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Posts in Category: Sexual Velvet

Love for the First Time

From Wicked Pictures comes a tale of yearning and desire. Love for the First Time takes a pinch of inspiration from 2005’s sleeper hit, The 40 Year-Old Virgin, but takes it a step further by paralleling the stories of 44-year-old virgin Bob Smith (a never-better Randy Spears) and 23-year-old virgin May Singleton (Wicked contract player Carmen Hart). The film does a credible job of allowing serendipity to bring them inches apart, yet neither character lays eyes on the other until nearly an hour into the film’s runtime.

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Drunk Sex Orgy: Bangsta’s Paradise

From Europe comes an unusual effort produced by notable Eromaxx subsidiary DrunkSexOrgy.com. What begins as an Altmanesque weaving of characters—utilizing a massive ensemble—descends rather rapidly into an incoherent mess of a film. Like any film, it has individual flashes of brilliance—flashes that force a viewer to root for the film’s overall success, against all odds. If the whole film had been a disaster, I’d be less disappointed. As it stands, a feature with such promising moments forces me to mourn its lost potential.

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Jenna Haze Fists Belladonna

This special seven-minute video comes directly from Belladonna herself, so what better way to celebrate her reentering—so to speak—the adult industry. Opening with an interesting attempt to toss audiences in medias res, our first sight is of Belladonna’s rear, raised high in the air. Within seconds, Belladonna asks her partner in crime—adult star Jenna Haze—if she would like to stick her hand up Belladonna’s butt. Ms. Haze lets out her trademark braying laugh and snorts, “I actually would!”

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Belladonna: Manhandled 3

“Mmm, everyone thinks they can just use me and manhandle me. I’ve had enough, Alan. I’ve had enough. It’s time for me to do the manhandling. It’s time for me to get a taste of what you have… control.” This voiceover opens Belladonna: Manhandled 3, the latest and greatest directorial triumph of one-woman cottage-industry Belladonna.

The erotic auteur‘s bleak view of male-female relationships often permeates her directorial efforts, but it’s often most evident in the Manhandled series. Like its predecessors, Manhandled 3 examines couples in sexual crisis. The crises work themselves out in unflinching portrayals of sexual anguish and deviance.

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Kamikaze Premium, Volume 28 — Black Jesus

The heavy beats of a hip-hop anthem surge and thud on the soundtrack as three adorable Japanese girls walk along Wilshire Boulevard, shopping bags in their arms. They move toward us, looking directly into the camera, beckoning with their eyes and hips. Not only have we once again entered the strange and often frightening world of Kamikaze Premium—in Black Jesus, we have the fortune of watching a sociological passion play unfold before our very eyes.

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King Cobra

“Hi, my name is Creampuff. At least, that’s what they call me, anyways. And this is the story of how I ran away, lost my virginity, lost my virginity again, ran away again, got kidnapped by bikers and turned into a rowdy biker bitch. Hope you like it.”

When I heard Creampuff’s (Page Morgan) opening narration, I came very close to leaping to my feet and applauding. Why? Because that, ladies and gentlemen, is a brilliant premise. Imagine an exploration of a sheltered, naïve girl thrust (in more ways than one) into a world of debauchery and depravity rarely witnessed on film. Imagine it. Imagine the level of character depth and thematic insight required to do justice to such an ambitious concept.

Imagine it, because if you watch King Cobra, you won’t see any of it.

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Oh No! There’s a Negro in My Mom!

After having extensive practice with their Cuckold series, the blood-brother team of Grip and Cram Johnson have perfected the awkward three-person adult film with Oh No! There’s a Negro in My Mom! Equal parts character study, race-relations exploration and full-blown (pun intended) comedy, the film’s assured direction and improvised dialogue make it quite an achievement, both artistically and commercially.

A study in contrasts, the Johnsons have decided Oh No! There’s a Negro in My Mom into an anthology of four parallel stories. In each, a shocked young-adult child discovers his mother in a compromising position with an African-American “gentleman caller” (as Vanessa Videl euphemistically refers to partner Byron Long). The shocked offspring watch with a mixture of horror and fascination as the Nubian princes ravage their mothers with aplomb.

Having one of the three members of the scene remain fully clothed and able to shine as an actor or actress, the Johnsons step up the inherent drama of forbidden sexual liaisons. The dialogue, improvised by each actor (who were clearly given little more than character “types” that they flesh out on the spot with unparalleled brilliance and wit), ranges from laugh-out-loud funny to heart-wrenching. The reactions of the sons and daughters, and the interaction between them and the mothers and “Negroes,” make the film worth watching.

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Fresh Outta High School 9

I can’t deny the high expectations built up from the first eight in the Fresh Outta High School series, but I still tried to maintain objectivity when I popped the DVD in my player. I don’t intend to sugarcoat my opinions, so if you consider yourself a fan of this series, you might want to sit down. Fresh Outta High School 9 might be the biggest disaster of 2008.

What an absolute embarrassment for all involved, from the cast to the production crew. Everything that made the previous films special, different, innovative—up in smoke. What remains is a horrific amalgam of poor direction, fresh-off-the-street (or -boat) acting and shoddy production design. I’d like to try to find an explanation for what went wrong.

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Screwing Asia

“Oh, big American cock. Can’t get enough.” This line, uttered by Keeani Lei, opens Screwing Asia, and it does the job of summarizing Frank Marks’ grim depiction of race relations in the U.S. The film cannot, by any measure, be considered a high-quality endeavor, but it does have some fascinating moments that manage to simultaneously undermine and support Marks’ filmic treatise.

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