After a riveting stylized opening with Misha Cross in a field with a horse, we dissolve to Cross in a white couch in a white room, wearing just black high heels. Ramon Nomar approaches, clad only in black pants. After she ravenously blows him, she gets on all fours and he heads straight for the A as she howls, face in the couch. There is creativity in front of and behind the camera in this scene, as they play to each other and the camera follows their lead, close enough to see but not intrude.

Cherry Kiss is next, jeweled nakedness in a desert at sunset with fire and smoke. The dude in black trousers in the white room is Erik Everhard this time, first mouthing Kiss's clit as she writhes in pleasure (Cheat to the camera? I don't think so) and then dropping trou so she can return the favor as he groans, "Oh, fuck!" The performers lead and the camera follows again here, with Kiss lying back, legs apart, groaning, "Fuck me," and Everhard going in with his tongue instead. When they go into reverse cowgirl—anal—Everhard's hands are all over her from behind, grabbing, caressing, teasing. The intensity continues after the facial pop, with Everhard heading back to mouth her clit as she purrs, sated, "You're crazy."

Tina Kay is ankle-deep in the ocean to start scene three, in and out of a man's dress shirt, TK necklace glittering at her neck. Director Cross changes up the visuals with a beige bathroom and Chris Diamond in a grey towel around his waist, but maintains continuity with a white bathtub. Kay playfully two-hands his cock, licking its length before deep throating it and retreating with a gasp. Soon they're in standing doggie before he drops to his knees to pleasure her from behind as she humps his face. They take full advantage of the luxurious bathroom—the overflow tub is surrounded by rocks and it's next to an open shower with a showerhead the size of a hubcap in the ceiling—in this noteworthy scene.

Conclusion has Anna de Ville defying gravity in a suspended hoop before we get back to basics: white room, naked girl, man (Emilio Ardana) in black slacks (but not for long). She sucks him and then climbs on cowgirl, defiantly back to camera, before getting on all fours for doggie (with ass-pussy switchbacks) and aggressively fucking back on Ardana's cock. Director Cross fills the frame with de Ville throughout the scene, and she repays the camera's attention with a knockout performance.

Excellent eye-catching introductories lead into enthusiastic sex scenes with creativity, enthusiasm and heat. Did we mention enthusiasm? Stock with confidence.