While Kubrick aficionados might enjoy the numerous nods to the master, they will ultimately come away disappointed as this is not a parody! Not even close. Tom Morton’s “2002: A Sex Odyssey” borrows more from “Back To The Future” and DePalma’s criminally underrated “Body Double” than the Stanley Kubrick epic for which it took it’s name. All that business aside, this is still a nice reminder of how much fun porn was back in the 80s. Even when broaching the sticky issue of incest, the film never gets bogged down in the weighty stuff. And why should it? Porn is about fantasy, is it not? Why should audiences be concerned that Tom Byron may have inadvertently knocked up his own mom? Wait… huh? Oh! So much fun, who cares? You can’t help but enjoy the ride. It’s pretty clear that the entire cast was having a great time and you can only imagine how much goofing around was going on on-set.

 

From the Jan Hammer-inspired music (by Rusty Chopps) blaring over the credits to the various historical anachronisms to the very un-futuristic futuristic sets to the goofy, chuckle-loaded plot, it’s hard to come away from this not totally nostalgic for a time when porn seemed more about having fun than making money. With John Pryor assisting, Morton’s camerawork here is also flawless, no doubt the product of his working mainly as a D.P. in the industry. Just one more thing to love about this obscure little gem.

 

Set in a futuristic 2002 (um…?), uber-nerd Trent Johnson (Tom Byron) spies through his binoculars the girl of his dreams, his next-door neighbor, Nevada Green (Summers), having sex with another man. He’s heartbroken. When his parents (Tracey Adams and Joel Holzman) leave on a weekend trip to grandma’s house, Byron sees it as the perfect opportunity to invite Summers over. She isn’t much interested in nerdy Byron’s romantic overtures, that is until he mentions that his father has a time travel machine. Before long she’s arriving at his door, and they are setting off on a journey backward into time, beginning with a drive-in circa 1955 where they observe a couple making love. Blasting forward into the sixties, they observe the free love culture firsthand. Later, complications arise when Byron discovers that the red-haired college student he impregnated on a jaunt to 1985 (in a bid to make Summers jealous) was actually his mom. Hey, oops! As he and Summers endeavour to make things right, a romance soon develops that promises to change both their futures.

 

Fun opening bit finds Tom Byron (2011′s “House Of Ass 14“) eyeing up a chunky Renee Summers (credits: Rene Summers) via red-tinted binoculars (an obvious nod to DePalma’s “Body Double”) as she ‘in-outs’ (nice “Clockwork” reference) Jason Fox in her bathtub. Strange order here, as they screw first and end with oral sex. Fox looks as though he’s about ready to keel over as Summers works on his semi-limp knob. He unloads across her face and into her mouth. She cleans him off. Confiding to his computer, CAL (another Kubrick nod), his love for Summers, Byron blurts: “I’m obsessed.” Sadly, Summers has no interest in him and he knows it.

 

After saying goodbye to his parents later that evening, he timidly rings up the girl of his dreams to see if she wants to come over. She doesn’t. In a desperate attempt to keep Summers on the line (or monitor, if you can call it that), he mentions that his father has a new time travel machine. Even before Byron can mention that he’s not allowed to use it, Summers is rushing over to try it out. A slave to love, Byron, goes against his father’s wishes. He and Summers set off into the past. First up, 1955, or, as Summers notes “The beginning of rock and roll.” Byron chirps in, “Maybe we’ll even see Bill Haley.”

 

Hardly Bill Haley they encounter, as somehow the time travel machine drops them in the middle of a drive-in where greaser Hershel Savage (credits: Herschel Savage) is trying to make a play for Tamara Longley (1986′s “Slippery When Wet“) in his 1965 Mustang convertible. Yes, 1965 Mustang. She plays hard to get but is eventually swayed when Hershel plunges his penis into her popcorn bag and orders Tamara to “suck the butter off of it.” She does. It’s your usual cramped sex in the front seat of a car, with Savage (2006′s “Nikita’s Extreme Idols“) asking her if she would like to date or something and Longley replying, “No! We’re just fucking.” After humping her missionary, Savage busts off across her stomach.

 

Jumping forward ten years, to 1965, Byron and Summers happen upon a hippy commune and a trio of flower children (Tamara Longley, Summer Rose and Buck Adams) going at it in a grassy field. Curious why they keep arriving just as people are getting ready to screw, Summers begins to suspect that Byron is doing it on purpose in a sorry attempt to get into her pants. “Don’t hold your breath, okay!” she tells a dejected Byron. Buck Adams (2003′s “Kelly The Coed 15“) plows Longley, who is busy snatching on Rose’s hairy patch. Strawberry-blond Summer Rose was one of porn’s first legitimate anal queens and here she shows how she got that title, bending over and helping Adams slide his sausage up her ass. “I got a dick in my ass, it feels so good,” she says under her breath. Longley chuckles as Adams sprays a huge load across Rose’s quaking back. Byron recognizes Longley from the drive-in. I thought Morton was going somewhere with this Longley character, like maybe she has some connection to Byron or whatever. Sadly, nothing comes of it.

 

Blasting forward to 1972, Byron and Summers land in the office of a sex therapist, Sharon Mitchell (credits: Miss Sharon Mitchell), as she chats with a patient, Leslie Winston. “I fuck every guy I meet,” Winston tells her, attempting to understand her sex addiction. “What about women?” Mitchell asks, pulling off her glasses. Yup, she likes them too. As Byron and Summers cower behind the couch, Mitchell (1982′s “Luscious“) makes a play for Winston, crawling over and kissing her on the lips. Winston decides to just go with it as sex addicts are prone to do. Summers, for the first time in the film, gets rather excited watching these two ladies get it on. Mitchell’s expert tongue laps at Winston’s hairy box, and she returns the favour. She even rims Mitchell briefly. Hot lesbian sex ends with Byron taking note of how turned on Summers was. “You liked that, didn’t you?” he asks her. “Maybe,” she begrudgingly admits.

 

Next stop is a college campus circa 1985. They run into a punked-out female student on her way to class. Tracey Adams (credits: Tracy Adams) looking different from earlier, with teased up, ketchup-chip red hair, and decked out in punk attire. She immediately takes a liking to Byron. Desperate to make Summers jealous, he leaves with her. Summers is forced to wait around, as Adams (1986′s “Getting Ready“) and Byron make for secluded area behind some bushes. Small talk gives way to Adams sucking on Byron’s cock. “You know, you’ve got like a totally rad dick, here,” Adams blurts. Funny. When Byron politely asks her to take off her pants (you know, for ease of fucking), she merely tears out the crotch. Adams takes the Byron bone in a trio of positions, ordering him to “cum inside” of her over and over. He does. It’s fake. (No worries, it’s part of the story). Byron offers up a second (real!) load, spraying it across her pubes. While waiting for them to finish, Summers rifles through Adams textbooks and accidentally discovers that Adams’ last name and Byron’s last name are one and the same. Yup, Tracey Adams is actually Byron’s mom and they just screwed. How he didn’t recognize her is beyond me? Or did he? Ug!

 

Suspecting the worst, Byron and Summers journey back to find out if he knocked her up. “I’ll be a fucking vegetable,” Byron surmises. Of course, the worst turns out to be true – he did indeed breed with his own mom and she is carrying his devil seed deep inside of her. Byron is distraught and Summers, for the first time, admits that if only she had paid attention to him, none of this would have happened. “I love you,” Bryon confesses to her. Summers returns the sentiment, and then elects to show him by throwing him the fucking he’s been dreaming about all these years. Fantastic, slow-grind sex culminates with Byron nutting all over Summers’ stomach. She professes her love for him before scrambling out his bedroom window.

 

In a strange reveal, it turns out that Tracey wasn’t Byron’s biological mom after all, but his step-mom. Considering how Summers’ discovered that they had the same last name, it doesn’t really jive but, hey, who cares? In a parting shot, it is revealed that Byron is much more devious than previously thought.

No condoms.

Other things I noted while watching: Renee Summers was barefoot in both of her scenes. Tamara Longley wore black high heels in her scene with Savage, but was barefoot in her follow-up threeway. Leslie Winston and Sharon Mitchell both wore black high heels. Summer Rose was barefoot in the threeway and Adams wore high heeled boots in her tussle with Byron.

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