Christy Canyon, Serenity Cox, Brandi Love, and Phoenix Marie in American MILF (2024)

Maitland Ward

Gabbie Carter

Mona Wales

Kayden Kross

Poetics for Tramps

Artcore revisited

I&apos;ve been a fan of Kayden Kross&apos;s directorial career almost from the beginning, and continue to be impressed by her work for the Deeper label. This edition doubles down on the glamor and style she&apos;s known for, but has the drawback of continuing to stress pretentiousness that can be quite offputting.

The four scenes are presented as oh-so important, an attitude that is hardly justified once the all-sex gonzo content inevitably takes over. Two orgies employ a vast cast of current talent, ranging from superstars (see Angela White, Maitland Ward and Kenna James humping side by side in a mass of a dozen bodies) to filler studs (Mazee).

One of the orgies is led by Mona Wales, supervising and looming large over a group of young lovelies, all mixing sex with food in bacchanalian fashion. Omnipresent is Oliver Flynn, featured in every vignette, and treated to a 5 on 1 reverse gang-bang in this segment titled &quot;Chaired&quot; (named after their playing a game of Musical Chairs).

There are cryptic elements that help pique and keep my interest, even though they&apos;re rarely resolved. Gabbie Carter is outstanding in a scene titled &quot;Women&apos;s Work&quot; in which KK dares to foreground a feminist theme. Voluptuous dream girl Carter is cast as a very young wife who&apos;s tired of living in the shadow of her husband (Flynn of course) and takes the opportunity to spontaneously go the extra mile in support of his career by instantly seducing his cold boss (veteran Michael Stefano). This is one vignette that packs a punch.

Maitland Ward gives a strong performance in &quot;At Last&quot;, no Etta James music included, as she plays an aging beauty who picks up Flynn on the street and makes him her kept boy. KK keeps the viewer waiting as the pair idle away the time languorously all prim and proper before finally hitting the sack.

I've been a fan of Kayden Kross's directorial career almost from the beginning, and continue to be impressed by her work for the Deeper label. This edition doubles down on the glamor and style she's known for, but has the drawback of continuing to stress pretentiousness that can be quite offputting.

The four scenes are presented as oh-so important, an attitude that is hardly justified once the all-sex gonzo content inevitably takes over. Two orgies employ a vast cast of current talent, ranging from superstars (see Angela White, Maitland Ward and Kenna James humping side by side in a mass of a dozen bodies) to filler studs (Mazee).

One of the orgies is led by Mona Wales, supervising and looming large over a group of young lovelies, all mixing sex with food in bacchanalian fashion. Omnipresent is Oliver Flynn, featured in every vignette, and treated to a 5 on 1 reverse gang-bang in this segment titled "Chaired" (named after their playing a game of Musical Chairs).

There are cryptic elements that help pique and keep my interest, even though they're rarely resolved. Gabbie Carter is outstanding in a scene titled "Women's Work" in which KK dares to foreground a feminist theme. Voluptuous dream girl Carter is cast as a very young wife who's tired of living in the shadow of her husband (Flynn of course) and takes the opportunity to spontaneously go the extra mile in support of his career by instantly seducing his cold boss (veteran Michael Stefano). This is one vignette that packs a punch.

Maitland Ward gives a strong performance in "At Last", no Etta James music included, as she plays an aging beauty who picks up Flynn on the street and makes him her kept boy. KK keeps the viewer waiting as the pair idle away the time languorously all prim and proper before finally hitting the sack.

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