Change Your Image
lor_
Served as Chairman, New York Film Critics Circle: 1993/94.
Favorite interviews were with: Michael Douglas, Sophia Loren, DeForest Kelley, Joan Chen, Joe Henderson, Ismail Merchant, Klaus Kinski, Joseph L. Mankiewicz, Spike Lee, Malcolm McDowell, Zoe Lund, Melvin Van Peebles, Ultra Violet, Wolfgang Petersen, Claudia Cardinale, Serge Silberman, Margarethe von Trotta, Alec Guinness, Leonard Nimoy, Susan George, Joseph Losey, Gale Anne Hurd, Dennis Hopper, Peter Greenaway, Katt Shea, Ken Russell, Maggie Greenwald, Jim Jarmusch, Peter Brook, Jurgen Prochnow, Andy Warhol, Judy Davis, Chuck Vincent, Fred Zinnemann, Wim Wenders, Max Von Sydow, Michael Moore, Terry Gilliam, Rita Jenrette, Karen Lynn Gorney, Bruce Beresford, Jack Thompson, Russ Meyer, Sam Raimi, Abel Ferrara, John Sayles, William Greaves, Nino Manfredi, Lee Van Cleef, Michael Cuscuna, Bille August, Jewel Shepard, Andy Sidaris, Michel Deville, Claude Sautet, Claude Lelouch, Alfonso Arau, Alan Parker, Reinhard Hauff, Traci Lords, Jim Jarmusch, Martha Coolidge, Candida Royalle, Giuseppe Tornatore, Edward James Olmos, Paul Hogan, John Mackenzie, Peter Hyams, Jennifer Beals,, Adrian Lyne, Samuel Fuller, Dario Argento, James Toback, Lasse Hallstrom, Fred Williamson, Gabriel Axel, Joe Bastianich, Aaron Sanchez, Danny Meyer, Steve Hanson, Matthew Kenney, Douglas Rodriguez, Simon Oren, Stanley Donen, Lindsay Anderson, Helena Bonham Carter, Edward Pressman, Harold Becker, Larry Cohen, James Ivory, Jack O'Connell, Michael Phillips, Kevin McClory, Jackie Mason, Joan O'Brien, Stanley Donen, Joseph B. Vasquez, Don Bluth, William Lustig, Al Goldstein, Simon Wincer, Valeria Cavalli, Dave Fishelson, Lizzie Borden, Roberta Findlay, Rob Cohen, Doris Wishman, Robert Tapert, Bruce Campbell, Bill Cosby, Pasquale Squitieri, Menahem Golan, Yoram Globus, Tim Kincaid, Joel M. Reed, Gregory Dark, T.L. Lankford, Fred Olen Ray, Victoria Paige Meyerink, Lawrence D. Foldes, Rick Marx & Ted V. Mikels
Reviews
Transfixed: Hookup Mixup (2024)
A nothing burger
TS star Kasey Kei is the center of attention in this trivial Transfixed segment, a mindless gonzo exercise. After a dumb 3-minute intro, it's 35 minutes of lesbian-threesome sex, strictly filler.
Gimmick from untalented scripter Midnight is that Kasey has made a scheduling error, with two girlfriends showing up at the same time, each expecting alone-time sex with her, and shocked to see the other woman there. This is a corny situation, the subject of innemrable bedroom farces, usually with a frantic guy (or girl?) rushing back and forth trying to make each partner happy while avoiding them seeing each other on the premises.
Instead, after the two scorned women (Kenna James and Aria Valencia) have a rather timid sort of catfight, Kasey apologizes and suggests to them that a lesbian-threeway is the best solution. Both agree and then it's gonzo time, with everyone happy, giggly and sexually busy -all acrimony forgotten and the transition to sex workers cavorting for the camera complete.
Despite her lengthy career, investment in new fake breasts, and earned superstar status, Kenna gets third (last) billing for this lousy assignment.
Another Man's Poison (1951)
Bette lifts ordinary thriller
Bette Davis and hubby Gary Merrill went to England to make this routine thriller, based on a successful stage play. It builds suitable suspense, but remains quite stagey, with Bette's presence the main reason to watch.
A very fine British genre director Val Guest gets screenplay credit, while the director (Irving Rapper) and cameraman (Robert Krasker) are imported from Hollywood. Bette's withering glances and always the center of attention heightened acting style command attention, while cliched plot twists are trotted out. Emlyn Williams is suitably cutesy in the best supporting role.
It's odd to see Bette in an indie British production after her triumph in "All About Eve", but apparently the chance to work again with her new husband Merrill was the reason.
Tulsa King: Center of the Universe (2022)
Getting to know you
After a terrific opener, "Tulsa King" lets us get to know a likable cast of characters in "Center of the Universe", a laid-back, extremely amusing look at our modern Rip Van Winkle adjusting to the peculiar world of Tulsa. Actors including Andrea Savage and Jay Will provide fine support.
Stallone's street smarts are irresistible as he reacts to odd people in this strange land. Sheridan exploits his amazing ability to react to offbeat dialogue and oddly real people. Along the way, the groundwork is laid for future adventures and most importantly we get to know the sad, subtle pathos hiding behind his character's natural bravado.
Transfixed: A Surprise Homecoming (2024)
Failed nostalgia
Using a colorful but tiny set purporting to represent an old-fashioned diner, waitress Ember Fiera welcomes home her soldier boy, Cliff Jensen. A minute later, they are f*cking in the diner, hoping to finish before the customers arrive.
Replete with hokey "sounds old-fashioned" library music, this Transfixed vignette is quite poor gonzo filler, just a respite between the fans-pleasing trans-lesbian scenes with an actually old-fashioned "Gay guy humps trans-girl". Ember's fake passion is annoying, and Cliff is just an unappealing guy with a big dick. Lots of famous cis-female porn stars have been shooting TS porn lately, from superstar Angela White on down, but few male stars have crossed over, leaving the casting to Cliff and other Gay Porn talent. I suspect their lack of appeal for "Transfixed" fans is that Bree Mills sold the series originally as lesbian content, not aimed at devotees of the Gay genre, where Trans porn used to be a subset.
Transfixed: No, You Take It Off! (2024)
Pretty, and pretty dumb
The opening for this mindless, gonzo Transfixed segment had Izzy Wilde in tight closeups looking quite beautiful, with a clear emphasis on her femininity, but the story is beyond weak. She and her beautiful date Cami Strella put on the same red dress and debate which one should substitute a different one.
The improv dialogue quickly turns to sex in bed, the date forgotten, and tedious, repetitive going through designated positions. TS star Izzy gets to use her dick but there's no money shot, just the scene arbitrarily ending when, one supposes, the two actresses run out of stamina.
Next up will be a gay guy having sex with a trans-girl, not what fans of this series look forward to.
1923: War and the Turquoise Tide (2023)
Don't mess with Helen!
Helen Mirren takes over the show with this "1923" episode, as seriously wounded hubby Harrison Ford is bedridden, and she must powerfully act to save the Dutton ranch and her family.
Sheridan juggles three stories: the war at home with Mirren facing down the evil sheepherder, who has enlisted corrupt villain Timothy Dalton to back his war against the Duttons. Meanwhile, Spencer and his fiancee are enjoying a picturesque idyll far from harm, only to be called in to save the day in future episodes.
And of the most impact, Sheridan goes ultraviolent with another confrontation between resourceful victim Nieves and the nun who torments her, so well-played by Jennifer Ehle.
I'm convinced that Taylor Sheridan could produce a wholesome show like "Little House on the Prairie" if he put his mind to it, but his specialty of creating amoral and violent characters continues to attract and satisfy audiences.
Mind Games: Episode 4 (2024)
Lousy ending
Plot loose ends are tied up in very corny fashion in this final segment of Digital Playground's "Mind Games". The scripting by director Casey Calvert and label's regular writer Jon Drexler is dumb.
Xander Corvus is very easily seduced by ultra-sexy Chloe Surreal, and her motives are explained in perfunctory fashion. She's a crazy woman, and both Xander and his shrink Sophia Locke are in jeopardy in a less than thrilling climax, which permits Chloe to overact -something new for her, as she generally is relegated to sexy gonzo roles - no acting required.
The storyline had potential, but ultimately Calvert put all her effort into the sex scenes, understandable in terms of what current porn fans are after, but strictly lazy filmmaking.
Mind Games (2024)
Poor thriller
Casey Calvert's psychological thriller for Digital Playground turns out to be a dull feature, not much more than four sex scenes with a token story and poorly developed characters. It's okay merely for website subscribers to jerk off by.
Sophia Locke stars as a shrink who is highly unprofessional, getting involved with her patients. Chief among them is sexaholic Xander Corvus, clearly no Michael Douglas in the role, and a bit repellent due to his ill-advised wearing of lip piercings that he had earlier in his career.
Chloe Surreal is too young to be believable as a femme fatale -her huge natural juggs are what matters in her madwoman role. Charlie Forde is wasted here as another patient delivering an extraneous sex scene.
Fans expecting some thrills (after all, it's a thriller) will be sorely disappointed.
Tulsa King: Go West, Old Man (2022)
Gravitas
Taylor Sheridan breathes fresh life into the tried and true Hollywood genre of a "Fish out of Water" with "Tulsa King", an instant hit. The sheer pleasure of watching a self-assured Sylvester Stallone calmly pushing people around is hard to beat.
There's a bit of introducing subsidiary characters (played by Andrea, Jay & Martin), but the show plays like all Stallone -on-screen constantly and making his presence felt. For a new series and a brand-new character it's amazing how comfortable and "inevitable" his Dwight Manfredi seems right from the beginning.
The confidence that Stallone exudes in the role is matched by the way Sheridan faces his scripting: taking familiar situations and imbuing the with a virile surprise factor that seems like that of a master filmmaker, rather than a relative newcomer.
Lawmen: Bass Reeves: Part II (2023)
A new job
A kind of iconic hero, brave and honest to a fault, David as Bass is a strong figure in this transitional episode, set in 1875 in Arkansas as he works his failing farm. Plenty of human interest is developed for his wife Lauren Banks, a strong character equal to that of Bass.
Dennis Quaid, looking suitably scruffy (I can't wait to see the versatile star portraying Ronald Reagan) is a bad good guy as a deputy marshal who seeks out Bass to help capture a notorious Indian outlaw, and Bass's abilities and courage are on display as he gets a sour taste of being a lawman. That's because Quaid's character is a cynic and a bigot, treating Indians as "savages" and as ruthless as they come. We get to see Bass's deep religious faith as well, with his earning a job as a deputy US marshal by the end of the episode.
There's no debating David's power and conviction in the role, but he's portrayed as way too perfect for my taste. It's been a long time since Sidney Poitier was so saintly in many movies, and I think the audience could stand to see a Black star warts and all, rather than wearing a halo.
Rabbit Hole: The Algorithms of Control (2023)
Bogged down
This third segment opens with a confusing (poorly structured) set of flashbacks and flashforwards to fill in the boring backstory for our hero, with lots of dialogue by his quirky, asinine father Charles Dance, a poor deus ex machina for the story.
Instead of exciting footage of Kiefer on the run, we have him and dad with two hostages trying to get to the bottom of the show's mystery. Writers have concocted a trite, embarrassingly "torn from the headlines" gimmick of dark forces working on turning America into a totalitarian state, a la Trump in real life. It's all a series of cliches.
This is a deadly dull hour guaranteed to turn off a significant percentage of viewers sampling this miniseries, as its initial dynamism has evaporated. For an espionage thriller, even the lame comedy and human interest elements seem out of place.
Star Trek: Strange New Worlds: The Broken Circle (2023)
Welcome Kane!
Anson Mount gets something of a day off, barely visible in this Season 2 starter, as crew members Jess and Babs get to take centerstage.
Several novelties mark the show, first off having Spock "steal" the Enterprise for a definitely unauthorized mission necessary to thwart some greedy folks on the verge of restarting a federation war with the Klingons.
Former colleague Chrisitna sends the warning, and it's Spock and his crew to the rescue. It's a rather serious and talky segment, leading to Babs & Jess excelling at hand to hand combat to selflessly save the day and survive under a minute of freezing unprotected (no space suits) in Outer Space before Spock rescues them on cue. Carol Kane as new cast and crew member is delightful, adding humanity to the show, even though she isn't human.
Watching Porn with Whitney (2024)
What a tease!
At age 32, Whitney Wright is still utterly convincing playing a teenage stepsister who lures her easily manipulated stepbro Jimmy Michaels into having sex with her as they casually watch some porn on her laptop together.
Jimmy is shy and boyish as usual, and it's fun to watch his ambivalence as he tries (not very hard) to resist Whintey's escalation of their intimacy together. The subject is about Edging, and their contest to see who will cum first (the idea is to hold out as long as possible) is just a pretense for one hot scene.
This MissaX series is a surefire crowd-pleaser, bringing a new beauty to the show on a regular basis.
Danger Man: Bury the Dead (1960)
Pure hokum
Drake's smugness and bull in a china shop behavior annoyed me, as usual. How could an undercover secret agent always call attention to himself and boss everybody around - not exactly a formula for success.
What's Beverly Garland doing here? She does get a brief Scream Queen moment, but otherwise is out of place when so many British starlets, even the untalented ones Ralph Smart usually hires, need the work. And poor Robert Shaw. Such a great talent completely wasted (literally) in a stock role.
The other staple for this series: the rushed, preposterous ending where Drake takes on all comers and suddenly succeeds in wrapping up the show in seconds, is just awful. Even the big doggie in the show is treated cavalierly by scriptwriter Smart.
1923: The War Has Come Home (2022)
Cultural clash
Taylor Sheridan carefully sets up the viewer with 2/3's of this episode lulling us with pastoral visuals, educational snippets and soap-opera romantics including a pay-cable-ready sex scene for Darren and Michelle.
A taste of the Roaring Twenties as well as a glimpse of the future (electrification and consumer appliances) leads to Helen Mirren waxing philisophically upon the perils of advertising (ironic of course for a Streaming channel like Paramount+). Meanwhile in Africa, wonderful wildlife footage backs the romance of Brendan and Julia, prior to a forceful reminder of the dangers lurking on the Dark Continent.
When violence does break out in the final reel as the Sheepherders enact revenge, cast members fall like ten pins, and Mirren in the Barbara Stanwyck role delivers her inimitable power, making every bit of her limited screen time count. It's a transitional segment, setting up a generational transition as Helen sends for Brendan to come home and take charge.
Feels So Real (2024)
Less mean, but quite meaningless
Bree Mills's "Pure Taboo" series presented mainly mean-spirited stories, the formula being to show an extremely negative side of human nature, particularly that of men, and let the viewer get vicarious thrills identifying (sadistically) with the sexually abusive characters.
This pair of recent segments on DVD features threesomes of folks misbehaving, but with the gimmick that everyone enjoys it.
For the title vignette, Bree Mills receives a writer credit but no producer credit for this all-sex Pure Taboo segment of a happy family of 3 having sex together. The intro lasts only a minute, moving immediately to the XXX action, as Bree's "writing" was likely scribbled on the back of an envelope.
Premise is that little Coco Lovelock gets a VR headset for her birthday from her loving step-parents, who watch lustily as she masturbates while watching some Adult Time porn on it. We don't see what she sees but there's plenty of plugola: a poster for Bree's "Vampires" video and even a wall poster of Pure Taboo's favorite actor, Seth Gamble.
The three seasoned performers go through the various sex positions and fake-passion (dad Charles Dera is stoic when not looking lecherous) until Charles deposits his money shot on wife Codi Vore's voluminous breasts, to be licked up by Coco. The main element here for fans is the casting of two popular natural-breasts actresses, both in their 20s, with extremely contrasting figures: Codi being exceedingly "chubby" (the porno category) while Coco is head of the class among current "petite" performers. Whatever pretensions Bree has in the Adult industry, this content is strictly made for the buck, mechanically directed by Michael Vegas & Siouxsie Q.
Ricky Greenwood directed "Found Footage", a BDSM lite entry in the Pure Taboo series, featuring the compatible team of petite porn stars Lulu Chu and Kimmy Kimm. It's easy to tell them apart: Kimmy has the false eyelashes and sinister look.
Simple story by Penicio Del Toro has Lulu finding sex footage on the camcorder she borrowed from friend Kimmy Kimm. When she returns the camera to Kimmy she meekly reports having seen the "surprise" scene but quickly having turned it off, but Kimmy knowingly is certain that Lulu watched the whole thing. She explains that it's merely a private sex tape she and hubby Seth Gamble made together to enjoy their "darker" fantasies, and wonders if she'd like to try. With Seth joining them to put on the pressure, Lulu immediately agrees: on with the blindfolds, ball-gag and flogging plus plenty of 3-way sex.
It's a rather smug, "how could anyone refuse" type of porn scene, with three very, very busy performers doing their thing together on a couch. Everybody's happy and the lack of resistance in the storyline plus weak acting make for a gonzo-type exercise.
Dozhivyom do ponedelnika (1968)
Well-shot and well-acted, but...
This 1968 Soviet feature covers well-worn territory, the drama and foibles of teachers and students at a high school. Its themes of loneliness, love, honesty and independent thinking are okay on paper, but hovering over the entire picture is the lack of freedom of expression in the Soviet Union, contradicting much of the story's message.
Main character is a history teacher who still lives with his 70-year-old mom and has failed in interpersonal relations -no love for him. Leading lady is his former student, now teaching English, who is still carrying a torch for him. The students, fellow teachers and school principal are generally stereotypes, with attempted poignancy of many a scene falling flat.
Worst scene is the climax, where teach is lecturing about the origins of the Russian Revolution, and he castigates a student for belittling a minor figure in said revolution, who the kid considers a failure because "he only received 15 lines in the textbook". Our hero's impassioned plea for recognizing the man's true worth belies all the taken-for-granted criticism of the tsars in this script: of course, no criticism of the Soviet establishment can be raised. You see, it was the tsar who promised freedom of speech and the like and didn't deliver -he's the bad guy, not any current officials.
Star Vyacheslav Tichonov looks a lot like Laurence Olivier, but I found his performance all surface and stilted -not for a moment did I empathize with him. The widescreen, black & white photography is impressive, but what occurs in the frame is a lot less interesting or informative than a random episode of James Franciscus in "Mr. Novak", which I watched loyally during this era. And considering the hard-hitting foreign films from both Western and Eastern Europe that were shown at American arthouses during this period, "Surviving Till Monday" doesn't measure up, and wasn't released in America.
1923: Nature's Empty Throne (2022)
It's rough out there
Taylor Sheridan's skill at heightening drama (sometimes in over the top fashion) and concentrating his script's content to stress the high points is in evidence in this segment that covers three areas of action: adventurer Sklenar's amazing life in Africa, the suffering Indian girl Nieves's travails at the hands of mean and not so well-meaning Catholic clergy, and Ford's iron will hard work as a cattleman. Helen Mirren's warmth is briefly included lest we forget she's the actual star of the show.
The vividness of director/cameraman Ben Richardson's visuals holds our attention, while the mere mortals enact their own vivid re-creation of a past not usually treated with such ruthlessness as Sheridan's approach. There's room for a more cerebral treatment to history, but I doubt if modern audiences would sit still for it, used now to an "in your face" format.
Star Trek: Picard: The Star Gazer (2022)
Starting over
Boasting tremendous production values, the second season of "Picard" kicks off in a bittersweet mood: Jean-Luc and his Romulan girlfriend Laris at his home in wine country, with boyhood flashbacks recalling his mother's influence on his life as an adventurer in Space.
Action scenes portray Jeri Ryan's physical prowess in a hand-to-hand battle aboard ship, leading to Admiral Picard, now head of the spacefleet academy back on Earth, called into action to confront a Borg Queen intent on assimilating the entire federation fleet. But with Irma Thomas's version of the Stones first American Top 10 hit "Time Is on My Side" the show introduces the season's theme: a Worlds of If quest to battle and old villain who has altered time and history, offering the show's writers maximum liberty in concocting alternate realities for Stewart and his co-stars to unwind and correct. Add in a nostalgic reunion with Whoopi Goldberg and you have a satisfying reboot.
Four Star Playhouse: A Man of the World (1953)
Niven -not so gullible
David Niven presents as such a suave character that it's fun to see him play against type, as in this beguiling Four Star Playhouse vignette.
The set-up makes it crystal clear that he's a Casper Milquetoast type, everyone especially his wife knows that his plans to "let loose" and live it up on his annual 3-week solo vacation are all pipe dreams. He's a square, inhibited 1950s husband with delusions of being "a man of the world".
On his train trip he encounters a classic femme fatale, very convincing played by Barbara Lawrence, and her seductiveness is met by Niven's constant diffidence. He seems to be falling for her sob story as a woman on the run, with the promise of a tryst in NYC if only she will help him. A well-written spiel for her can't fool the viewer, but we're afraid that Niven, playing a seemingly ideal patsy, will fall for it. The screenplay by Seeleg Lester and Melvin Gerard has other things in mind, and the story resolves quite cleverly. It reminds me of those Bunuel odd stories, but without his surrealism. This show is firmly rooted in the 1950s: clean and to the point, as directed by reliable Roy Kellino.
Lawmen: Bass Reeves: Part 1 (2023)
What will happen next?
David Oyelowo is tremendous as a stranger in a strange land in this highly original frontier saga set during and after the Civil War. With Taylor Sheridan's imprimatur, it continues a re-invigoration of historical stories that defy conventional historical stereotypes.
Chad Feehan, who produced "Banshee" and "Ray Donovan", scores a hit, as the viewer is constantly in suspense as to what our brave and ever-wary hero Bass will encounter next and how he will manage to survive against great odds. Opening segment, tightly directed by Christina A. Voros, takes him from a servant to a strange confederate major Shea Wigham (very fine as a baddie, just as he was pursuing Tom Cruise in the lated "Mission Impossible" movie), who toys with Bass in a crooked poker game promising him freedom if he wins. The dramatic poker hand and its aftermath is a testament to director Voros's skill at tighening the screws to get every ounce of drama out of a simple scene as set out in the script.
Into Indian country he's befirended by widow Margot Bingham in Indian country, whre he lives an idyllic existence till the end of the war with her, her son and a trusty horse, only to meet up with yet another sinister Confederate major, now an outlaw, leading to his heartfelt reunion with his woman (and co-star) Lauren E. Banks, presenting him with the young daughter he didn't even know existed.
It's quite an origin story for this miniseries, and throughout we have David's amazing reaction shots (usually in wonderment tinged with fear) as he's buffeted by fate in many unexpected directions.
Rabbit Hole: At Any Given Moment (2023)
Just too much
By episode 2 it hit me what's wrong with this thriller: the 2 filmmakers created a puzzle film but made the "rookie" mistake of too many twists/clues/red herrings piled one atop the other to retain a viewer's commitment after the initial thrills. Nothing wrong with gradually peeling the layers off the story onion to get us closer to understanding what the hell is going on, but overkill is not recommended. Sure, we are supposed to be bewildered by unexpected and inexplicable events but unlike Keifer's character, who is posited as a genius who can analyze and sort through endless permutations of possible moves as fast as Watson the computer or Garry Kasparov, we can't be expected to keep up with the dizzying pace.
For this episode, flashbacks of his dad and childhood are intercut with Kiefer's increasingly unbelievable adventures. Credibilty is sacrificed right and left to try and impress us. It reminds me of the extreme over-complexity of his work that has made Chris Nolan a superstar among directors, but mainly annoying to me. And before you can say: CHARLES DANCE! (one of my all-time least favorite actors), it's another cliffhanger.
Kiefer deserved better material or at least a better-developed thriller concept than this one with which to make a big comeback.
Young Woman and the Sea (2024)
The Ederle Sisters
The old formula for inspirational cinema is of course "corny" after 100 years or so, but Jerry Bruckheimer and Disney prove it still works, thanks to the fine performances of a cast led by and dominated by Daisy Ridley. She's the heir apparent, right down to a winning smile, as Britain's fairest young actress since Keira Knightley.
The schmaltz content of the early reels is a bit much, but helps set the stage for Gertrude Ederle's historic breakthrough nearly a 100 years ago swimming the English Channel in record time. The triumph for women is underscored here by the parallel with her sister who was unable to break out of the patriarchy that doomed women of the time to subservience and stifled their dreams. It's a timely message today with Kamala Harris poised for yet another breakthrough. And of course, Hollywood's competing movie in this genre Nyad delivers a similar message regarding an old(er) woman and the sea.
The Norwegian director has made Disney blockbusters previously, so I wasn't surprised by the end credits listing "a crew of thousands", but I do wonder why it takes so much in the way of SPFX and endless technicians, studio staff and others to make a motion picture (for theaters or streaming or whatever) these days.
Pure Taboo: Found Footage (2024)
Well-matched ladies
Ricky Greenwood directed this BDSM lite entry in the Pure Taboo series, featuring the compatible team of petite porn stars Lulu Chu and Kimmy Kimm. It's easy to tell them apart: Kimmy has the false eyelashes and sinister look.
Simple story by Penicio Del Toro has Lulu finding sex footage on the camcorder she borrowed from friend Kimmy Kimm. When she returns the camera to Kimmy she meekly reports having seen the "surprise" scene but quickly having turned it off, but Kimmy knowingly is certain that Lulu watched the whole thing. She explains that it's merely a private sex tape she and hubby Seth Gamble made together to enjoy their "darker" fantasies, and wonders if she'd like to try. With Seth joining them to put on the pressure, Lulu immediately agrees: on with the blindfolds, ball-gag and flogging plus plenty of 3-way sex.
It's a rather smug, "how could anyone refuse" type of porn scene, with three very, very busy performers doing their thing together on a couch. Everybody's happy and the lack of resistance in the storyline plus weak acting make for a gonzo-type exercise.
Pure Taboo: Feels So Real (2024)
Gonzo incest
Bree Mills receives a writer credit but no producer credit for this all-sex Pure Taboo segment of a happy family of 3 having sex together. The intro lasts only a minute, moving immediately to the XXX action, as Bree's "writing" was likely scribbled on the back of an envelope.
Premise is that little Coco Lovelock gets a VR headset for her birthday from her loving step-parents, who watch lustily as she masturbates while watching some Adult Time porn on it. We don't see what she sees but there's plenty of plugola: a poster for Bree's "Vampires" video and even a wall poster of Pure Taboo's favorite actor, Seth Gamble.
The three seasoned performers go through the various sex positions and fake-passion (dad Charles Dera is stoic when not looking lecherous) until Charles deposits his money shot on wife Codi Vore's voluminous breasts, to be licked up by Coco. The main element here for fans is the casting of two popular natural-breasts actresses, both in their 20s, with extremely contrasting figures: Codi being exceedingly "chubby" (the porno category) while Coco is head of the class among current "petite" performers. Whatever pretensions Bree has in the Adult industry, this content is strictly made for the buck, mechanically directed by Michael Vegas & Siouxsie Q.