Three factors make this an Editor's Choice: 1) Jeanna Fine's nomination-worthy acting performance, one of the strongest of the year; 2) Martin Brimmer's thought-provoking script, which addresses the question, "can sex peddlers be good people?"; and 3) the sizzling sex scenes -- especially those with Brooke Waters and Kaitlyn Ashley (who have never looked better).

Jon Dough plays a newspaper advice columnist who goes by the nom de plume "Aunt Annie," and Jeanna Fine is his heartless, Nietzsche-quoting editor, whose first and only commandment is: Sex Sells. Dough the idealist wants to actually help people with his column, but Fine reminds him that readers aren't interested in other people's sob stories. They want to be titillated by tales of sex.

Typical of the kind of letter she wants to run comes from lovely Brooke Waters. Every night, Waters' neglectful husband comes home from work and passes out on the sofa with a six-pack, and she gets it on with Alex Sanders right under his nose. Man, this scene boils over, and it deserves a nomination for best couples sex. Both stars seem totally into each other, and they do one of the most awesome doggie styles ever witnessed on the small screen. Waters' trim back arches into a "U," her magnificent, pale ass sticking up like an irresistible cock lure. Sanders gets aggressive, pinning her arms behind her back and pulling her hair as he plunges into her sky-pointed poontang. A creatively positioned missionary on the floor follows, with Waters' feet hovering on either side of his head. Gorgeous! Finally, with the conviction of someone possessed by lust, Waters orders Sanders to come in her mouth, and she swallows almost every drop.

Back in the real world, Fine picks up two tasty young babes (Amanda Addams and Dallas) and brings them to a motel to "perform" for her. She refrains from participating (well, except for a few quick licks of Addams' pussy), because she wants to stay faithful to lover Kaitlyn Ashley. While Fine's opening scene establishes her character as a stereotypically heartless, businessperson, she uses each subsequent appearance to add new layers of personality, gradually creating a compelling, three-dimensional character.

Dough knows about this tryst and goes to comfort Ashley. Is he really Mr. Nice Guy, or is he taking advantage of the situation to get between Ashley's legs? The issue is purposely left ambiguous, which ties into the underlying theme of the story: can those who sell sex still be good, decent people? and conversely, just how "pure" are the do-gooders who campaign against smut? While you're pondering that, relish the sight of Ashley and Dough coupling on the sofa, with another sublime doggie fuck.

Fine comes home and kicks Dough out, chiding him for being a hypocrite. She then makes up with Ashley in a sapphic scene that is filled with so much warmth you will believe that Fine and Ashley are real-life lovers. Back at work, Fine takes over the column herself, penning a letter about a girl in a bar that dissolves into a three-some with Jordan Lee, Tom Chapman and David Hardman. After a d.p. on the bar, three cocks explode on Lee's face -- that's right, three (maybe one was a stunt cock that Emerson didn't want to waste).

Dough strikes a bargain with himself in order to keep his job. The dramatic resolution lies in exactly how he works this out without compromising his integrity. The climactic scene with Dough and Fine, bringing to life one of his sex letters, is another winner. Fine is one of the world's all time best cock suckers, and she takes a mouthful of Dough's jism and swallows it with pride.

Kudos to director of photography B. Wood and make-up person Marianne for making all the performers look so good. This provocative feature manages to serve up some uncommonly good sex while tackling ethical dilemmas common to the adult industry with intelligence and heart. Retailers, don't hesitate to stock heavily.