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Fresh Out the Box 4
 Studio: Mercenary Pictures
Director: Tina Tyler
Cast: Page Morgan, Bailey Monroe, Ariel Alexus, Nikki Grind, Belle de Leon, Ashley Brooks
Portions of this review originally appeared on Fleshbot
Maybe because director Tina Tyler has herself performed on camera for 12 years do her interviews with newly-minted porn girls seem less predatory and elicit more interesting responses than the gonzo-girl interviews of many of her male counterparts (David Aaron Clark, to give him his due, admits that he intends to sound creepy).
Working within the tried and true formula of interview->smidgen of a setup->sex, Tyler moves these newbies along in engaging fashion.
Including Page Morgan.
One of the great benefits of porn movies, other than using old ones to pay one's gardeners, is the dizzying number of porn styles a performer might try on in his/her career. While many "contract" performers can afford to employ a winnowing-out process, most performers love the money and will pretty much do anything.
Hillary Scott, Eva Angelina, Kami Andrews, Tory Lane, and many of today's bankable porn actresses will appear in everything from Private and Wicked shoots to the lowliest Skank Factor fare. One of the perks of watching so many desensitizing hours of porn is seeing someone turn up with two dicks and a broomstick in her mouth in one movie whom you just saw playing a happy-ending-bestowing nurse who keeps most of her clothes on in another.
That is called range.
Page Morgan, who will appear in this week's release of Vivid-Alt's ReBelle Rousers, showed a far more human, less rehearsed side to Tyler in a series of quick interviews.
Morgan had been working as a night waitress. She was 18. She loved sex and money "and then put two and two together". Morgan has a distinctive, almost Billy Idolesque porn sneer. Watching her employ that and her 40's pinup curves in a gonzo production is sure to be the first stop for Page Morgan completists, many of whom will be forged in the next few weeks as various releases, including this one, hit the streets.
Arial Alexus is next. Again, when Tyler says that Alexus has beautiful skin, she doesn't sound like a heavy breather on the other end of the prison bars. Alexus, in the business for three weeks at the time of this shoot, takes on two fellows and she does it with an exuberance that might just be due to a lack of practice but no deficit of enthusiasm.
The third scene is delivered by Ashley Brooks, who was a few months in porn at the time of this shoot and now, not too long after, told me she is "looking for a good way to leave the business", is very sweet and sexy in her scene. Petite, her partner can't get enough of her.
All Tyler's interview scenes are edited to keep things moving, but some appear to have been edited more than others. Bailey Monroe, in what might have been her third scene ever, appears over the experience; she struggles to find something to remember about her short time in the industry. But it is in her performance with Lexington Steele that she finds her element. I guess some people just aren't talkers. They're doers.
Monroe is tall with large natural breasts. She is not porn-glamorous but is instead interesting to look at. I imagine people from her hometown picking up this movie and saying, "I should have tapped that when we worked at Waffle House. God damn that Lexington Steele."
Nikki Grind and Belle De Leon are next. Grind has a hairdo like a 1955 Pan Am stewardess. It makes me long for those golden days of travel. Belle De Leon, in the final scene, says she's 21 but acts a lot older. Maybe 21-year-olds just seem older these days. A black girl with a tattoo (a rarity in porn), she takes on Lexington Steele and is not a shy flower about it.
Particularly for people whom I think might be famous in a porn kinda way someday, like Page Morgan, but also for the solid scenes and engaging, non-cringeworthy questions, Fresh Out the Box 4 is a smart purchase.
 Labels: "tina tyler", dvd, reviews, wgl
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Porn's Most Outrageous Outtakes
 Studio: JM Productions
Director: Jim Powers
Cast: Jim Powers, Kate Frost, Keegan Skye, Genesis Skye, Ashley Blue, Katie Gold, Cindy Crawford, Lucy Liu, Sabrina Jade, Aspen Brock, Erica Lockette, dozens of others
Portions of this review originally appeared on Fleshbot
As narrator/director Jim Powers tells us in this selection of bloopers from ten movies he has shot for the morality-challenged JM Productions, "We're all fuckups in porno."
The idea of a porn gag reel is both redundant and very necessary in an industry that takes itself so seriously.
People who want the porn industry to go away need look no further than this collection for validation. A casual misanthropy permeates each of the scenes, from Powers' description (and then our viewing of) a sequence in which actresses storm off the set after being cajoled into being gagged (the titles were called "Gag Factor", after all) to the aggressive way the performers choose to resist the non-physical, but very real pressure to continue performing for their $300.
As we watch Behind the Scenes footage from series like Attention Whores and Girlvert, we become aware that Powers and crew are guilty of not explicity spelling out the fact that a creepy photographer is going to be present at every moment, even when the actresses are not performing. The most oft-repeated line in the whole movie is "Would you get the fuck out of here?"
The JM movies' behind the scenes footage has always provided the best snapshot of porn performer loopiness, but Porn's Most Outrageous Outtakes seems to cast more light on the people who are shooting it. Powers is right: they do seem like fuckups.
Once you get past that, the rest of this movie is like the best reality show ever. It is like a bukkake at a car crash. Fights, drugs, drunkenness, fear of police, misplaced pathos, and the horrifying California town of Acton all vie for primacy at the top of the monkey pile.
If properly attuned to the glory of the world around one, one could masturbate to anything. Except this. This should be watched in horror.
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Virtual Sex with Mercedez
 Studio: Digital Playground
Director: Joone
Cast: Mercedez, Scott Nails
Portions of this review originally appeared on Fleshbot
Mercedez is floating on my screen like a PlayStation icon, the only color on a field of black. It is eerie. The effect is such, with very languid movements and an expressionless smile, she appears computer generated.
Welcome to her virtual world. Four choices appear on the screen: Strip, Stories, Foreplay, and Sex. Aside from the Stories, each selection results in the action taking place against a black background. There is no sound of airplanes or glimpses of Porn Valley architecture behind her. The background and the elimination of ambient sound (particularly any off-camera voices telling her what to do) keeps the former Vivid Girl immediate.
For the Stories section, Mercedez is placed against a green screen upon which is projected images of flame. The camera goes back and forth, music video style. Her voiceover relates tales of three-ways with cops and her first lesbian experience.
Then we get to the Sex. There are several choices available, including dildo, Mercedez on top, etc., represented by icons depicting various positions to either side of the screen.
Whichever way the virtual user wants Mercedez, he must be content with Scott Nails standing in as his proxy. At no time is anything other than Nails' hands, arms, stomach, or cock visible as the viewer's surrogate, so the distractions are few.
I have been Scott Nails before in other Digital Playground titles; he does good work, so I'm not complaining.
There are several other interactive sex titles out there. This is the first one I've seen that seems to place the subject in the emptiness of Time and Space. There are only Mercedez' and Nails' visible tattoos to give us a sense of place. Otherwise, the experience is very much like a home-run lap dance in a club with no bouncers and no Warrant songs intruding through the curtain.
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The Visitors
 Studio: Wicked Pictures
Director: Michael Raven
Cast: Kimberly Kane, Keri Sable, Kirsten Price, Eva Angelina, Cassie Courtland, Avena Lee,
Portions of this review originally appeared on Fleshbot
Wicked's Collector's Edition of Michael Raven's The Visitors imagines what would happen to a small desert city - for our purposes, let us call it Desert City - when extraterrestrials come slumming for inter-species breeding stock.
I'll tell you what I wanted: a probing. I got one.
What is refreshing about this movie, and not only because it is different but because I think this is the way it should be, is that each of the required sex scenes (from everyone you'd expect to be in one) comes logically.
An on-the-scene news report of lights in the sky transitions to a dad and his daughter (Kimberly Kane) watching late night TV. Do aliens exist? Kane goes to bed. Meanwhile, younger sister Tonya (Kirsten Price) is getting it on with her boyfriend in the back of his pickup. So far, the only thing that is amiss about this movie is why such great breeding vessels haven't moved to Los Angeles.
The balance to be struck between reviewing a feature porn movie and a non-porn movie is how well the former lives up to its aspirations. With The Visitors, the aspirations are apparent. Had she been wearing slightly more pants, cover model Keri Sable (now out of the adult biz and back in Buffalo, we hear) could be any hottie appearing on a box set from the SciFi Network. The packaging is perfect; it says the contents aim high.
Then there is the acting. Porn stars are not supposed to be good actors. Cagey directors will, with sleight of hand involving voiceovers, get around non-practical elements of the script. When the performers are not up to the script and the director proceeds without considering the audience, the results are pathetic.
Raven worked around all this by directing the cast like actors. Non-sex scenes lead to thoughts of "I'd sure like to see her naked" rather than "Don't quit your day job".
But back to the movie. Price and her boyfriend finish. They talk afterwards. They get back in the truck and, well, some aliens show up.
Whereas Pirates' special effects left one with the impression that there were effects only as far as the money lasted, the effects in The Visitors are very pared down. The low-fi approach is necessary for budget purposes but it also forces us to pay attention to the movie more.
That is where The Visitors sometimes breaks down. Paying attention to it like one would a mainstream film reveals its limitations. The script, for one, should have been pruned. A campfire conversation among a group of people about to have sex contains conversational nuggets like, "Doctors call it 'lost time'", and "What? And leave the safety of the fire?"
Keri Sable tells the story of lost time. Her boyfriend doesn't believe her, but they fuck anyway. One by one, the campfire friends are picked off as they stray. A bright blue light with eyes in it. Returning to the abandoned fire, Sable informs her boyfriend calmly that "It's the Visitors". (Cue Visitors.)
Meanwwhile, Kimberly Kane's boyfriend ("He's a good man," her father says) comes home from the job early. He is still wearing his hard hat. They have sex before he reveals something strange to her.
The sheriff finds Sable wandering in the dark.
"They came," she said.
"Who came?" he asks.
"The Visitors." (Cue Visitors.)
Turns out the Visitors have their eyes on Kimberly Kane. Of all the people in this movie who should be shown being probed, Wicked chose the right one. I won't tell you how the movie ends, but I will say it doesn't make sense.
Regardless, The Visitors is an ambitious movie and an often scary and sexy one. Especially with the probing.
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 Studio: Platinum X
Director: Jake Malone
Cast: Sasha Knox, Jamie Elle, Kaci Starr, Chelsea Rae, Cherry Rose
Portions of this review originally appeared on Fleshbot
I thought it was very funny when pal and wardrobe advisor The Real Violet Blue™, in response to my question "What did you have for breakfast?" said, "Dirt Pipe Milkshake #27".
"All that and a sense of humor, too?" I marvelled.
Imagine my surprise when a box arrived with tonight's review material. Turns out Miss Violet was only taking part in the noble tradition of adding fictitious sequels to porn titles.
Just the idea of a dirt pipe milkshake, even if one doesn't know what such a thing is or entails, conjures some florid pictures.
First some terminology that leads the scholar up to this extreme sex act:
FIP (Fake Internal Popshot). In cable movies, when ejaculate cannot be shown, this is what the guys "work up" to. Believe it or not, there are some parts of the world where the sex act concludes internally, rather than all over someone's face, hair, chest, or bone china.
Creampie. This is for romantic pragmatists who believe that sperm belongs in the vaginal area but who also think that the viewer should see it. Thus the creampie, usually the result of a gangbang, is when we see the reults of the ejaculate left behind as its more ambitious counterparts travel up the birth canal to seek and fertilize eggs.
So the dirtpipe milkshake is an anal creampie.
Sasha Knox begins the festivities. She speaks to director Malone, who is also filming and is offscreen. Like other movies of this type, it is often difficult to hear Malone, and we're so busy looking at the statuesque Knox that the voice is a distraction.
Now when I say that Knox is fucked every which way, just believe me. She is beset upon by two dudes, John Strong and Michael Stefano, who either take turns or just doubly penetrate her in a series of different positions, one of which involves Knox being sandwiched between the two standing men.
When each deposits his seed in her rectum (this is known as an ass baby), she squirts it out and licks it off a mirror. Her makeup barely runs.
Now I'm all about efficiency. I would have just shot it on the mirror. But whatever.
Next up is Jamie Elle. While she only has to deal with one person (Stefano again), she is bent this way and that, and has slightly less cushioning than Knox. The true Cirque de Soleil moment is when she sits on her neck with helicoptering legs and Stefano squats over her to deliver a pile driver.
Cherry Rose begins the next scene with submissive biker-about-town Jim Orlando. "You piece of shit," she says repeatedly, spitting at him and pinching his nipples. "I won't let you watch me fuck." She walks back upstairs and is made to crawl across the floor for another man. They so stole this from "Coriolanus".
Rose keeps her leather jacket on for a large part of the scene. She is a tough girl, you see, and we are made to believe she's got it coming. She is double-teamed in the bedroom at the end of the upstairs hallway. Since no mirror is handy, she eats her cum ration off a standard plate.
Kaci Starr is bound and gagged, masturbating with a free hand on the patio of a house overlooking the San Fernando Valley. "Are you a whore?" asks director Malone. "Mmmph," she says, obviously.
"Turn around and yell to the world that you're a whore," he says.
"Mmmph mm mmph!" she yells dutifully.
Finally, he takes her gag off.
"I'm a whore!"
She is brought inside and fucked on a hardwood floor. The variation in this scene is that her partner comes in a funnel that is placed in her ass.
Finally, bespectacled Chelsea Rae ("She looks like a Vogue model ... fucking herself in the butt," Malone says) is joined by Manuel Ferrara in the title's least wacky, most accessible scene. Don't get me wrong - she still squirts come out of her ass and eats it; there's just no spitting.
Labels: "red light district", dvd, reviews
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Silver Lake Scenesters
 Studio: VCA
Director: Vena Virago
Cast: Daisy Marie, Delilah Strong, Faith Leon, Phoebe, Haley Scott, Veronica Jett
Portions of this review originally appeared on Fleshbot
I worried that this would be one of those "love letter" movies, like that awful Tao of Steve movie a few years ago was billed as a "love letter to Santa Fe". Would Silver Lake Scenesters guilelessly extol the virtues of one of L.A.'s great dark horse neighborhoods but do it in such a way that I would want to see it paved over for a Glendale extension?
The film begins with a quick montage of Silver Lake landmarks, rendered in black and white to achieve a newsreel feel, layered over with colored titles by Virago.
In the first scene, Delilah Strong and Marcos Leon briefly damn Silver Lake with faint praise ("Silver Lake has the hottest girls," Leon says, looking unsure of it), but then the two of them get down to business on a checkered kitchen floor, which is how Silver Lake's settlers did it, so the scene struggles back into authenticity.
When the scene is done, Leon delivers a Silver Lake Reservoir-sized load onto Delilah's back. Well done, scenesters!
The next sequence is "Nietzsche Bangers", the spec scene Virago delivered to VCA to impress them in the waning days of Eon McKai's time there. "Truth is Being" intone Tyler Knight and Veronica Jett. "What the hell is this?" intone VCA executives.
Between yelps of "I am alive!" and 'zine reading, however, Knight and Jett perform a sweet little scene. Would a Nietzsche-penned porn script get sold today? Maybe to DCypher. But would he understand it? Just kidding.
John E. Depth and Haley Scott come next. "How would I describe Silver Lake?" Depth asks. "Fuckable."
Depth wears glasses and his hair is in dreads, so he looks the most Silver-Lakey so far (if he was white and his hair was in dreads, the production would have to move to Venice Beach). He and Haley Scott make a cute couple.
Ball-balancing covergirl Daisy Marie comes next, with lollipop-eating partner Barry Scott, who gets points for wearing a Brite Spot t-shirt. He positions her with one foot on the dishwasher and does his best, but anyone who has ever worked at Pizza Hut knows that kitchens aren't the best place to have sex in. Still, Daisy squirts by the spice rack, and that has to mean something.
"As soon as I started cleaning out my thoughts," Scott says in the behind-the-scenes footage, "everything started working out for me." That's a Silver Lake ideal for you: thought-cleansing.
Finally, Faith Leon and Phoebe have a Sapphic interlude in a pleasantly-painted room. Tyler Knight mercifully interrupts this, because everyone by that part of the 5 Freeway knows that nothing ends without a threesome.
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Huge Boobs Galore
 Studio: Pink Visual
Director:
Cast: Bailey, Destiny, Honey, Brandy Taylor, Ethan
Portions of this review originally appeared on Fleshbot
"Do surfer girls have to have life preservers like that?"
Internet-to-DVD company Pink Visual is not interested in what you think of its scripts, nor is one in danger of tripping over the Ming vases lying around its filming locations. Instead, the Tucson-based company found that the down-and-dirty scenes it shot for Internet-only content could, with the right amount of cajoling, be effectively transferred to DVDs.
"The DVD customer is different from the Internet customer," its marketing manager says.
So a movie like Huge Boobs Galore is not laden down with anyone's vision of art. It doesn't need to try very hard. Why? Well, as Master Yoda says, "There is no try, only boobs."
Bailey is from Texas but she's here in California to surf. The line we opened with is representative of the not-quite-creepy off-camera voice found in better gonzo fare. There is an element of "Well you have to hear how he says it" at work here, because just writing it down=creepy. The camera guy sounds just a bit like a very attentive Jack from the Jack in the Box commercials.
After Bailey is interviewed and she drops some baby oil on her breasts, she is joined by porn guy Ethan. Bailey has large, natural breasts and appears to be in transition to porn girl from The Waitress Who Might Fuck You. She is practiced enough to moan the standard way and to have Ethan hold her negligible-in-real-life-but-not-for-glamour-porn stomach in in the profile shots, but there is a jeans-clad accessibility about her that makes one want to do all manner of things to her near the tracks behind Costco.
Brandy Taylor, hailing from Ohio, admits that her large, natural boobs are an obvious asset but she also extols her legs. "They're short but they're muscular."
Unlike other gonzo titles, this movie's scenes start with an interview and not what is known as a "tease". The actresses are not asked to simulate masturbation on camera. They're just there looking like women with large breasts. This is a distinction of Internet content over DVD content - there's no budget for fakery. When Taylor is told by Scene Two's offtsgae voice "You have great tits," she says "Thank you." Had this been a made-for-DVD gonzo, she might have been beholden to say something like "Ooooh yeeeaahhh you like them? Ooooooh."
(The results are, of course, the same: a load is shot across her breasts. But it's these wonderful unvarnished touches that please Gram.)
Latina Destiny is next. Her scene suffers due to an extended interview (Mike Wallace should really try out this line of work). She is made to put on a wet t-shirt. She is followed into the shower. The talking goes on and on, and off-camera voices should be legally-mandated to keep it short.
But when Destiny emerges from the shower she's ready to go. She is unabashed about her full stomach and is gorgeous. We could use three Destinys over here, and one in the White House.
The final scene is kind of a disappointment. The setting moves to a "find a girl in a bra store" contrivance, and so we wait through that, and increased chattiness from offstage, until Honey is inevitably brought back to the same hotel room/office where the same type of scene as the three previous ones unfolds. The shaking up of expectations is unnecessary in such a bare-bones project.
Honey is the skinniest of the three, and more porn-toned. She looks at the camera a lot.
Stop looking at us, Honey!!
...but on the other hand, she actually has pubic hair.
Just when I thought the Internet had let me down...
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Ravenous
 Studio: Anarchy
Director: Nicki Hunter
Cast: Hunter, Tory Lane, Mika Tan, Trina Michaels, Aurora Snow
Portions of this review originally appeared on Fleshbot
Nicki Hunter is a mild-mannered and thoughtful person in real life, who coquettishly believes that she needs to apply makeup to greet guests. "Don't toy with my affections!" I snap. But get her in front of a camera and she becomes a feral spermophage.
"I'm covered in cum," Nicki Hunter tells us at the beginning of Ravenous. "Do I want more? Of course I want more. I want it all. You can't satisfy me. I'm insatiable."
What a goddamn downer. The whole reason one shuts off the TV immediately upon shooting a load across it is to preserve the fantasy that the loadee is finally satisfied. That Hunter opens this movie declaring your inadequacy probably makes you mad.
"That's ice cold," you might say after Lights Out is called and the cellblock goes dark.
Hunter starts things off by leading the game Tory Lane around on a length of chain in a room where is sequestered Lee Stone who appears, in comparison with the tiny Lane and Hunter, to be carved out of the side of a garage. Hunter plays the dominatrix in this scene and sets Lane loose on Stone as if the former hasn't eaten in a month.
The BDSM thing is just for show, however, as both Hunter and Lane assume the traditional position as Stone stands over them to come on their bright, expectant faces.
But it's never enough.
In the next scene, Aurora Snow is interrupted while masturbating in a room full of IKEA tea lights (I bought a bag of those bastards about a year ago for $3.99 and forgot about them. Then when I opened the bag three weeks ago, they were all melted together. Snow seems to have stayed on top of things, however). Snow is lithe without appearing underfed, so her crawl amongst the tealights and her subsequent simultaneous shower of sperm and rose petals is pleasant.
Trina Michaels has always had, for me, the tired-eyed 70s tough chick look, and in her scene she is awakened from slumber by Hunter and then, almost as if it was fated to happen, takes on two fellas. Michaels, like Kimberly Kane, wears a "don't mess with me" look through most of her scenes, but unlike Kane appears to be enjoying herself.
Mika Tan appears next, sitting lotus-style with a Chinese fan behind her a la an offering in a Buddhist temple. Poor Mika. Don't they know she's from Guam? The ravenous Hunter woos her, and Tan pounces on a guy who happens to be lying there. In his ardor, he runs his hand through her hair and reveals the rose pinned thereon to be plastic. It clatters to the floor but Mika keeps her eyes on the prize or, in this case, keeps her mouth on the guy's boner.
I ceased to understand the narrative structure of this movie a long time ago, but it sure looks pretty. Mika holds a ceremonial bowl with two dragon-clawed hands to receive his seed. It's kooky, but it's so kooky it just might work.
The final scene features Hunter fantasizing a birth story of sorts. She is pictured writhing out of a plastic bag in a white-saturated room. It is the movie's most arresting image. She later takes on two dudes, as that is the natural progression of things. When they finish, we again see the scene that started the movie, and Hunter crawls off screen.
The movie leaves a lot of questions unanswered. Will Hunter ever get enough cum? Why did the DVD I received show up in my computer as Whore Gaggers 9? Where did Hunter crawl to - to get more cum?
That chick is never satisfied.
Labels: reviews, wgl
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Studio: Mercenary Pictures
