Although art is inviolable, in this worthy outing for Ring Donut Productions the same cannot be said of the rear entrances of the almost preposterously well-endowed nubiles who are the background to this skilfully-woven tale of rampancy. Despite this rather hackneyed focus on the posterior, this work has much to commend it.
In contrast to the contemptuously patronising pseudo-narratives offered by lesser film-makers, Ring Donut demonstrate a laudable tendency simply to get straight down to the action. They are willing to forego the sheer banality of stories whereby a gentleman, skilled in manual labour, must enter the scene to repair some item of domestic equipment, and other such painful contrivances. This allows the film to offer a fast-paced and pure imagery which apes the Impressionist style. The broad strokes which the main protagonist in the third act, Rick McDick, achieves with his facial painting of the delightfully statuesque blonde are worthy of a Degas. The young lady achieves an almost anguished level of expectation as she awaits the deluge. However, it is for me the moment when McDick chooses to splooge without hesitation upon the awaiting bosom of the taciturn brunette that provides the Monet shot in this marvellous piece.