Jessie Andrews in EnchantressBo Llanberris starts off his latest effort with a subtle and skilled homage to the swimming pool scene in Amy Heckerling's Fast Times at Ridgemont High. He's deleted the Judge Reinhold character, however, and instead of Phoebe Cates emerging in from the crystal waters in sensuous slow motion we have Jessie Andrews, the "Enchantress" who gives this film its title.
The sight of this petite siren, hair slicked back, her body wet and glossy in the sun, is arresting, and pulls the viewer directly into the flow of the film. The lush landscaping and the exotic flavor of the soundtrack add a bit of middle eastern mystery and creates the perfect setting for some intense and involving alfresco autoeroticism.
The pace is languid, with a smooth, particularly fluid progress. This aspect is emphasized by Hiro's camera which rises and falls, pans, slides, and tracks with silken, buttery grace. While we might have an idea of what is about to happen, Jessie takes her sweet time and savors each emotion and every physical sensation as she begins to unwind and undress.
She's only wearing a bikini, but it does take nearly two minutes before the top comes off, and that adds considerably to the tease factor. And even after she slides off the bottoms we still have some waiting to do before Jessie sends her fingers in search of self-made pleasure. It is made quite clear, both through Jessie's pace and the cinematic style, that this is an experience she intends to savor.
And savor she does. Using only her fingers, she works herself into an ever-increasing state of arousal. And as her arousal increases, the music diminishes and soon the soundtrack consists solely of a flowing fountain, the birds in the trees, and Jessie's moans and sighs of erotic enjoyment. She begins in a seated position and later rises up on her knees. In both postures we're offered ample intimate close-ups and an eye-filling view of the increasingly fevered action. The reward of the measured pace and leisurely build-up? A prolonged and powerful climax.


SexArt Movie - The CoveConsidering all the actions, passions, and explosive erotic eruptions it contains, "The Cove" unfolds at a restrained, mellow, and moody pace. The blue waters of the Pacific are framed by three picture windows as it begins. This isn't simply a pleasing image, it's also a visual clue and a metaphor, as well.
A shapely silhouette moves across this background and joins her partner on the bed. Passionate kissing and caressing ensues. As the lighting and focus shifts we discover that it's Malena Morgan and Tyler Nixon, and their Frenching and fondling builds, gradually, in its passion and intensity. Even without live sound (at this point) the attraction and interaction between this couple has a genuine look and feel, and it's a pleasure to watch them pleasure one another.
It's well worth noting that this is — by far and away — Malena's most extensive and explicit erotic interaction with a man in her entire film career. Ms. Morgan made her reputation as a skilled specialist in the Sapphic arts, and those who have hungered to see her play with a male partner will be both surprised and satisfied by this performance.
The second of several enjoyable surprises occurs when Malena turns and beckons to an off-camera someone. That someone is Riley Reid — let the threesome begin!
Not so fast. We do have three participants, but how they participate isn't entirely expected. Riley and Tyler pick up where Tyler and Malena left off. And Malena strips down, takes a seat overlooking the bed, and proceeds to get her voyeur on. It doesn't take much watching before Malena lets her fingers do the walking (and wanking).
Passion is building. Live sound appears while Riley enthusiastically and skillfully fellates her lover. Malena, no less enthusiastic, is now working a curved probe deep into her center. Riley assumes the cowgirl position and begins riding. As the sky outside grows dark, the heat inside raises.
Even though this threesome is divided into a couple and a single, all three participants are listening, watching, and feeding off of each other. The erotic intensity climbs, reaching several explosive peaks in the process of reaching a roundly satisfying conclusion.
Now I'm torn. I don't want to spoil the surprise(s), but I will say this: Tyler isn't the only member of this torrid trio who ejaculates. Want to know the who, what, how, and when? See for yourself in "The Cove."


Molly & Tommy in Red Light DistrictWhen I received this assignment, based only on the title, I immediately imagined some sort of pay-for-play prostitution scenario. But when I clicked "Play" I was in for a pleasant surprise -- and a quick lesson in the risks of jumping to conclusions.
Rather than the street walker and customer I'd imagined, "Red Light District" takes its inspiration from Amsterdam's famed De Wallen, the internationally notorious sex-for-sale zone where working girls solicit business while seated behind the picture windows of red-lit rooms.
A man and woman -- Tommy Reeves and Molly Bennet -- stand next to a round sofa such as one might find in a hotel lobby. The room drips with atmosphere and her skin-tight dress as well as the light are rich shades of red. As Hiro's camera pulls back we find that the couple are standing before a window -- and that passersby on the crowded sidewalk are looking in on them. This introduces the clever device which gives the film its potent voyeuristic punch.
As the action unfolds we switch between the two perspectives. We're either "in the room" with the amorous twosome, or standing outside, serenaded by sounds of the street, looking in. As I said: a clever device. Watching an erotic film is voyeuristic by definition. And by cutting between the two points of view director and editor Bo Llanberris not only underscores our role as "watchers," he also adds another twist: we're watching this couple have sex, yes. But they're well aware they're being watched. They're performing for our pleasure as well as their own. And they're also watching us and feeding off of our reactions. Clever, interesting, and extremely effective.
Despite the red lights and shadowy setting we're treated to plentiful graphic detail. Whether receiving oral pleasure or eagerly returning the favor, Molly Bennet is a skilled and passionate performer. Reverse cowgirl provides optimum views for all on-lookers, and two approaches to rear entry add visual variety. An oral climax provides a satisfying conclusion for all concerned -- the watchers and the watched, alike.  Releasing Thursday, June 21st




Girls Love Sex - Season 2, Episode 15 Just JasmineGirls Love Sex:
This is my first encounter with Jasmine W, and it's also the first SexArt Original Series episode I've viewed. And I can say, without reservation, that both these "firsts" were entertaining and enjoyable.
As an introduction to an erotic performer and model, "Just Jasmine" covers a lot of territory in a relatively short span of time. It combines interview footage, still images from some of Jasmine's other SexArt offerings, nude modeling in the studio and outdoors, some al fresco sex play with Charlotte Stokely, and an intimate and subtly intense session of machine-assisted masturbation - we even get to look through the provocative contents of Jasmine's handbag.
But despite of the volume and variety of materials included here, the episode doesn't feel cluttered or rushed, there's a pleasant pace that lets you enjoy what you're seeing at any given moment even as you anticipate what might be coming up next.
"Just Jasmine" begins with just that: Jasmine W, fully dressed, seated on a sofa answering questions posed by an off-camera interviewer. After getting some background and sense of her cheerful and uninhibited personality the scene changes. This beautifully lensed segment finds Jasmine, totally nude under a man's coat, on the rocks of jetty on a deserted stretch of beach.
Additional bits of the Q&A serve to set up or explain ensuing scenes. We view a snippet of Jasmine's strawberry-enhanced scene with Rilee Marks, for example. And a question about her home furnishings leads to lighthearted poolside lesbianism including face-sitting. 
"Just Jasmine" reaches its peak of intensity when the starlet, now totally nude on the same couch where she's been interviewed, puts a Rabbit vibrator to its intended use. Jasmine's performance here is impressive. Not because it is a "performance," but for the natural, spontaneous, and entirely genuine quality of what she shares with us.


Charlotte Stokely in IvoryA time-lapse shot of fog shrouded mountains sets the tone and serves as something of a palate cleanser as "Ivory" opens. Once the serene mood is established we move indoors — into a spacious shower lined with eye-pleasing sea foam green tiles. Hiro's camera mimics the flowing, falling water and we take a leisurely trip down an undeniably beautiful body.

The first few minutes of this Bo Llanberris production provide an exceptionally enjoyable introduction to Charlotte Stokely. The fluid camerawork, the languid flow of the edits and dissolves, and Charlotte's obvious and unforced enjoyment of the experience create moments that look as good as they must feel. A subtle undercurrent of voyeurism — Charlotte doesn't acknowledge or play to the camera here — adds the spark of anticipation to this sequence that is rewarded when the nubile starlet reaches down and begins pleasuring herself with her fingers.

When, at the 3:00 mark, the scene transitions to a low, wide, circular bathtub, the mood is somewhat lighter, a bit more playful, but no less enjoyable. Here Charlotte seems the slightest bit more aware of the camera, but this is still very much a private interlude. The addition of live sound at around the 6:00 mark not only brings the sounds of dripping, splashing water, but Charlotte's own natural and entirely genuine sounds of sexual delight.

Our voyeuristic enjoyment of Charlotte's bathtub interlude receives and unexpected but most welcome jolt when she slides down into the water after vigorously masturbating and looks directly into the lens — it's a beautiful and involving moment. Beyond Charlotte's physical beauty, the fluid pacing of the film and the ebb and flow of autoerotic intensity makes "Ivory" effortlessly enjoyable.

IVORY in theaters on Monday, June 4th, 2012 - come check it out!


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