My admiration for actress turned director Kayden Kross grows by leaps and bounds with the frequent release of new titles from her Trenchcoatx label, drawing upon that website for content.
This series of four vignettes demonstrates cinematic skill in terms of lighting, composition and direction, with storytelling taking a back seat as usual for the filmmaker. Having her also appear in the cast is a bonus.
Evelyn Claire is a striking find, not looking like a porn actress in her erotic fantasy set at a breakfast table with Manuel Ferrara as her husband. Even more stylish is the opening vignette featuring IR sex between Abigail Mac and Brit Porn import stud Stallion, loaded with interesting montage and lighting effects.
But the finale is KK's showpiece, as she and fellow alumnae from Digital Playground stardom (their names all trademarked by that label a decade ago) Jesse Jane and Riley Steele in a 3-character stage play directed by their old production manager Brah Bones, who gets a cameo. (Also cameoing is Chad Diamond, masturbating and ejaculating but otherwise not involved in the sex.)
Their characters make in-jokes about the old days when they played nurses and stewardesses, and it's interesting that only their first names (of their stage names) appear in the credits and packaging, as if DP "still owned them" (trademarks, that is).
I was disappointed at how Jesse's figure has blown up to plumper proportions, but expect that long-time fans will be intrigued to see their old favorites together again.
This series of four vignettes demonstrates cinematic skill in terms of lighting, composition and direction, with storytelling taking a back seat as usual for the filmmaker. Having her also appear in the cast is a bonus.
Evelyn Claire is a striking find, not looking like a porn actress in her erotic fantasy set at a breakfast table with Manuel Ferrara as her husband. Even more stylish is the opening vignette featuring IR sex between Abigail Mac and Brit Porn import stud Stallion, loaded with interesting montage and lighting effects.
But the finale is KK's showpiece, as she and fellow alumnae from Digital Playground stardom (their names all trademarked by that label a decade ago) Jesse Jane and Riley Steele in a 3-character stage play directed by their old production manager Brah Bones, who gets a cameo. (Also cameoing is Chad Diamond, masturbating and ejaculating but otherwise not involved in the sex.)
Their characters make in-jokes about the old days when they played nurses and stewardesses, and it's interesting that only their first names (of their stage names) appear in the credits and packaging, as if DP "still owned them" (trademarks, that is).
I was disappointed at how Jesse's figure has blown up to plumper proportions, but expect that long-time fans will be intrigued to see their old favorites together again.