Tag Archives: Dillion Harper

Hilarious Dads: A Review of Jacky St. James’ Father’s Day

by Rich Moreland, July 2014

In a classic stag of yesteryear, the main character is the butt of a joke that centers on an early version of the glory hole. On the other side of a farmer’s fence, the buffoon thinks he is copulating with a hottie he can’t see, but he’s in for a surprise. Three young women control the fun, substituting a goat for one of their own. It’s comedic porn in its purest form.

Comedy is the key difference between Jacky St. James’ Our Father (reviewed here) and Father’s Day, an amusing set of tales in which the clumsy step dad is seduced by his sexually aggressive stepdaughter.

father's day 10

The dads are hilarious. In the first episode, Evan Stone is a cheesy disco era throwback with an unbuttoned shirt, lengthy unkept hair, and a medallion. The second segment features a self-indulgent Hollywood agent (Steven St. Croix) who “seduces” his career seeking stepdaughter, but is clueless to the real deception. A shy and warmhearted Mark Wood is led by his stepdaughter through sex with a tender touch. Lastly, step dad Alec Knight is so embarrassed by his stepdaughter’s nonchalant poker face that the smiles keep coming along with her, of course.

These shoots are no nonsense porn unburdened by troublesome issues of real family sex. That’s their magic. Mom is never around and rarely mentioned; this is just a bit of fun.

That Would be Tragic

Casey Calvert is home for summer vacation and mentions that her stepfather always tried to be “cool with the kids.” Once she found this embarrassing, but now grown up, her affection for him has matured.

While cleaning Casey’s room, Evan Stone finds a small object sitting on the bed stand. Remembering his younger days, he immediately thinks drugs and confronts his stepdaughter. Suppressing giggles, Casey casually mentions it’s an “anal plug.”

Casey and Evan Photo courtesy of Eddie Powell

Casey and Evan.
Photo courtesy of Eddie Powell

In an amusing exchange, Evan admits that in his time unless a man was gay, he would rarely have anal sex. “Your mother thinks it’s disgusting,” he says.

“Well, I don’t,” Casey responds and raises her miniskirt to reveal another toy inserted in her backdoor.

With tongue firmly planted in cheek, she says, “You can’t die without ever experiencing anal sax. That would be tragic.”

With pants quickly unzipped, dad is in for a treat.

Other than carrying on a dirty talk monologue, Evan Stone’s character steps aside because the shoot is all about Casey Calvert’s provocative and exotic look. Porn is a menagerie of female body types and the sultry Casey’s is smooth, pure, and perfect.

With her characteristic “bang me hard” frown, she deep throats, loves rough sex and choking, and alternates seamlessly between anal and vaginal penetration. Her reverse cowgirl is the best shot in the entire film. By the way, don’t miss Casey’s turquoise heart-shaped ear studs, appropriately tacky for the sophomoric college girl look.

Of course, a St. James motif is in every scene. Notice the three-pronged candle stand. The center candle rises above the other two, just as anal dominates oral and vaginal when Casey gets down to work.

Jacky St. James’ casting is close to perfect. Evan is the right look for this scene and Casey Calvert is worth the price of the DVD.

The ear studs and a hot frowning Casey. Photo courtesy of Digital Sin

The ear studs and a hot frowning Casey.
Photo courtesy of Digital Sin

Incredibly Naive?

“I guess you could say I nailed the part,” Remy La Croix thinks after doing her step dad Steven.

This episode borrows an old stag theme, the casting couch. Remy is a Hollywood hopeful and stepfather Steven a big deal agent who wants to play her in the finest Tinseltown tradition.

Eying his “incredibly naive stepdaughter,” the self-assured Steven fully intends to use his power to satisfy his carnal desires.

First, he must get her to ditch her hula hoop and “girl next door” look. (Remy La Croix is more than an award-winning porn performer, she’s an accomplished hula hoop artist and dancer.)

Dad, daughter and the hula hoop Photo courtesy of Eddie Powell

Dad, daughter and the hula hoop.
Photo courtesy of Eddie Powell

The high comedy of this episode occurs in the bathroom where Steven’s freshening up routine is sensational . Set for the kill, he kisses a photo of himself hanging on a hook beside a towel.

Later, Steven puts his hands on Remy’s hips, drawing her close to him. “What are you doing?” she protests weakly before demonstrating how much she wants the part and, co-incidentally, how well she is playing a part. As the supposed “victim” of his power play, Remy’s drama skills rival Steven’s bathroom antics.

The diminutive veteran’s sweetness and natural body highlight this segment. Steven and Remy have an overflowing mutual chemistry that underscores their teamwork.

Remy and Steven. Photo courtesy of Digital Sin and Jacky St. James

Remy and Steven.
Photo courtesy of Digital Sin and Jacky St. James

Like other scenes in Father’s Day, this vague familial set up is overtly covered in a porn overlay. The plot line tends to scoot away, though in her usual manner, Jacky St. James drops in a reminder that it is still relevant. In the background are two items of note on a shelf: a pair of trophies (who really wins one for their deception?) and a modern sculpture of two s-shaped figures, one looming over the other. The flowing motion of the art work relfects the Remy/Steven sexual Show.

Incidentally, Eddie Powell’s cinematic trademark—facial close-ups—eroticizes the sex no matter what the shoot demands. Remy La Croix knows how to balance enticement and innocence with subtle expressions.

After the pop, Remy’s voice over reveals a humorous little twist that begs the question of whose lusts are fulfilled. Her wry smile tells all.

The Unbroken String

For anyone who fantasized about making the grade with the blonde cheerleader type will love newcomer Lucy Tyler.

Having attended a sorority gathering with step dad Mark Wood, Lucy wants an after-date payoff. He walks into her bedroom with a few cut flowers as a “thank you” and she seizes the opportunity, pulling his tie to give him a kiss.

Thinking sex with an older man may disgust her, Mark is hesitant. But Lucy tosses aside his concerns along with the flowers. She has an unbroken string of dates with sex afterwards, she says, and she’s not about to stop now.

Mark and Lucy Photo courtesy of Digital Sin and Jacky St. James

Mark and Lucy.
Photo courtesy of Digital Sin and Jacky St. James

Behind her cute, huggable demeanor, Lucy Tyler hides a lusty appetite that feasts where it likes. Though the sex is fairly standard (oral, doggie, mish), Lucy’s smiles create a lighter atmosphere than Casey’s wicked sensuality and Remy’s manufactured naivete.

In a chair beside the bed is a mysterious pair of black platform heels pointed toward the action. Why?

At the end when Lucy and Mark are cuddling like lovers, she says in a voice over this was the day she “slept with her mom’s husband.” The phrasing is odd. Perhaps she doesn’t think of Mark as a father because he is a recent addition to a family she is growing out of, thus the slutty shoes, a mother-daughter commonality positioned to spy on a blossoming affair.

You Should Just Look

The final vignette features a down-to-earth Dillion Harper who disrobes bit by bit in front of her stepfather Alec. The game is strip poker and Dillion manages to lose repeatedly. As her nakedness takes over the tale, Alec psychologically backs away, fighting temptation in the name of preserving family dignity.

A little discomfort now has a payoff later! Photo courtesy of Digital Sin and Jacky St. James

A little discomfort now has a payoff later!
Photo courtesy of Digital Sin and Jacky St. James

He wants to know if she is bluffing him (what do you think?) only to get “Are you flirting with me?” from Dillion. At the height of the merriment, her boobs are staring at dad. “You should just look,” she says, before losing the last hand.

Once the panties are gone, they sit across from each other with mischievous stares.

The camera shifts immediately to the sex and Dillion’s slurpy, bubbly oral is her calling card. She’s as nasty as they come (pun intended) and her eagerness absorbs Alec’s manhood. Because she passes for barely legal, Dillion is perfect for the stepdaughter role.

Dillion enjoying dad. Photo courtesy of Digital Sin and Jacky St. James

Dillion riding dad.
Photo courtesy of Digital Sin and Jacky St. James

This segment has a couple of shooting moments the others pass over. There is good male to female oral and Dillion gets a partial facial, a Jacky St. James concession because most feminist filmmakers prefer to avoid them.

 

 *          *          *          *          *

In the modern era of adult film, the array of fetishes can overwhelm the viewer. Sometimes just straight up sex, charming and not overly gonzo, is a treat.

Of course, the performers are the linchpins of memorable shoots, no matter the subject.

Casey Calvert, a girl who cares and gives her best in every scene. Photo by Eddie Powell

Casey Calvert, a girl who cares and gives her best in every scene.
Photo by Eddie Powell

In the Behind the Scenes segment, Lucy Tyler references the industry’s earlier days when talent would sometime look bored and disinterested. Her remarks brought to mind 1990s director Greg Dark who tired of the business for a variety of reasons, one of which was the attitude of the starlets. In his mind, they showed up for the money, had sex with a “fuck buddy,” and left with no thought of how their performance turned out.

Today the art of porn is challenging such attitudes. Performers, and the directors who bring them together, take pride in their work in a business that is moving closer to mainstream culture. Nowhere is that more evident than in the films of Jacky St. James whose fans can be certain there is no ennui on her sets. In an industry that can get trapped in its reliance on sameness, a St. James shoot has hardworking talent that imbues every scene with a fresh outlook.

Father’s Day stands as evidence.

 

 

 

2 Comments

Filed under Uncategorized

Thirty Hours

by Rich Moreland, February 2014

Southern_Hospita_525c65e2f0d49

Southern Hospitality is a B. Skow film about accommodatin’ love and marriage hillbilly style, Appalachian sociability fueled by homemade liquor and outfoxin’ the law. Jon Jo (Evan Stone) is a landowner of little note who collects female property he passes off as wives. As the movie opens, he’s marrying mate number three, “Small” (Alex Chance). After the informal ceremony, JJ gives his newest wife over to his other honeys, a somewhat disenchanted “Large” (Ash Hollywood) and a bored “Medium” (Dillion Harper). They’ll warm her up in a classic Girlfriends Films all-girl scene before Jon Jo collects his husbandly due, her virginity. At least, that’s the plan. It’s the second part that gets mucked up.

Unbeknownst to this happy group is the arrival of the Fuggs, a lawless family of Mama (Darla Crane) and her three sons: Tiny (Richie Calhoun), Teeny (Billy Glide), and Mighty (Tommy Pistol).

Jon Jo consumes too much moonshine to keep his thinking cap on so Mama and the boys squat on his land, set up a still, and percolate trouble.

In the meantime, Tiny and Medium fall in love (after she sneaks peeks of him in the shower) and hide out to avoid family entanglements. Suddenly, lightning strikes. Ash and Small go searching for Medium and Small falls victim to sexual assault from the leftover Fuggs.

The rest of the story is about revenge and final reconciliation with all the Hillbilly grace one film can muster. Bodies are buried and plans changed in an entertaining tale that is carried to its success by two performers, Ash Hollywood and Alex Chance.

A throuoghly enjoyable film, Southern Hospitality is brimming with B. Skow ingredients: good acting, humor, a dark side typical of Skow, and a heavy dose of social satire.

The Voiceover

Let’s take a further look at the film through a discussion with B. Skow, one of Porn Valley’s directing elite.

B. Skow Photo courtesy of Bill Knight

B. Skow
Photo courtesy of Bill Knight

Southern Hospitality survives and moves forward through the voiceover narrative. Ash Hollywood is the chronicler and as an actress faces formidable tasks. She must convince the audience her character, Large, is coming into her own as the story progresses and do it with a southern drawl that sells the tale.

In talking about Ash, Skow reminds everyone that his films are “just like Hollywood” where good actors (he mentions Meryl Streep and George Clooney) are going to create winning roles.

“There are certain people that perform,” the director says. “Ash is just a great performer [and] she has an interesting look.”

Commenting that Ash had “so much dialogue” along with the voiceover, Skow describes hours of one-on-one directing that were “relaxing” rather than tedious and, from a director’s standpoint, creatively challenging. “You can really work with an actor to give you what you need,” he says, adding in this case it was the dialogue that made the story convincing. “We were in the room for hours with her [Ash] trying to get that stuff down. It was so hard to keep the accent [going].”

Ash Hollywood Photo courtesy of Rick Garcia and AVN

Ash Hollywood
Photo courtesy of Rick Garcia and AVN

B. Skow affirms that despite the demands and hard work, the film was completed on time. “You know, I had thirty hours to do that movie,” he says.

Ash Hollywood also plays the one character that develops during the film. She is the movie’s central focus. In the end she stands up to Jon Jo and leads the final getaway, completing her empowerment image.

Loved the Part

Asked about Alex Chance, Skow says, she “has a specific look in her.” She’s “young, cheery, great girl” and a good actress.

Alex is perfectly cast as the innocent third wife whose future, according the rules of Hillbilly Haven, is shattered when she’s molested and penetrated in a modified gang bang with Teeny and Mighty. Her sadness and hopelessness at the loss of her virginity is powerfully portrayed as the film moves toward its climax. If Ash Holloway is the narrative’s driving force, Alex Chance is the emotional glue that holds the story together.

B. Skow describes what he loves about the native Virginian.

“In the movie she really held the accent, really loved the part,” he says. Alex appreciates being in a feature, he notes, a circumstance not always true of other performers.

Alex Chance Photo courtesy of Rick Garcia and AVN

Alex Chance
Photo courtesy of Rick Garcia and AVN

“Some girls come on the set and make their money, got their underwear in a zip lock bag,” Skow begins. “Then you have an Alex Chance who comes in. She’s printed out the script not only for herself, but in case someone else needs it. She highlights her lines.”

He remembers Alex telling him she watched a media presentation to get the accent down.

For her efforts, the buxom lass gets the highest of compliments. “She appreciates the business,” Skow explains. “There are certain people who accept what we do and appreciate it and enjoy it.”

Pausing in a reflective moment, B. Skow compliments Girlfriends for giving him “full freedom” to explore his creative mind. In this case, Alex Chance accommodated his fantasy.

“The way she took the cum shot on her face,” he says, was important. “Instead of [the typical] porno where you’re doing a scene like that [and] all of a sudden the girl jumps up and rubs the cum on her face and smiles,” he declares, Alex made the shoot “more realistic.”

Working with Alex Chance was rewarding because Skow wanted to film the scene as it would happen naturally, or as he suggests, unimpeded. Many directors look for chemistry first among performers, but that’s not always what motivates B. Skow. It’s the scene as it is embedded in the feature that counts. In the case of Southern Hospitality, “everyone understood it and did it,” he says.

In fact, sexual connections among performers may not always be good for a feature, he insists. “During the fucking, chemistry should be there, they need it,” Skow admits, but “they also need to remember what they’re doing. You need to be able to get them into a character.”

He returns to Alex Chance, describing what she faced as an actress. “You’re in a situation [the molestation] with two dirty hillbillies who haven’t bathed, you’re not swallowing their cum and enjoying it. You’re letting it hit your face because you’re scared of being slapped.”

“In my head I want to see how that girl’s going to react in that moment,” Skow says. He wanted a realistic response from Alex. He was not disappointed. “She was awesome!” he says.

Our Way

Southern Hospitality has good sex. For the viewer who wants to sit back and enjoy a scene, Richie Calhoun and Dillion Harper are a “can’t miss.” For fans of older woman/younger woman, the predator theme that Girlfriends values so highly, Darla Crane and Ash Hollywood fill the bill.

But it’s the satire and social commentary that makes this version of Hillbilly Haven a winner.

When Large tries to explain to Mama Fugg how the wives of Jon Jo are arranged in a familial way, Mama responds, “No offense girly, but ain’t you a little too far from Utah to have such an arrangement?”

Large defends the Hillbilly ethos. “We ain’t Mormons or nothin’. We have our way of livin’.” The implication that “our way” is somewhere in Kentucky makes this Appalachian social zinger too good to miss.

B. Skow does not deny part of his work is satire. “I wouldn’t want to generalize,” he begins, but “I definitely have that in me, I’ve always had that weird way of looking at what I like. I’m very observant and my mind goes into very unusual places.”

Is he politically correct? Perhaps not and he doesn’t see that as an issue.

“I think it’s fun to be comfortable and do things where people are going to be like, ‘Oh my God,’” he says. Then in a  moment of social commentary, Skow observes, “We’re in a time when people are putting everything about themselves everywhere.”

Personally, it’s not something he can do. “I’m not comfortable with it,” he says, “it would take me a half hour to write a sentence on twitter. I have nothing to say about myself.”

Geniuses often don’t, their art is their expression.

But the implication is clear. When putting yourself out there for all to see, political correctness is difficult to maintain.

Perhaps that is B. Skow’s message in Southern Hospitality, a hilariously dark and funny film that is a satirical gem.

2 Comments

Filed under Uncategorized

Just a Dirty Girl

by Rich Moreland, January 2013

thumb_Bad-Les-front

A reluctant burglar, phone sex, a murder and a girl who prefers to knit sounds like a super plot any Hollywood writer would love.

These explosive elements are part of four vignettes Girlfriends Films (GFF) has turned into a steamy little number called “Bad Lesbian” and it’s worth a good look.

Waiting in the Shadows

In the first narrative, Dillion Harper is the thief who’d rather not and Cassandra Nix is her partner who resorts to cheap tricks to keep the lovely bandit’s body close to hers. Pretending she’s been knocked round after getting nabbed purloining, Cassandra convinces her reluctant pal to soothe her wounds.

In short order, she turns the tables on a surprised and sympathetic Dillion.

Cassandra Nix and Dillion Harper Photo courtesy of Girlfriends Films

Cassandra Nix and Dillion Harper
Photo courtesy of Girlfriends Films

 “If you hadn’t left me there, this wouldn’t have happened,” Cassandra says. It seems Dillion ran and now it’s time for another trip, the one over guilt.

To preserve their mutual thieving agreement, Cassandra waxes tender. After the kiss, the sex is underway.

In classic GFF manner, the predator takes over and “runs the fuck,” as the old saying goes. There is a smidgen of revenge in Cassandra’s plan. She grabs Dillion’s hair and grinds her crotch against the weaker girl’s face and playfully slaps the sweet little brunette, a statement of who is in control. The tatted Cassandra Nix is a veteran of Kink.com. It’s all been done to her and now it’s a lesson in rough love for Dillion.

Crime and dominating sex is also the theme of the fourth and final vignette. Natalie Heart is the abused and desperate daughter; Allie Haze, her new found tomboi friend. Allie’s switchblade dispenses with the inappropriately horny dad while the compliant Natalie waits in the shadows.

Natalie Heart and Allie Haze Photo courtesy of Girlfriends Films

Natalie Heart and Allie Haze
Photo courtesy of Girlfriends Films

“There’s no turning back,” the street tough Allie tells Natalie, who hides her timidity behind a smile. A double meaning is in play here because Allie will possess the meek brunette for her own pleasure. Natalie’s choices are non-existent.

After the carcass is hidden away, Allie toys with Natalie’s sultry body. There’s lots of oral and finger banging, characteristic of each episode in the four-part package. Allie’s macho aggressiveness and Natalie’s natural assets add to the real attraction of this vignette: two emotional loners who have stumbled onto each other. When the scene concludes, the viewer is left wanting more.

Changing Plans

If parts one and four have a somber tone, two and three are lighter. When the predator girl is not at first obvious, the viewer needs only to find the boots. The pleasingly tatted Ash Holloway, the phone sex girl, wears them in the second narrative. This vignette is a charmer of opposites. Ash is the sexually charged college dropout and Kiera Winters the nerdy girl who is studying her life away.

Kiera spots Ash taking a call in her family’s backyard and investigates. The punkish looking blonde explains the walls in her house are “paper thin” and she wants to keep her $30-a-call gig from her mother. Kiera is curious and Ash suggests she change her plans, at least for the day.

“You’re about to spend four to six years of your young adult life buried in books,” Ash declares. “Have you ever done anything crazy?” Then she tells Kiera there is more fun to be had than just talking filthy on the phone.

Kiera Winters and Ash Holloway Photo courtesy of Girlfriends Films

Kiera Winters and Ash Holloway
Photo courtesy of Girlfriends Films

Kiera is game and this petite Bobbi Starr look alike sells this narrative. Girl-on-girl sex has a huge male audience and GFF fans will place themselves into the scene and consume the diminutive brunette. She is that sweet.

The episode has terrific girl/girl chemistry. Their mutual oral is superb. During the sex, Ash finger bangs Kiera and reinforces their dalliance with a smutty “Deep down, you’re just a dirty girl.”

Narrative three between adopted daughters is the hottest of the DVD. For sheer sexiness, Bailey Blue and Casey Calvert are hard to beat (though both take their share of blows at Kink.com, pun intended) Bailey is the aggressor (spot the boots) and the very submissive Casey is the girl who knits.

Casey is trying to maintain a self-imposed celibacy but her “sister” persuades the gorgeous brunette to drop the knitting needle and go out on the town. Later when the sex begins Casey’s facial expressions unveil the hesitancy she feels. Using her eyes to frame her emotions, the AVN nominee for starlet of the year (include Dillion Harper in that elite group, by the way) is outstanding in roles in which she plays the reluctant, unsure girl.

Bailey Blue and Casey Calvert Photo courtesy of Girlfriends Films

Bailey Blue and Casey Calvert
Photo courtesy of Girlfriends Films

Bailey portrays the spunky sibling to a tee. Their sex is hot and mutual without an aggressor, produced by two actresses who are building solid careers.

One more observation on Bailey and Casey, their scene has the highest degree of verisimilitude. In other words, two adopted daughters sexually involved with each other are quite believable in today’s world of blended families. As a result, the acting is carefully crafted to authenticate the situation. Bailey is appropriately petulant and Casey’s frail resistance tells the story. Kudos to both performers.

*          *          *          *          *

In the pairings of each story, the performers create natural connections, a linchpin of Girlfriends Films. The power differences of actual lovers won’t work without real sex and reasons for the girls to dive into each other. In each episode, the girls are opposites of some variety, at first communicating their differences before yielding to the mutual chemistry that brings the contradictions together and initiates their erotic play.

The qualities of a Dan O’Connell production elevate porn to art. He uses three crew people and in most scenes, two major camera angles. Bodies are framed equally from there, minimizing the anatomy lesson of gonzo porn. Effective editing mixes shots that are sexual but not always graphic. The result is a sensuality characteristic of mainstream film with high priced talent.

This kind of movie magic doesn’t happen without planning and a carefully managed on set experience. Few studios do that better than GFF.

 

Leave a comment

Filed under Uncategorized