Director Shaun Costello flexes his goofy side with this endearing oddity centering on a pre-Giuliani New York mayor's attempt to clean up the city by arresting its prostitutes. According to O'Malley (Costello), an attorney on the mayor's task force, there are still seven of those at loose, prompting what may be the movie's biggest laugh.
Elaine (Crystal Sync, who gets to tie with Chlorine Stilwater for most ill-advised porn pseudonym) and her jail bait-looking cohort Betsy receive what may be their last john for some time, an enviably proportioned black man, so they give him the works including female to male analingus. A girl scout selling cookies door to door leads Betsy to a surefire way of escaping the unwanted attentions of O'Malley and police lieutenant Fawcett (John Leslie), a master of disguise brought in to trap the hookers, by offering her sexual favors in a similar way ! Her first customer is kinky Lothario Ashley Moore who keeps his wife chained to one of those Medieval contraptions initially devised for the public flogging of criminals. "She likes to hang out every Wednesday," he quips. As the three of them get it on, stirring gospel music (with a Macy Gray sound-alike belting her little heart out) swells on the soundtrack, the first of several intriguing musical selections in this film.
A languorous jazzy vocal with a sultry chanteuse lamenting the departure of her "Candyman Baby" plays over a hot 'n' heavy encounter between O'Malley and his luscious secretary. A trio involving the incarcerated Elaine with Fawcett and O'Malley is supported by an upbeat big band number with an exalted crooner warbling "I've got my mojo working, baby (and I'm gonna try it on you)" while the party music accompanying the final scene plays close to Bootsy Collins. Not that there's just stuff to listen to and nothing to see, mind you.
Sync (a good actress who delivered a career performance in Roberta Findlay's all time showstopper THE TIFFANY MINX) turns up the heat full blast in her jail cell scene with Leslie and Costello, even performing the still rarely attempted double vaginal penetration at one point. An interesting stylistic device occurs at the beginning of this sequence when Costello uses a swinging light bulb to set the mood, a simple touch that had already proved its effectiveness in his PASSIONS OF CAROL, which he had directed as "Amanda Barton" two years prior. Rather disappointingly, the story just stops at the party turned orgy attended by the entire cast.
