Sweet Sweet Sally Mae

Sally Mae (Ana Foxxx) is looking to tie up some loose ends in her life and she’s finally found the trail that will lead her to the answers she’s been looking for. But before she can put her past to bed, she’ll have to match wits with drug Queenpin Ms. Jane (Valentina Nappi) and her harem of henchwomen. Will Sally Mae find the closure she’s been seeking or will she become another footnote in Ms. Jane’s criminal memoir?

Ricky Greenwood is fast becoming one of my favorite directors in the same way that Maddy Barton is becoming one of my favorite screenwriters. Barton pens Greenwood’s story here allowing this homage to 70s blaxploitation films to come to life. The tone and vibe of this movie are perfectly executed and from the moment the opening credits role the audience feels like they’ve been transported back to the 70s. From the funk-inspired soundtrack to the over-the-top trailer that precedes the film, everything about this movie screams period piece and I absolutely adored it. Ana Foxx is predictably fantastic and Valentina Nappi brings her A-game to the project as Ana’s foil. The supporting cast, which includes Misty Stone, is equally impressive; Isiah Maxwell is particularly good in his role.

The film opens with the prototypical 70s Black lead strutting down a dark street headed for trouble. With her owl-rimmed glasses and kaleidoscope printed shirt, Foxxx could have stepped straight off the set of movies like “Trouble Man.” She exudes the confidence that routinely accompanied Black protagonists in blaxploitation films and the audience knows right away that she’s not one to be fucked with. She meets with Polly (Misty Stone), a cop willing to sell her some information for the right price.

After Sally Mae leaves with the info, Polly’s girlfriend Ella (Sizi Sev) expresses her worry that messing around with drug Queenpin Ms. Jane is going to get them in serious trouble. Polly promises Ella that everything will be fine, and to prove just how unconcerned she is, she deftly seduces her timid companion.

Misty Stone is one of the best performers I’ve ever seen and she elevates this scene to amazing heights with her soft aggression and passion. Sizi feels like the shore being washed over by steady waves as Misty envelopes the young woman with her sex. Plenty of scrumptious ass shots combined with some incredible face-sitting make this a burner of an opener.

Having acquired Ms. Jane’s address from Polly, Sally Mae uses her med access (she’s a nurse) to steal a mountain of pills with the intent of offering herself as a street pusher for Ms. Jane. However, when she presents the drug lord with the product, Ms. Jane is unimpressed. When Sally Mae tries to take her offer elsewhere, Ms. Jane tasks her hit woman Tina (Julie Kay) to subdue Sally Mae, take the drugs and find out how the brazen upstart learned where to find her.

Tina finds Sally Mae a tough nut to crack, and Ms. Jane orders her best interrogation specialist Anita (Kira Noir) to finish the job. Anita is cold, calculating and deadly. She also happens to be fucking Brandy (Noemi Bilas); one of Ms. Jane’s errand girls. Like the scene before it, there’s a clear dominant force in this scene and it’s Kira Noir.

She totally overwhelms Noemie and controls every aspect of the sex. From the way she pins Noemie by the throat while grinding her pussy against her thigh, to the way she forcibly holds Noemie’s face in her pussy so she can cream into the young woman’s mouth, Kira dominates this encounter. Noemie has a fantastic ass and her pleasure shines through the screen like a spotlight in the dead of night.

With Sally Mae captured by the villains, the film breaks into a series of flashbacks which introduce Sally Mae’s karate teacher Trevor (Isiah Maxwell) and her step-sister Emily, played by 2021 XBIZ Best New Performer of the Year, Scarlit Scandal. We see Sally Mae learning to defend herself and we learn how close the two step-sisters are. It’s a touching moment that leads to the most passionate scene in the film. Scarlit is a beautiful woman and seeing her make love to the equally gorgeous Ana Foxxx is a pure treat. These two ladies scorch the room and not a moment of their fire goes unseen. The lighting and camera work are both impeccable and the result is a stellar lesbian scene.

Ms. Jane closes out the sexual shenanigans by rewarding Tina for eliminating Sally Mae. Again, the setting is divine and both ladies look spectacular entwined within each other. This scene kills on the strength of all the tits involved alone, but there’s a great deal of sensuality shared between these two that enhances the scene as well. They feel like more than drug dealer and henchwoman; they feel like an actual couple.

The film ends with Sally Mae finally tying up her loose ends in shocking fashion. The climactic twist comes right out of the 70s and serves as a perfect ending to this love letter to the blaxploitation era. It’s wonderful to see a major studio like Adult Time produce a film like this. After all the discourse over the summer of 2020, Black performers deserve to see the top studios keeping their promise to present performers of color on equal footing to their White peers. This movie will appeal to a wide range of fans and more projects like this should be on the horizon.