Hypersexuals is not necessarily a misleading title, as you certainly see people having plenty of sex, but the "hyper" part is harder to find, as sluggishness tends to creep into the frame.
Hypersexuals is a pornified take on Risky Business (with Herschel Savage, making a collegiate role work more than one might expect, even donning sunglasses as something of a homage), but whereas that film helped make Tom Cruise and Rebecca de Mornay into stars, this is more of a swan song - for director John Christopher as well as actor Michael Bruce, neither of whom would live to see 1986. Indeed, the film is more of a tribute to Bruce than one would expect, as he appears in the film's first three sex scenes, one with real-life girlfriend Sharon Kane.
While the film's runtime is much shorter and more varied than today's bloated movies, a number of the scenes still feel padded and interchangeable, with one feeling particularly extraneous - prostitute Brooke Fields and client Joey Silvera doing father/daughter roleplay. Silvera is no Paul Thomas or Eric Edwards, and even if he was, Fields playacting with a voice that veers oddly toward Mr. Bill territory would be enough to leave this on the cutting room floor.
Fields is better served in her encounters with Savage, both shot in a much more stylized, romantic manner than anything else on display. They have real chemistry together, especially in the first, longer sequence.
Savage's comic chops are also put to good effect during an overextended sequence where another prostitute, played by Annette Heinz, orally services several of his frat bros, his moral reserve steadily dwindling as he watches her go. His not joining in keeps him more "pure," if that was the intent, but feels a bit like a lost opportunity after all the buildup. Instead we get some very broad work from Heinz which makes one think she could have been a natural on GLOW.
Bobby Astyr kicks off and winds down the film, leaning a bit more toward Bruce Weitz in Hill Street Blues than his 'golden age' flamboyant persona. There's a setup for a sex scene with a returning Heinz, one not taken, mostly just serving as another example of him being in the last few years of his porn career.
As a whole this movie feels like something designed to be chopped up and run on pay cable or USA Up All Night, and something that feels closer to the no-budget VHS era than the film stock it's shot on. It's certainly not bad, but isn't much of anything you're going to remember.
Hypersexuals is a pornified take on Risky Business (with Herschel Savage, making a collegiate role work more than one might expect, even donning sunglasses as something of a homage), but whereas that film helped make Tom Cruise and Rebecca de Mornay into stars, this is more of a swan song - for director John Christopher as well as actor Michael Bruce, neither of whom would live to see 1986. Indeed, the film is more of a tribute to Bruce than one would expect, as he appears in the film's first three sex scenes, one with real-life girlfriend Sharon Kane.
While the film's runtime is much shorter and more varied than today's bloated movies, a number of the scenes still feel padded and interchangeable, with one feeling particularly extraneous - prostitute Brooke Fields and client Joey Silvera doing father/daughter roleplay. Silvera is no Paul Thomas or Eric Edwards, and even if he was, Fields playacting with a voice that veers oddly toward Mr. Bill territory would be enough to leave this on the cutting room floor.
Fields is better served in her encounters with Savage, both shot in a much more stylized, romantic manner than anything else on display. They have real chemistry together, especially in the first, longer sequence.
Savage's comic chops are also put to good effect during an overextended sequence where another prostitute, played by Annette Heinz, orally services several of his frat bros, his moral reserve steadily dwindling as he watches her go. His not joining in keeps him more "pure," if that was the intent, but feels a bit like a lost opportunity after all the buildup. Instead we get some very broad work from Heinz which makes one think she could have been a natural on GLOW.
Bobby Astyr kicks off and winds down the film, leaning a bit more toward Bruce Weitz in Hill Street Blues than his 'golden age' flamboyant persona. There's a setup for a sex scene with a returning Heinz, one not taken, mostly just serving as another example of him being in the last few years of his porn career.
As a whole this movie feels like something designed to be chopped up and run on pay cable or USA Up All Night, and something that feels closer to the no-budget VHS era than the film stock it's shot on. It's certainly not bad, but isn't much of anything you're going to remember.