B. Skow is a chameleon when it comes to directors; a man noted for making quality gonzo, wall-to-wall titles, vignettes and features. In Daddy’s Girls, Skow directs a movie that years from now will be talked about as one of the most important of the decade. It is a directorial achievement that ranks as one of the very best of the year.
Daddy’s Girls stars Riley Reid and Maddy O’Reilly, playing the young daughters of Alec Knight and Evan Stone—respectively—with Riley playing a sexy but unstable girl who has sexual feelings for Alec while having no remorse for showing her mother Odile disrespect (at one point causing her actual physical harm). Maddy, in an award-worthy performance, plays a blind girl with her own issues. Alec, who is secretly in love with her, took her virginity long ago in what is implied as forced sex, causing Maddy to go away for some time in a mental institute. When she returns home things haven’t changed much, except in the case of Stone, who is showing signs of pancreatic cancer but refuses to do anything until it’s too late.
Meanwhile, at a dinner party to celebrate Maddy’s return, Alec finds himself in her room but is then caught by Maddy, who lashes out verbally at him for putting her through all the mental anguish she’s experienced. Her revenge of sorts is to sleep with him, but this time she calls the shots in bed, while Alec’s family is downstairs. Their sexual chemistry is undeniable, as Skow lets the performers be in the moment. Riley catches them in the act, and the second half of the movie revolves around her and how she uses her sexual powers to seduce the people in her life.
Despite the veteran cast, Riley is the standout in a role that propels her as one of adult’s leading performers. She completely steals the scene when standing side to side with Stone and Knight, both of whom deliver career performances as fathers trying to contain their taboo urges. Riley doesn’t make it easy, as the young vixen seduces Stone, mistakenly believing he is her father after a fling he had with her mother years ago. Using her body as an advantage, she uses it to seduce men online on a camming site; one of her regulars even demands she get a friend so he can watch them go at it. Riley sneaks into Maddy’s room and, like Riley’s father, also forces herself on Maddy, constantly asking Maddy if this is how her daddy does it to her. Maddy, also in a brilliant performance, succumbs to the petite Riley and Skow captures what is perhaps the best young girl/girl sex scene shot in years.
Supporting players Darla Crane and Odile also add a winning MILF-on-MILF romp after Riley completely doms and humiliates Odile after a heated argument. Despite their smaller roles, they deliver big on the sexual thrills and provide excellent acting performances alongside their male counterparts.
Skow never lets the taboo angle go too far out of line, keeping it classy yet edgy enough. But the performance by Riley Reid as a seductress with the hots for her father is one of 2013’s very best, and a role that puts her in A-list company for years to come. Same for Maddy, in a challenging but equally terrific performance that puts her on the same page as one of porn’s elite players. Skow has delivered a movie that works on all levels—sex, acting, casting, directing, story, cinematography, editing—and it will be praised by masses. Daddy’s Girl is one of the decade’s very best movies and Skow’s magnum opus.