Catherine Annette, playing the “other woman,” delivers a performance that oscillates between genuine effort and complete bewilderment. On IMDb’s user review section, a particular review praises Annette’s commitment, arguing that she “acts like she’s in a real movie, which makes the chaos around her even funnier.” This is the film’s hidden appeal. It does not have the cynical polish of a modern Asylum mockbuster; instead, it has the earnest clumsiness of a community theater troupe that found a camera and a warehouse. It is a relic from an era when the erotic thriller had been exiled from multiplexes to the 2 a.m. cable slot.