Released | Aug 19th, 2020 |
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Running Time | 113 Min. |
Director | Ricky Greenwood |
Company | TransSensual |
Distribution Company | Mile High Media |
DVD Extras | Cumshot Recap, Still Gallery(ies) |
Cast | Melanie Brooks, Foxxy, Eva Paradis, Natalie Mars, Reagan Foxx, Dante Colle, Dillon Diaz |
Genre | Trans |
Eva Paradis confides to stepson Dante Colle that she's leaving his dad. "There's some stuff that's beginning to be a big problem. You know ... sex. I'm young, and I have my needs. I can’t go pick up guys. It's bad for me, and it's bad for your dad." Colle suggests that maybe she could get her needs met by hooking up with him—"I've had a crush on you for a long time"—and he proves it in the scene that follows.
Natalie Mars exultantly displays a new engagement ring to the consternation of roomie Reagan Foxx. When Mars demands an explanation of Foxx's pique, Foxx says she's envious of Mars's fiancé. Touched, Mars kisses Foxx, leading to a goodbye fuck. In a character-revealing move, director Ricky Greenwood catches Foxx's satisfied smile as Mars inserts.
In the extended two-for-one scene that takes up the last hour, TS Foxxy scandalizes visiting sister Melanie Brooks by grabbing Brooks' fiancé Dillion Diaz by the ass, hard, as soon as they walk in her door, and then Foxxy freaks out Diaz by flashing her hard cock at him from under her skirt. Alone at last, Brooks gives Diaz a quick blowjob in their bedroom. When he takes a shower afterward, Foxxy peeps, then walks in on him, turning off the water and sucking him as he murmurs, "You're better than your sister," before he turns her around and fucks her against the shower wall. Brooks, wondering where Diaz went, finds him in the shower as Foxxy takes cover behind him.
Diaz returns to Brooks in their bedroom—carefully locking the door behind him—for a return go-round, after which Diaz wraps a towel around himself and leaves, saying, "I'll be right back," not aware that Foxxy is lying in wait, ready for seconds.
Casual scenarios by director Greenwood and Nica Noelle make this title good for tentative newbies, and Matt Holder's fine cinematography—particularly in low light—is a definite plus.