnet of the car. In the 'Making Of' Extra, Dominguez explains the techniques by which this sequence has been created. His description of the style of fantasy achieved is very apt: "It's like a comic."

Once again, Sandy and Jennifer demonstrate their talent for acting light comedy. This comes across even though their voices have been dubbed in post-production. The dialogue is naff but the girls smile their way through and perform it all with tongue-in-cheek aplomb. When they finally pull up alongside the premises of 'The Hairdresser' and step out of the car, we enjoy a body shot of Sandy in her black PVC mini-skirt, and the leggy Jennifer affords us a hip-swaying display of her schoolgirl-style, grey pleated skirt and stockings.

The interior of 'The Hairdresser' is a dark, spacious stage, and at its centre are two beds. Jennifer and Sandy are warmly welcomed by a pair of hunky guys in tight trunks who immediately offer them a massage. The girls accept without hesitation and they are soon lying face down on the beds, naked, with the guys rubbing oil into them and kneading and grasping their bottoms and tits. Jennifer's masseur tucks the flat of his hand into the crease of her buttocks for a squelchy feel, while she and Sandy exchange happy, mischievous smiles. What follows is half an hour of unadulterated bliss, the best-realised sex sequence of the movie. This is the one to which I'll be returning for repeated viewings in years to come!

The sensuous foreplay of the massage is accompanied by a lounge-jazz soundtrack but, as things hot up, this relaxing music gives way to the rock-steady beat of a sleazy, 80s-style synth piece, the sexiest track in the film. Sandy rises up from her bed to kiss her masseur, Toni Ribas, and before long she's deep-throating him, applying hard suction to his massive schlong and coating it in messy trails of saliva as she comes up for air. Jennifer is busy with her own masseur, and now - one hour and thirty-eight minutes into the film - I finally get to enjoy the moment I've been waiting for: Jennifer's first contact with cock! She pulls open the guy's trunks and saucily flicks her tongue over the pink bell-end of his throbbing stiffy.

Toni reaches across to Sandy's booty and gives her a vigorous finger fuck, causing her to cry out loudly and drop her head to his sturdy thigh: she's lost in a chaos of ecstasy and tousled blonde hair. Each girl fellates her man with lip-smacking relish, then Sandy is shafted while Jennifer gets her cunt licked. Sandy rides Toni in the cowgirl position, leaning across his body as the camera looks on from the rear and takes in the sight of her humping bottom. The spectacle of Sandy's tanned flesh smacking against Toni's rock-hard stud-muscle is magical. Toni slips two fingers into her anus while plugging her pussy with his prick and she writhes about all over him, gasping breathlessly. Next she does him in the reverse cowgirl position, taking his tool to the hilt and fingering her own clit before he starts to rub it. Her ripe, shapely tits bob up and down as she fucks him, and the flip-flop sounds of flesh hitting flesh gain in momentum. Jennifer is in the background, rhythmically blowing her masseur, while Sandy lies face up and throws her legs back over her head so that Toni can feast on her gaping arse. Toni drills Sandy's butt with his prick, and off she goes on another wave of orgasmic pleasure as once again he stimulates her clit with his fingers.

A split-screen transition passes the focus of the scene from Sandy to Jennifer, who is now being soundly pumped in the doggy position. The stud's heavy balls hang and jiggle around Jennifer's hindquarters, swaying like a pair of ripe, red apples. Jennifer's face is flushed and wet with the sheen of sweat, and her crazy moans of pleasure are muted only when Toni joins in by stuffing his cock into her gob. Quick as a flash, Sandy's there too; and while Jennifer continues to be pounded from the rear, both girls slurp at Toni's cock and lick and suck it till it's hue has changed to strawberry red.

Toni wants to have a turn inside Jennifer's arse, so he guides her into the reverse cowgirl position and enters her anally while the other guy has a go with Sandy in the doggy position. Jennifer's long legs are splayed open for the camera and Toni fucks her in the arse wildly. Round red blotches appear on the stretched underside of her buttocks as she's speared, and she clenches her teeth and curls her lips with the passionate intensity of a hot young bitch who's getting a right royal seeing-to. Toni pushes Jennifer off of him so that she can fellate him and taste the sweat of her own arse on his rampant rod, and Sandy has meanwhile changed to the reverse cowgirl position where she is taking it in the cunt from the other masseur. Toni manoeuvres Jennifer into the spoon position and buries his cock into her dirt box for another round of filthy anal pleasure.

Toni's colleague enjoys the attention of both girls as Jennifer mashes her tongue against his own and smoothly wanks the root of his prick into Sandy's willing mouth. The camera draws back to reveal that Toni is simultaneously giving Sandy one in the arse, doggy style. "Suck his cock!" urges Jennifer, "Yeah... do it!" This is Jennifer's own voice that we're hearing now, complete with her thick Czech accent. It's a horny, refreshing change to listen to this, in place of the annoying, ill-matched voice of the dub artist used to Americanize Jennifer throughout the rest of the movie.

Jennifer gets a DP, and when she cries, "Yeah... I love it!" - again in her own voice - we know that she means it! Sandy encircles Jennifer's throat with her forearm as Jennifer is tightly penetrated in both her arse and her pussy, and we can all but smell the yeasty aroma of arousal and sweat. The girls catch each others' eye, smile and kiss passionately, and we remember how they first discovered this bond of intimacy in the bar of 'Inferno'.

Sandy rides Toni in the cowgirl position and Jennifer is in the background, fucking and sucking the other guy. Her damp brunette hair cascades over his prick. Toni pushes Sandy onto her back and brings her to fever pitch by means of his manual ministrations. Sandy's head hangs down over the side of the bed and Toni shifts into a sixty-nine position, plunging the full length of his elephant-trunk cock deep into her mouth while snuffling and lapping away at her snatch.

It's time for Sandy's DP... After a little more doggy from Toni, Sandy mounts the other masseur and takes his cock into her cunt. Jennifer prepares Toni for fucking her friend's arse by giving him a savage wet blowjob, then he thrusts his cock into Sandy's butt and completes the DP. Sandy's DP is surprisingly brief, but it prompts another torrid exclamation from Jennifer in her own authentic voice: "I like your ass...! Mmm...! It's so lurvely...!" But whose arse does she mean - Toni's or Sandy's?

The four performers are tangled together in an sizzling orgy of lust. Sandy is taken from behind while Jennifer lies beneath her, getting fucked by Toni. Sandy's thighs rock and bash against Jennifer's head, and Jennifer reaches up to paw at Sandy's tits and squeeze her nipples. Toni's cock springs out of the brunette's pussy, only to disappear into Sandy's mouth. Toni soon puts it back to work in Jennifer's cunt, but now it's freshly lubricated by the blonde girl's saliva.

Toni slides his hand into Jennifer's hot quim and gives her a slippery finger fuck at such an amazing speed that it's all a blur. When he withdraws his hand it's dripping wet. He then grabs the flushed, moaning babe around the neck and screws the arse off her - a whirlwind performance! He pokes her silly, grasping her by the waist, midriff and tits and taking her to a new threshold of orgasmic bliss. This, for me, is the high point of the film - a visceral affirmation of what it would be really like to fuck Jennifer Dark!

The cumshot sequence is a quieter, more sober affair, as marked by a return to the lounge-jazz. The two girls are lying down next to each other and only their faces, necks and shoulders are in view, together with their clasped hands. They smile into each other's eyes and kiss intimately. The cocks are out-of-frame, but we hear the wet sounds of rapid wanking and suddenly the spunk rains down, pattering all over the girls' cheeks. Jennifer pops a spunk-drizzled finger into Sandy's mouth and smiles sweetly at her friend. It's a tender sequence, but the punch line is blighted by renewed use of the galling voice of the American artist who dubs Jennifer's scripted dialogue: "Oh... good massage!"

Our intrepid Angels are immediately betrayed by their masseur lovers, who turn out to be nothing more than stooges for the villain. The guys lead the girls to two seats placed under huge hairdryers, as if to give them a perm; but no sooner have the girls taken their seats than the machines emit a green gas which knocks them unconscious. When they awaken they find themselves seated back to back, bound together around their arms and waists by a leather restraint. No amount of struggling will loosen the knot - they are prisoners of the villain!

The Hollywood 'Charlie's Angels' movies are all about lavish spectacle in a world of conspicuous consumption, and of course they were made on budgets which porno producers can only dream about. Nevertheless Private's slick promotional campaign for 'Sex Angels' creates expectations of glossy aesthetics, and this inevitably leaves the film open to questions about how far it measures up in the glamour stakes. The interior of 'The Hairdresser' is a stage with dark dressing, and it's like the 'Inferno' in the sense that it's a minimalist set. I guess that what this film lacks and could really have done with at some point is a spectacular interior location, like the opulent villa in Gazzman's 'Hot Property' or the luxurious set of the party in Romagnoli's 'Soccer Girls'. Are there issues about securing 'found' interiors on such a scale when shooting in Spain? On the plus side, the use of the dojo was an original idea for a location, and in the Pyrenees the room in which Silvia Lancome dominates her two henchmen and meets her end has a cosy fireplace and is suitably atmospheric.

The fucking in Scene 6 is fantastic - a tour de force - and Toni Ribas deserves special credit for bringing his unique brand of sexual energy to the proceedings. There's a very funny moment with Toni and Andrea Moranti at the end of the 'Featurette' on the Extras disc of The Special Edition. It's Andrea's day off, but he's hanging out with the cast and he finds an opportunity to take the piss out of the bare-chested Toni. Andrea's abilities as a comic actor come through in his screen role as one of Silvia's camp henchmen, but he's clearly a comedian off-camera, too. He hilariously apes and sends up his superstud friend: "Do you see me? Oh yeah, I'm beautiful! My hair is nice... Of course, I'm Toni Ribas. You see my body? Huh? You see my cock? Huh? My name is Toni Ribas..." Toni says nothing back but smiles good-humouredly and gives a disarming shrug. Andrea Moranti is not the first of Toni's stud compatriots to tease him behind the scenes. In 'The Making Of' documentary for 'Faust: The Power of Sex', Nach Vidal is interviewed alongside Toni and affectionately gives him a hard time about his preoccupation with his own pleasure when fucking the girls on set. This prompts Toni into making a really interesting series of observations about his performances and current trends in porn.

Scene 7

Luckily for Jennifer and Sandy, Mya Diamond arrives at 'The Hairdresser' in time to rescue them. She's dressed as a ninja, she looks mean as hell and she's ready to do battle with the villain's guards. The first guard, Andrea Moranti, attempts to intimidate Mya with a gymnastic display of martial artistry, but she simply smacks him around the face and he's defeated, walking away and sobbing like a chastened schoolboy. The second guard is played by the movie's producer, J. J. Gasset, who mugs his way through the lead-in to an attack on Mya. She kicks him in the stomach and he, too, is out of the action, collapsing to the floor. (I suspect that Gasset's goofy on-screen contribution is an in-joke that got out of hand. Screwball comedy - or embarrassing self-indulgence?)

At this point the villain makes himself known. We see him for the first time and he reveals his true identity: it's Wally! There are shades, here, of the first 'Mission: Impossible' movie, where the character who led on the side of the angels in the TV show of the 60s and 70s, Jim Phelps, betrays his team and turns out to be the principal baddy. Wally, played by Robby Blake, brags that it is he who plans to blow up the world. (His reasons are best known to himself!) He's been hoarding explosives and he's hidden a time-bomb which will detonate the lot. Quick as a flash, Mya fells the villain with a flying drop-kick which reduces him to a quivering wreck. The stunt is an impressive one. Mya is lifted into the air by invisible wires and the action takes place in slow motion with a wooshing sound effect. This is a stunt performed often in martial arts movies, but as a piece of filmic trickery it's particularly reminiscent of the conflict between Pai Mei and The Bride at the guru's seminary in 'Kill Bill: Volume 2'. As Wally begs for his life, the vision of Confuscious reappears to Mya and reminds her that, "Before using violence, it is better to be a slut!" She accordingly slips out of her top and Wally is at once mesmerised by the sight of her pert tits. He scoops her up in his arms and now, at least for a while, neither character has any motivation other than to fuck the other's brains out.

Mya has a slim, shapely body and it's an utter delight to watch her being rogered. She's irresistible - her long hair falls down her back, her back arches in trimly at the waist and her hips curve out towards a tight, round bottom with perfect lttle buns. Wally's hands are all over her, he licks and fucks her pussy, he fingers her arsehole and a trickle of lube mixed with his saliva runs down the exposed underside of her bottom as he pumps her anus with his cock. He gives her plenty of clitoral stimulation while fucking her arse and her moans of pleasure show how much she gets off on this. There's a really nice sequence where he lifts her up so she can wrap her thighs around his strong arms and rest her feet on the crates against which he is leaning. He supports her by clenching hold of her bottom cheeks while continuing to poke her in the arse, and the sight of him pressing her firm, petite globes with his thick fingers is a definite turn-on. Eventually she turns around to face the camera and she masturbates herself vigorously while humping up and down on his prick, burying it deep inside her arse. Finally she stoops over his cock and jerks him off into her mouth. His load is rather a modest one, it has to be said, but judging by the volume of his moans the extremity of his pleasure isn't in doubt.

There's a horny little twist to the post-cumshot after-play. Mya continues to jerk Wally furiously and she refuses to stop until he tells her where he's hiding the bomb. She angrily demands the information and he's clearly tortured by the frenzy with which she's wanking his spent member, and sucking and licking it too. In the end he has no choice but to reveal that the bomb is "Over there!" As soon as Wally has given up the whereabouts of the bomb, Mya exclaims a triumphant "Yesss!", knocks his cock aside dismissively and dashes across to Jennifer and Sandy to release them from their bonds. These moments of cock-torment further illustrate Dominguez's taste for little pieces of business with an S&M theme. The context of Mya's motivation and the situation in the story - trite though this is - gives the sequence an added bite. Such frisson is often lacking in S&M business which has no specific narrative context (such as the Tanya Hyde shorts in the 'Pirate Video DeLuxe' series).

The naked Angels discover the timb bomb in a box and by now the film has turned full circle. The girls are in exactly the same situation as in the pre-credits sequence, facing a dilemma as to which wire to cut. Once more, Jennifer insists it's the blue wire but - silly bitch! - she's got it wrong again! The Angels have only a few seconds in which to scarper before the world blows up! The final shot is an animation of the world continuing to spin, intact, while Wally's voice is heard angrily reprimanding his lackeys for having bought duff detonators. This final piece of comic dialogue takes the movie into the same cartoonish territory as Michael Ninn's '2 Funky 4 U' but at least the Angels will live to fight another day. All they need now is a new boss!

The End... But is it? Not quite. There's an additional scene on the Extras disc in The Special Edition, in which a jailed Silvia Lancome, sans eye-patch, is taken by an (uncredited) tall blonde who wears a fetish warder's uniform and a strap-on. After a steamy round of lesbian sex, Silvia tricks the warder and locks her into the cell, making good her escape. I'd like to think that this is a back-story for Silvia's character, an episode from her criminal past before she sustained whatever injury led to her having to wear the eye-patch. But then again, who cares?

There's also a Special Photoset on the disc, in which Mya Diamond is stripped out of her Angels cat suit and fucked by Toni Ribas and Andrea Moranti. She's naked except for her pair of knee-high boots.

In his interview for the Extras disc, Dominguez expresses his willingness to make a sequel to 'Sex Angels', should the opportunity be offered to him. But if I had the chance to interview him, there's one final question I'd put:

Whatever happened to Bosley?!