Urban Cowgirls

Urban Cowgirls (1980) ****

Apart from its country and western swing bar setting, this fun adult feature bears little resemblance to the John Travolta movie that inspired it.  Veronica Hart shines as a free-loving, sophisticated city chick with a thing for flings with well-built cowboys like ready and willing Eric Edwards.  However, her older but still sexy sister played by Georgina Spelvin is suffering through some serious marital doldrums and looking for reassurance, so Hart undertakes to tutor her in the ways of having a good time by taking her to the redneck singles bar run by sleepy-eyed John Leslie.  Joey Silvera, meanwhile, is a stressed-out businessman having an affair with his hot secretary, Hart’s friend and sometime lover Lee Carroll.  In the film’s standout scene, a slightly cruel and clearly ecstatic Hart straps on a dildo and delivers Carroll into transports so neurotically intense that her loss of control can only be real.  Hart also appears to enjoy a moment of anal diversion with Edwards here more than in her welcome but slightly hard-to-watch scene with Leslie in Outlaw Ladies. Hillary Summers appears to touching effect as a barmaid infatuated with Leslie, contributing to the strong sentimental current that distinguishes Urban Cowgirls somewhat from the rest of the beef-bopping herd, making it hardcore with a heart.


Sex Drive

Sex Drive (1985) *****

Chuck Vincent, the man behind Roommates, delivers another masterpiece in this offbeat peek into the earthy lives and loves of the waitresses, customers, and gas pump boys at Joe’s, a rural truck stop.  Taija Rae is delicious as one of the loose waitresses, but equally memorable if not more so are Sharon Kane in a surrealistic cameo as a feral, growling exhibitionist in a van and Sheri St. Clair as the serial adultress wife of the clueless sheriff.  St. Clair’s naughty facial features and flawless bottom (the latter attribute getting plenty of screentime) do much to make Sex Drive a sultrier feature than some other Chuck Vincent outings, but without sacrificing any of the expected humor.  Care has been taken to make the sex scenes unusual and creative, and the fact that the film is set almost entirely at night means it benefits from the senses in turn of nocturnal fun, unexpected excitement, pranksterism, dreaminess, faint spookiness, and irresponsibility that can only come after the sun goes down and the nighthawks and sluts are at large and inhibitions are at their weakest.  Lots of enthusiastic, high-quality sucking here.  Also, watch for Henri Pachard’s cameo as a military recruiter.