These four Kayden Kross vignettes are glossy, have just a bit of kink included, and are quite stupid. Success seems to have gone to director KK's head -her work has devolved into routine gonzo porn "with style".
Penny Barber predictably provides the most interesting performance -she's an Adult Cinema actress for (to use a really archaic expression) "the thinking man". Her vignette titled "Tumble" takes place in a laundromat in September 1954, with the very modern stiletto heels shoes worn by her and femme extras a too-obvious anachronism, as well as the girls' short skirts. An extremely dull, wordless set-up lasts nine minutes, as she and fellow customer Manuel Ferrara exchange glances while waiting for their laundry to dry (about as interesting as watching paint dry -that famous movie cliche from "Night Moves").
Finally Penny makes her move, removing her coat to reveal fetish gear lingerie underneath. No fool he, Manuel locks the laundromat door and the instant couple hump away like rabbits. This sort of dumb scene makes me wonder if somewhere out there a grad student in sociology is writing a thesis on "Sex in Laundromats: Return of the Repressed".
Another one-joke segment is titled "Portrait", opening cryptically in 1974 as a couple watches Nixon's announcement on TV that he's resigning (we only get the audio). Oriental beauty Jennie Rose's husband is a Grizzly Adams-styled extra, yet another cryptic element of the scenario.
Next we have Jennie in a robe painting a portrait of cop Ryan Driller, sitting stoically in his black uniform. Something's missing: she wants to see the fire in his eyes, so she slaps him and then asks to be handcuffed -oops, it looks like KK wants to inject her BDSM fetish in the scene. Ryan the cop gets fairly rough with her, though thankfully he doesn't go to those extremes that NYC cops did to poor Abner Louima.
Kayden's famiiar arthouse pretensions surface in "L'intervista", a vignette starring Valentina Nappi that unfortunately fails to pay adequate homage to the Fellini movie by this name. It does include some black & white photography and Italian dialogue. She's being interviewed about a movie she made with Isiah Maxwell, with Isiah also speaking a bit of Italian. They get the idea of having a threesome with the guy (Vince Karter) who is photographing the interview: cue Nappi delivering double penetration action for KK's camera.
I contend that Kayden Kross is in sore need of hiring a real scriptwriter -case in point: the final vignette here titled "Found Out", starring Blake Blossom. The token setup scene is so pointless and arbitrary that it makes the set-ups on all-sex labels like Brazzers look like Dostoevsky by comparison.
The handy one-liner from KK's liner notes sums it up. Blake Blossom is leafing through a pile of bills, the letters all stamped "PAST DUE", and she comes across an acceptance letter for her partner (Maximo Garcia) to publish an erotic novel he's written using a pseudonym. So she's angry at him for holding out on her. Their argument ends in seconds, as she suddenly sticks the crumpled up letter in her mouth, and bends over, showing off her ample rump to him, getting a pleasurable spanking.
So we have an idiotic excuse for some Rough Sex Lite, the entire point of the vignette. She loves it and submissiveness triumphs over justifiable anger. Garcia is no substitute for the real thing as a stud, namely big-dicked Manuel Ferrara (a/k/a Kayden's longtime partner). This is strictly porn filler, hardly up to the artistic standards KK has set for herself.
Penny Barber predictably provides the most interesting performance -she's an Adult Cinema actress for (to use a really archaic expression) "the thinking man". Her vignette titled "Tumble" takes place in a laundromat in September 1954, with the very modern stiletto heels shoes worn by her and femme extras a too-obvious anachronism, as well as the girls' short skirts. An extremely dull, wordless set-up lasts nine minutes, as she and fellow customer Manuel Ferrara exchange glances while waiting for their laundry to dry (about as interesting as watching paint dry -that famous movie cliche from "Night Moves").
Finally Penny makes her move, removing her coat to reveal fetish gear lingerie underneath. No fool he, Manuel locks the laundromat door and the instant couple hump away like rabbits. This sort of dumb scene makes me wonder if somewhere out there a grad student in sociology is writing a thesis on "Sex in Laundromats: Return of the Repressed".
Another one-joke segment is titled "Portrait", opening cryptically in 1974 as a couple watches Nixon's announcement on TV that he's resigning (we only get the audio). Oriental beauty Jennie Rose's husband is a Grizzly Adams-styled extra, yet another cryptic element of the scenario.
Next we have Jennie in a robe painting a portrait of cop Ryan Driller, sitting stoically in his black uniform. Something's missing: she wants to see the fire in his eyes, so she slaps him and then asks to be handcuffed -oops, it looks like KK wants to inject her BDSM fetish in the scene. Ryan the cop gets fairly rough with her, though thankfully he doesn't go to those extremes that NYC cops did to poor Abner Louima.
Kayden's famiiar arthouse pretensions surface in "L'intervista", a vignette starring Valentina Nappi that unfortunately fails to pay adequate homage to the Fellini movie by this name. It does include some black & white photography and Italian dialogue. She's being interviewed about a movie she made with Isiah Maxwell, with Isiah also speaking a bit of Italian. They get the idea of having a threesome with the guy (Vince Karter) who is photographing the interview: cue Nappi delivering double penetration action for KK's camera.
I contend that Kayden Kross is in sore need of hiring a real scriptwriter -case in point: the final vignette here titled "Found Out", starring Blake Blossom. The token setup scene is so pointless and arbitrary that it makes the set-ups on all-sex labels like Brazzers look like Dostoevsky by comparison.
The handy one-liner from KK's liner notes sums it up. Blake Blossom is leafing through a pile of bills, the letters all stamped "PAST DUE", and she comes across an acceptance letter for her partner (Maximo Garcia) to publish an erotic novel he's written using a pseudonym. So she's angry at him for holding out on her. Their argument ends in seconds, as she suddenly sticks the crumpled up letter in her mouth, and bends over, showing off her ample rump to him, getting a pleasurable spanking.
So we have an idiotic excuse for some Rough Sex Lite, the entire point of the vignette. She loves it and submissiveness triumphs over justifiable anger. Garcia is no substitute for the real thing as a stud, namely big-dicked Manuel Ferrara (a/k/a Kayden's longtime partner). This is strictly porn filler, hardly up to the artistic standards KK has set for herself.