Take What You Can Get

Yes, famous pornographer Bree Mills is definitely into misandry, a standard feature of her Pure Taboo series. This pair of vignettes from the web coupled for DVD release provide unsubtle evidence.

Title scene is a one-note exercise in manipulation and abuse of the fairer sex by a beastly male teen. Lucas Frost fits the casting, as his arrogance and hissable behavior is flatly, matter-of-factly presented by the wooden actor.

He portrays a high school big man on campus, interviewed by mousy school newspaper reporter Aften Opal. His nasty, condescending remarks soon turn into aggressive coercion as talk of prom turns to him offering Opal a mercy f*ck while belittling her.

Typical of a Bree production, characters' behavior is never made credible, as Opal quickly accedes to his offer and is orgasming like a house of fire, while completely abandoning her "innocent virgin" character. Tedious sex positions end up with an intentionally cornball porn-tribute "cums on her glasses" climax and mean-spirited ending. Lucas the straw-man evil male is way too blatantly portrayed to have any impact, other than offering Mills' male audience the usual Pure Taboo sadistic pleasure.

Supporting program title "Massage Bait" runs a ridiculous 77 minutes in duration, way overlong for a single XXX scene. Bree wrote this one and co-directed with her since "flew the coop" hack helmer Craven Moorehead.

It has little Chloe Cherry the victim of a crime couple Derrick Pierce and Aaliyah Love. Love is a masseuse Chloe knows since her school days, and the older woman is an enabler of her husband's perversity. She suggests a four-handed massage, and Chloe accepts, only to be severly abused by the tattooed stud.

Endless sex scene turns into a female-cuckold exercise, as Aaliyah sits crying, watching her hubby pound the young girl. Love turns into a raccoon-eyes Eva Green imitator, as her mascara runs in what would be a comical effect if Craven & Bree had a sense of humor. Hopeless ending seals the overall depressing Pure Taboo POV.

Bree's pretentions of being taken seriously are contradicted by this sort of insincere content: indulging sadistic tendencies for fun and profit. And oh yes, repetitiously reminding us that men are bad.