Better than current Jacky St. James -her directing debut
Before she lost her way in the incest and hotwifing genres, Jacky St. James put her name on the Adult map with bondage dramas, most famously the popular "Emma Marx" series starring Penny Pax. BDSM is the theme of this early effort, her first solo in the director's chair (she co-directed the excellent "Torn" with her cameraman Eddie Powell).
The four vignettes vary in interest but are all well-cast. Opener "Keeping House" features one of JSJ's frequent Hitchcock cameos: she's the wife to Danny Mountain, a grumpy guy who is easily disturbed when beautiful house maid Maddy O'Reilly interrupts him at his writing table. She easily seduces him however, and despite the choking and rough sex it's obvious that the fairer sex is in charge.
"The Prisoner" is a moodier opus, with Xander Corvus at the library, obsessed with librarian Lizzy London. He humps her violently in the stacks in what's presented as rape, but it all turns out to be a day-dreaming fantasy by the meek perv. This sort of bait & switch on the viewer is not meant to be mean-spirited, but rather a typical ploy JSJ uses (see her endless string of fake-incest videos) to dodge the censors' wrath.
Ramon Nomar is a poor choice for lead in "The Games We Play", as his uncomfortable delivery of English dialog kills off the piece's dramatic possibilities. He's the mean boss who's suddenly accused of sexual harassment by his cute bespectacled secretary Lily LaBeau, for brushing up against her whenever he passes.
Instead of turning him in to the authorities, she acts on this invitation and humps him, deep-throating the Latin's big cock with ease. This segment does have a nasty twist in its tail, as after his money shot Ramon sends her away summarily and then yawns. That's a message from the director, not the actor.
Finale titled "The Engaged" has creepy James Deen appropriately cast for a mega- creepy role. Upstairs at a party, he humps the engaged girl (not to him of course -he's her ex) Jessie Andrews in the cramped space of a tiny bathroom. Like any film set in an enclosed space it takes on the feel of a stunt, but the two thesps do a good job of putting on the passion, though Jessie screams and shrieks in the industry's Best Practices mode set a couple decades ago by the annoying Teri Weigel. No one downstairs at the party hears them, and this exercise in misogyny has scene ending with a focus on her engagement ring and Jessie putting her makeup back together in front of the mirror.
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