The 8th Day

Studio: Adam & Eve
Director: Ren Savant
Cast: Kayden Kross, Amber Rayne, Bree Olson, Aaron Wilcoxxx, Kylie Ireland, Jandi Lin, Poppy Morgan, Tori Black, Violet Marcell, Krissy Leigh, Tommy Gunn, Evan Stone, Tyler Knight, Trinity Post, Darryl Hanah, Ameatabh Bachan, Derrick Pierce

Portions of this review also appeared on Fleshbot

Samantha (the exquisitely nude Kayden Kross) wakes up from future sleep in a future chamber, a recorded message from her late father (director Ren Savant) playing on the future video screen.

“Possibly I died of natural causes,” he is saying, Jo Rel-like, waxing on about the zero-point generator he invented that he is confident will have saved the world by now. “I am very envious of my little girl.”

Envious or not, Dad, at least wait until she’s got some clothes on.

Thus begins “The 8th Day,” Adam & Eve’s massive 4-disc (two for the feature, two for extras) epic of sex in a post-apocalyptic world, part “2001,” part “The Road Warrior,” part “Contact,” and, what the hell, still weirded out by a father being creepy with his daughter, even posthumously, part “Blame It on Rio.”

Of course, the world Sam wakes up to isn’t quite fixed. In fact, it looks a lot like many greater Los Angeles communities south of the 10 freeway; places where bodies are meat, technology has betrayed Man, and where “In a lawless new world, sex is the only salvation.”

“My God,” Sam says. “What happened?”

Life happened, Sam. We follow her through the ruined, overgrown landscape. We evaluate Sam’s choices as if she were making her way through Quake, and we’re waiting for her MMPORGasm.

In fact, “The 8th Day” is unlike many contemporary movies in that it takes its time, and this is an unexpected pleasure. Well, perhaps not to fans of porn’s pay-per-minute model, but whatever.

By the time Sam meets Mel (Amber Rayne), lots of information has slowly unfolded, much like Krissy Leigh’s impressive labia in a desert shanty scene with Tyler Knight.

It turns out, Mel tells Sam in porn’s first recorded ten-minute dialogue scene, that long ago all the electricity went out, the animals died, women had trouble reproducing, and mutants with different attributes emerged. Sam, for example, has sex with some slimy Morlocks. Then we watch a three-way between some blue, caterwauling Gila girls. I’d add “Good Times” here, but I’m not a douchebag.

Mel takes Sam to the Elysium Fields, a desert enclave ruled by the charismatic Amir, who preaches against technology and presides over tent orgies. We learn that Amir led the angry mob that killed Sam’s father when the latter’s science didn’t turn out as expected. We learn, also, that Mel can take a double-penetration like a goddamn champ.

My only complaints about the movie are logical ones, which I admit don’t hold up against the copious flesh on display, but here goes: It is not altogether clear why Sam’s dad put her into deep sleep, unless he just did so to see his adult daughter naked. And Amir doesn’t seem all that charming, despite the fawning.

But the risks “The 8th Day” takes are admirable for porn. There are stretches without either music or nudity and where the plot advances by scenery alone. The special effects are parceled out with maturity, there are references to Shakespeare and the Beatles, and the movie trusts you to allow it to end without a cumshot.

There is also more creepy stuff with Dad, crucifixion, peeing on asbestos, a “West Wing” cameo, Bree Olson’s Blue period, the unsinkable Darryl Hanah, the always-dependable Trinity Post, a delightful performance by Amber Rayne, and the jaw-dropping Kayden Kross, who meets a bad end (but so does everybody).

“The 8th Day” is a great movie; how bad can the end of the world be if it’s got Kayden Kross in it?