C.B. Mamas, Uncut (1976)

80% (29 / 7)

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Description: Scene Breakdowns
Scene 1. Lesllie Bovee, Paul Thomas
Scene 2. Unknown Female, Buck Lacey
Scene 3. Unknown Female, Joey Silvera
Scene 4. Unknown Female, Jon Martin
Scene 5. Unknown Female, Lesllie Bovee
Scene 6. Lesllie Bovee, Joey Silvera
Scene 7. Justine Taylor, Al Russo
Scene 8. Desiree West, Paul Thomas
Review:
C.B. Mamas is the return to feature films, if you can consider C.B. Mamas to be a feature film, for the Mitchell Brothers Film Group after their massive commercial failure Sodom and Gomorrah: The Last Seven Days. After Sodom and Gomorrah: The Last Seven Days crashed and burned, the Mitchell brothers turned to making Ultrakore, a porn depreciating loop series, to show at the O'Farrell Theatre. C.B. Mamas was the brothers' return to the feature film market, however, C.B. Mamas is essentially nothing more than a collection of loops loosely tied together.

C.B. Mamas doesn't have a narrative arc that ties the film together, instead, it just has a premise which is that a group of bored housewives use a CB radio to seek out sex partners while their husbands are away at work. After the set-up, the film just becomes a series of sex scenes, one after another, until the narrative pops back in at the end to complete the bookend the film.

The sex scenes are mediocre; there isn't anything overly great nor anything overly horrible about them. Some of the scenes attempt to create a narrative but, honestly, none of it fits together well. For instance, The Milklady (Justine Taylor) purports to be Leslie's (Lesllie Bovee) daughter who wants to have fun too but she is lactating, which is made a big part of the sex scene and doesn't fit at all with the narrative. Honestly, this film would have been better staying a series of vignettes with a better lead for each one than trying to make it a coherent singular project.

C.B. Mamas is a huge drop in quality for the Mitchell Brothers Film Group. Anyone who has seen Jim and Artie Mitchell's earlier works knows they are capable of so much more than this. C.B. Mamas feels like the Mitchell's have returned to their loop roots than continuing their feature film empire — but aren't quite willing to admit it.

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