Tag Archives: Remy La Croix

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.

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.”

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.

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.)

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.

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.

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.

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.

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.

 

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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.

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.