all time favorite

FabFunk?

I missed Spike1983.

I like the one with oral sex in it.

Honestly, my favorite porno ever would probably be some softcore nonsense I taped off Cinemax at a friend's house when I was 12, because it had the most impact on my development (this being the last days before the internets killed the mystique of Skinemax forever). I don't want to mention a specific title, because it would leave me helpless to the wiles of anyone who wanted to research it. Hell, I've probably given any would-be seducer too much by basically announcing a weakness for soft focus and/or jazz.

As someone who grew up in the Kazaa age, I'm going to have to go with "BBW Chick gets raped by her father ass rimjob fisting xxx incest buttslut"

Jesus, Chris. You change your avatar and it's like you take on an entire new identity.

Chris, I'd positive rep you for that one if I could.

What Schwartz said.

When I was a kid, every talking to I got from my dad always ended with "and that reminds me, I'm canceling Cinemax." He never did, though. Too many classics, from WELCOME TO IBIZA to TAKIN' IT ALL OFF to SCENT OF PASSION to NIGHT RHYTHMS and on and on and on.

'H.O.T.S' and 'Private Lessons' were always on whenever my parents weren't home.

You saw that one too??

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Cinemax After Dark is probably one of the key aesthetic influences on my generation of American filmmakers. How many would admit as much is another thing.

Go back and revisit the Joe D'amato EMANUELLE films, a staple of the Cinemax line up back in the day. Crappy dubbing and frequently awful acting aside, there's more going on there cinematically than you might remember. D'amato toys with genre conventions big time. Everything you need to know about D'amato's thoughts on organised religion can be learned from THE DEGRADATION OF EMANUELLE; his opinion of feminism is open to interpretation in the underrated psychodrama EMMANUELLE'S REVENGE. Plus, from Joe Dynamo to Nico Fidenco, Joe D'amato film scores can be relied on for ultra-funky beats, making even the less-audacious bits (such as the comparatively dull sex scenes) watchable, and the best parts unforgettable. Plus, D'amato was originally a photographer/cinematographer, and he has a great eye for composition - the widescreen transfers of the EMANUELLE films are a revelation. He might not have had the hours it takes to get The Perfect Shot Every Time on these low-budget exploitation films, but he had very solid compositional instincts.

My re-evaluation of D'amato as a filmmaker came a couple of years ago when I watched a battered old VHS I found of BLACK COBRA (one of the unofficial "Black Emanuelle" films with Jack Palance, not the action movie with Fred "The Hammer" Williamson). In one continuous take, a snake is obtained, killed, cooked, and then served to Laura Gemser, whose facial expression as she eats it is unmistakable proof that you really did see what you thought you saw. Mind you, this is all all depicted wordlessly as part of a pseudo-romantic "hanging out in Hong Kong with my new lesbian friend" montage, if I remember it right. At that point, it became clear that I'd overlooked some quite subversive intentions in my adolescent quest for cable TV smut. Not that there's anything wrong with that.

But to keep it on topic, gotta ironically go with BLACK EMANUELLE, the original EMMANUELLE knockoff from Italy - which is not one of D'amato's.

Gangbang lessons 20...or

"Gutterballs", no contest.