A very talented pornographer Ren Savant (who uses other pseudonyms like Tom Elliott) made this vignette film for Vivid producer Paul Thomas, and it stands up nearly 20 years later as an all-time classic.

As noted in the previous brief IMDb posting, Azlea steals the show in "Anger", as a wife taking out her wrath on hubby James Bonn for lack of prowess in the sack, and using Frank Towers to show him up. This is a terrific scene, demonstrating Bonn's acting ability once again, and reminding us how truly hot the busty Azlea is.

But of course, a cast of superstars gets billing over her based on their marquee value. Not least of which is Janine playing two contrasting roles in the opening segment "Envy", in which she has short dark hair while playing the nasty diva Portia at a CES convention in Las Vegas, dissing a true fan, who she also plays in a mousy get-up. This adventurous sequence, after first cameoing in Vegas nearly the entire lineup of Vivid contract stars of the time (e.g., Devon, Jenteal and Lori Michaels), has clever use of wigs so that Janine can literally make love to herself. I spotted, by the obvious to us fans breast look, her Blondage teammate Julia Ann under the blonde wig portraying the other Janine in what amounts to a body double sort of role.

Top billing overall goes to Veronica, quite impressive in two segments "Pride" and "Greed". "Pride" is the better of the two, as she picks up a swinging couple Ava Vincent (barely recognizable early in her career) and Johnny Peters in a park for a hot threesome.

Michael J. Cox is one thread that holds the 7 segments together, portraying a huckster of a televangelist who finally gets involved in the sex action in the "Greed" finale. 

"Gluttony" features the all-time great Sharon Kane, nude but not participating in explicit XXX action, as a decadent half of a couple (opposite NonSex John Lee) that gets involved in heavy-duty voyeurism and a satisfying orgy featuring mucho talent including Dee and Lola.

"Sloth" is a somewhat tongue-in-cheek segment featuring another dual-role experiment, as blonde Reagan Starr wearing a fat suit has to deal with her alter ego (svelte version of the same actress) struggling to get out of the dual-personality cage. This segment has a trick ending that was particularly surprising and enjoyable. 

Weak by comparison is "Lust", in which we're treated to a montage of clapperboards from various Paul Thomas shoots, prior to watching the horny antics of Candy Hill. Despite her many credits, Hill is hardly impressive or of the caliber of her femme co-stars, and Kyle Stone is a rather lame leading man for this segment.

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The fantasy genre features imaginative and often magical worlds, characters, and events. It explores realms beyond the boundaries of reality, featuring elements such as magic, mythical creatures, supernatural powers, and fantastical settings. These stories can take place in entirely fictional worlds or blend fantastical elements with real-world settings.

Elijah Wood in The Lord of the Rings: The Fellowship of the Ring (2001)

The romance genre features the theme of romantic relationships and emotional connections between characters. These stories focus on the development of love, desire, and intimacy between protagonists, often exploring the challenges, conflicts, and triumphs that arise in their relationships.

Ingrid Bergman and Humphrey Bogart in Casablanca (1942)

Lust. Envy. Anger. Greed. Gluttony. Pride. Sloth. Three-ways, anal, freak shows, beautiful vixens, bizarre sex, halucinagenic eroticism, smoky corners. The dark world. Of a dark word. Sin.

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