Reviewed by Sexherald Staff
I am, as I’ve admitted time and again in this column, a fetishist. I don’t really have a ‘core kink’ because mine is, in fact, kink itself. I have shaken my stick at more fetish videos than most stores have in their entire kink section and participated in a few with some very willing partners. I’ve also seen a lot of bad productions. And in all that time, I have never once seen a film that kept me as continuously excited as the present production. Infrequently we find the type of film that hits all the buttons at a very base level. Slave Girls Vol. 2, fortunately for us, is one such film.
There is so much deliciousness to be devoured here that I find it difficult to choose any definable starting point. Salient characteristics include a treatment of the living dolls as scene PARTNERS instead of whipping posts, careful attention to details such as continuity of control, and the proper use of restraints separate these scenes from others that have come across my screen. Christian St. Croix’s role play with Kimberly Kane also stands out from the pack. Ye Aulde Crooked Cock has put on Oscar-worthy performances in such notable films as Wonderland, Pirates, and finally the current theme where he plays a convincing hardcase Army Coronel intent on forcing a young female recruit to wash out. The two battle for psychological supremacy in the confines of what appears to be an interrogation room, until the sex begins, and it is just what you would expect from such a pair – highly physical.
At first, she is restrained with ropes, still dressed in her fatigues, until she has managed to bring his soldier to attention. He bends and presses her ino the mattress in several different positions, and she is apparently willing to reciprocate, telling Col. Croix that she ‘can show you a thing or two’ once the ropes have come off. This scene ends with his weapon discharging on her face al close range.
Venus’ futurotic, post-apocalyptic montage continues the adventures into the fantasy realm, with an opening shot of her, red tresses cascading beneath a WWII style rubber gas mask and nearly nothing else save her platform PVC boots. She picks her way through a desertscape scene to finally pose on a rock outcropping, straing wistfully off into the distance as dusk approaches. Further along the prickly pear-lined path, she comes upon an abandoned roofless storage space, inside which an orange jumpsuit clad escapee is hid, hi arms bound in chains to an overhanging beam. She teases him, massaging his turgid totem with her curves, toying with him, telling him he has to make her want it. And reminding him ever so gently that hter is truly nothing he can do about it. She finally relents, releases him from his bonds, and in return he spends the majority of the scene proudly parading through her posterior portal, an act she wholeheartedly enjoys. His desire builds, his passion overflows, and in the heat of the moment, bids her don the mask once again that he might cloud her vision with his snake oil. Their afterglow matching the final blaze of sunlight before nightfall, he captures her, in a reversal of fortune, and binds her in the very same chains from whence he came.
None of these, however, should in any way detract from the stellar performances turned in by the likes of Tory Lane, whose on camera endeavors have improved a hundredfold after her decision to include anal penetration, Tiffany Mynx who seems to specialize in all things fetish, and the ever lustful Katsumi, whose smoldering looks are every kinkster’s wet dream. Space does impedes me from belaboring the point, and for any other clarifications, you must view the fabulousness for yourself.
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