PodBill Just what I expected

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Cheryl A clunky actioner with a handful of cool moments.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

Dries Vermeulen Fringe filmmaker Stephen Sayadian (a/k/a "Rinse Dream") followed his groundbreaking NIGHTDREAMS with this even more radical foray into expressionist erotica. Set in a post-nuclear future, the "bomb" has left 99 % of the world population unable to have sexual intercourse, becoming violently ill whenever this is attempted, with the remaining 1 % forced to perform for their benefit in dank, dark night spots such as the titular Café Flesh, run by the friendly but firm "Moms" (sympathetically portrayed by cult figure and soon to become carnal queen Tantala, billed as "Darcy Nichols"). From his single brightly lit spot on the stage, MC Max Melodramatic (an astonishing performance by Andrew Nichols) mercilessly teases and taunts the incapacitated audience flooding the club night after night, both his presence and the garish shows cruelly reminding them of the intimacy they are no longer capable of. Among them, Nick and Lana (Paul McGibbonney and "Pia Snow" a/k/a grade B horror favorite Michelle Bauer) who are desperately trying to hang on to their once loving relationship now perhaps fatally handicapped by the enforced absence of physical closeness. Unbeknown to Nick though, Lana is a closet Sex Positive, feigning sickness so as not to lose out on love through an obligatory stage career. The arrival of small town girl Angel (the very pretty Marie Sharp from Vinnie Rossi's insipid FOREPLAY) and her delighted response to being pressed into pornographic theatrical duty, makes Lana doubt her decision. As she yields to a desperate masturbation bit in the café's kitchen, Max spying on her effectively blows her cover. A much anticipated guest performance by legendary super stud Johnny Rico (the late Kevin James, such a motor mouth in Fred Lincoln's MITZI'S HONOR, in an uncharacteristically silent turn) causes Lana to lose her cool and join him and Angel on stage for a fantasy-fulfilling finale.Much has been made of the film's supposed status as an allegory for the AIDS crisis, most of it in hindsight. Considering the virus became a public commodity in the early '80s, this would not be an entirely impossible interpretation albeit a fairly improbable one, requiring near visionary prescience on the part of the makers. Then again, it was written by Jerry Stahl, employing the nom de plume "Herbert W. Day" prior to gaining notoriety with "Permanent Midnight". Still, I always preferred to regard it as a satirical critique of the "impotent" position of the porn audience, viewing rather than participating in the sex action. Either way, CAFE FLESH certainly succeeds better as midnight movie type cult cinema than as erotica, somewhat unfair criticism perhaps as it never seems to try very hard in that latter capacity. Sex scenes are fewer than was the norm to begin with and mostly presented as dispassionate if rather imaginative stage productions. A '50s housewife (Terri Copeland) with a trio of bawling babies in tow gets down 'n' dirty with a milkman wearing a rat suit (mulatto stud Ken Starbuck, who went native in Svetlana's amiably silly PINK LAGOON) while a phone-fondling secretary (minor starlet Becky Savage, most memorable in Ann Perry's UNDERCOVERS) gives it up to an executive with a large pencil-shaped head ! Only Bauer's scenes are genuine turn-ons, slightly hampered by over-zealous editing to mask the fact that she had a penetration stand-in, even though she definitely did perform oral sex on Ron Jeremy in Svetlana's BAD GIRLS.Acting, especially in the non-sex roles, is excellent. Though some of the apocalyptic set design was clearly accomplished on the cheap, it effectively conveys the view of a desolate future, further enhanced by moody cinematography and a great soundtrack by then fledgling composer Mitchell Froom who worked on PEE WEE'S PLAYHOUSE, like Sayadian and his cohort "F.X. Pope" (a/k/a Francis Delia) a rogue rebel trying to make his mark. A quarter century down the line, much of the material has dated, effacing much of the effectiveness of what must've seemed "hip" at the time, like the jive-talking black girl who acts like some sort of spaced out chorus. Still, for sheer curiosity value (there has been very little that resembles it made since, perhaps for good reason...), it's very hard to beat.

haildevilman Well, what would YOU call it? SFX and XXX blend here to create a bleak, disturbing, depressing, erotic film.These are not descriptions you normally hear together.The late Kevin James gets a (Thankfully) non speaking role as a superstar stud. He, and others, known as sex positives, must perform for the sex negatives.What am I talking about? Watch the film. The plot must be seen, then maybe believed.I recommend it still. It's too weird to miss. And as far as porn goes, the acting is a lot better than usual.

the_mao This is the best of best, or the less pathetic porn movie (that depends on your view).It is so good that precisely the only flaw point in the whole movie are the unnecessary long hardcore scenes, surely made by pressure from the producers.This movie has little of everything, scify, fantasy, sexual dreams, drama, comedy, good shows, good photography, good acting, amateur acting, low budget look, exceptional atmosphere, some very high stetics points, lots of psychological and conceptual ideas, etc.The ending of the story is also a very high point. One of the best endings that I have seen on cinema.In brief, if you like art get this movie, cut all the unnecessary hardcore out, and you will get a little gem.

chas77 For all of those people out there who whine about lack of plot in porn, here's the film for you. Set in a post-punk, post-apocalyptic American wasteland where the survivors are divided into two groups -- sex positives and sex negatives. The positives are "forced" to perform live sex cabaret shows at various Cafes. The negatives watch, unable to perform. This black comedy benefits from a great script by Jerry ("Permanent Midnight") Stahl and superb direction from Rinse Dream. You haven't lived until you see the bizarre cabaret skits and musical set-ups. Truly inventive stuff here, despite its low budget.