“Malice in La La Land”: A Long Day’s Journey Down the Rabbit Hole

I am hoping that “Malice in La La Land” makes its money back, because it cost a lot.

One of the most expensive porn movies undertaken in recent years, Miss Lucifer’s “Malice in La La Land” was shot over several months in 2009, during which time it flew its production team back and forth to Belgium, filmed in several locations around L.A. and in the desert, ran out of money, switched distributors, and finally released its finished product more than a year after production started.

I imagine it cost at least $175,000 which, considering that companies are spending around $25k per picture lately, gives you an idea of profit expectations.

The staff behind Miss Lucifer is a well-connected group of mainstream pros with European licensing deals, so the limited push being given the DVD by distributor Vivid might pale in comparison to softcore, hotel, and European set-top box revenues. I hope so, because the movie is worth watching.

Studio: Miss Lucifer
Director: Lew Xypher
Starring: Sasha Grey, Dirty Fred, Andy San Dimas, Keni Styles, Ron Jeremy, Kagney Linn Karter, Phoenix Marie, Chayse Evans, Billy Glide, Stephen Powers, Chris Johnson, Danny Mountain, Alan Stafford, Mackenzee Pierce, Alyssa Reece, Kristina Rose, Juelz Ventura, Sadie West, Tommy Gunn, Jenna Presley, Lew Xypher, Tanya Moon

“Malice in La La Land” is an ambitious Europorno shot with American talent and paying homage to great Americans like Hunter S. Thompson and Quentin Tarantino in its depictions of things people can get up to in the desert.

Malice (Grey) is rescued by a rabbit from incarceration in an asylum and, before she is recaptured, leads her stalwart pursuer, orderly Jabbowski (a former street clown named Dirty Fred in a non-sex role), on a chase through desert motels and Jumbo’s Clown Room. Along the way, she meets Keni Styles in a covertible and Hunter Thompson hat and Ron Jeremy, playing a sleazeball strip club kingpin.

The dialogue is economical, befitting the dusty dream Malice is having, and the movie benefits from an efficient and evocative soundtrack as well as bits of animation that takes us where costly real-life transitions can’t.

“Malice” is fun because we spend very little time in L.A. itself, despite the title; it’s a Belgian’s perception of California or, as Cahiers du Cinema calls it, a Waffle Porn. We are treated to a juicy scene with Kagney Linn Karter playing a hick, a la Juliette Lewis in “Natural Born Killers,” as well as what appears to be the asylum’s real function: as some kind of fellatio lab for Andy San Dimas.

Unlike some porn epics, “Malice” does not overburden the viewer with story over sex, but we never really see enough of the performers, just the same. It’s as if the production was erring on the side of artfulness and, because it wasn’t going for Rocco Siffredi-style clinicality, let the pendulum swing too far back into restraint.

“Malice” might well be Sasha Grey’s last big feature for a while, now that she’s all famous and stuff, so, if not for the chance to see a dwarf or actual nipples (courtesy of Jesse Capelli and Mackenzee Pierce) in Jumbo’s Clown Room, see it for Sasha.

  • Buy “Malice in La La Land” here

Previously on Porn Valley Observed: Sasha Grey grooms a rabbit; Mackenzee Pierce and Jesse Capelli bring nipples back to Jumbo’s Clown Room
See also: Miss Lucifer

Michael Ninn’s “Nymphetamine”

Studio: Celluloid Addiction
Director: Michael Ninn
Cast: Janas Cova and Jordan, Karlie Montana, Cekeste Star, Faye Reagan, Charlie Laine, Heather Carolin, Georgia Jones, Jennifer Dark, Alyssa Reece

Portions of this review also appeared on Fleshbot

Michael Ninn has returned, and even though his comeback movie Nymphetamine appears to have been shot on the set of a cosmetics commercial, his work hasn’t had a makeover.

In fact, fans of Ninn will rejoice, for there is no mistaking “Nymphetamine” for anyone else’s movie.

Angular, high-heeled, and haughty pornstresses make their way across floodlit sets littered with oversize spheres and reflecting pools and have their stylish ways with one another. With a little less digital penetration and a sepia filter the whole movie could be an Obsession ad, but for one new tool in Ninn’s post-production portfolio.

Ninn seems obsessed with bullet-time, the slow-mo, pan, and speedup technique made famous by “The Matrix” trilogy and refined by “The 300.” It was Ninn’s porn version of the latter movie for a soured partnership with the gentlemen’s club chain Spearmint Rhino, “The Four,” that seems to be the inspiration for this kinder, gentler, plotless, and manless vignette film.

While “The Four” languishes in legal limbo, “Nymphetamine” works within a sparser landscape and just has porn women doing what they do best under such conditions, and looking icy and inaccessible doing it. We assume they’re having a good time, but I doubt we will see any of Porn’s current crop of big, sloppy barmaids sploshing lustily in their belly rolls in “Nymphetamine 2.”

And this singularity of vision is what makes Ninn an artist. Of course the likes of Georgia Jones, Faye Reagan, Jana Cova (formerly of Digital Playground), and Jana Jordan (formerly of … NinnWorx) would only be found picking their way among severe and whitewashed three-dimensional shapes – they are the embodiments of better girl/girl sex through geometry, and “Nymphetamine” is the perfect movie to have playing in the waiting room of your edgy architect’s office – it’s like “The Fountainhead” with trim, flush labia.

We’re happy to have you back, Michael Ninn. But just once I’d like to see someone like Sara Vandella get nailed on a pallet of Carl’s Jr. Six Dollar Burgers in one of your movies.

Watch Nymphetamine Now
Buy Nymphetamine Now