Released: Aug 01st, 1985
Running Time: 90
Director: Thomas Paine
Company: Essex Video
Cast: Amber Lynn, Rachel Ashley, Harry Reems, Jamie Gillis, Paul Thomas, Herschel Savage, Eric Edwards, Tish Ambrose
Critical Rating: AAAA
Corporate Assets, a monumental adult film, definitely deserves the highest recognition for its achievement within the genre. It is a big-budgeted production that represents a substantial risk by its makers. Ultimately, it is a film guaranteed to entertain on various levels.
The plot centers on a group of women whose sexual tricks are utilized to reward corporate achievement and repay political favors. As the corporate prostitutes respond to their inhuman domination by a boss who merely views them as objects for business gains, the film takes shape. Writer/director Thomas Paine uses common sense to incorporate veteran post-war trauma, the coupling of big business and government and the sacrifice of emotional morals for material security, without drastically burdening the film or creating a grossly contrived product. The situations appear realistic and the dialogue natural; the plot's realism is the film's greatest asset.
But Corporate Assets is essentially a sex film and an exceptional one in that respect, as well. The love scenes are vividly arousing and entertaining. The utilization of sex as a major cinematic component enhances the film's enjoyment. Paine also uses sex to inject humor and symbolize emotional awareness. Meanwhile, the hot performances of Amber Lynn and Tish Ambrose are among the year's best . . . very very erotic.
Corporate Assets is not flawless. It ceases to be erotic toward the end, in order to build up to a dramatic climax. And a coupe of brief passages drag. But these criticisms are actually praise! These shortcomings materialize only when the film is evaluated on a stricter criteria than typically applied to adult films. Thomas Paine's film must be acknowledged for its astounding technical quality, high level of realism, and for its innovative use of sex not just as a turn-on, but as a major storytelling device.