Cast: Raven Alexis, Brooke Haven, Lou Charmelle, Charley Chase , Erik Everhard, Scott Nails, Manuel Ferrara, Mick Blue, Charles Dera (behind the scenes only, not credited in film).
Date of Production: 06/22/2010
Extras: The major extra feature is an eleven minute behind the scenes that provides a few random moments and a little info on stars via interviews, mostly taken between scenes. There’s no indication of who shot the footage or was even asking the occasional question, so it’s easiest to presume a production assistant. It also reveals an oddity, one that suggests the last scene shot was the one with Brooke Haven and Mick Blue. There’s reference to the scene with Erik and Raven having been completed, footage from the shooting of Lou, Erik, and Scott, and reference to Manuel and Raven’s upcoming scene. There’s a passing mention at the very end of Brooke having finished her scene, but Mick never shows up. Charles Dera does in the BTS intro, but never again. Not in the film, not in the credits, not even in the behind the scenes! It’s possible his scene was either cut, but also possible he was replaced by the extremely similar looking Mick Blue since the editing implies he was working with her. That aside, it’s not a particularly interesting segment, just some fluff with a few tidbits.
There’s also a gallery of massively airbrushed pictures, mostly from the shoots and all recycled for the slideshow; that feature is the same pictures displayed over 4 minutes with music. There are also trailers for other Digital Playground movies, and a “Contact” button that shows the web address for Digital Playground.
The chapter menu breaks things down into 18 parts. Several of them which should be at the beginning of the scene are actually several minutes in, definitely missing the mark.
Audio/Video Quality: The technical quality of the Getting In’s is praiseworthy. The film was shot in 1080p with 5.1 Dolby Digital Audio. Shooting at a high resolution isn’t enough on its own, of course, it takes someone with the technical ability to handle the camera, and Robby D. doesn’t fall short there. Everything is crisp and in focus, the lighting is well balanced, and the audio is clear.
Overview:Getting In bills itself as a feature production, though the description as such may be a stretch. Though there’s certainly some time on an introduction and a bit of a setup, there’s very, very little between scenes, and the extent of the plot is “Hey, we should write a porno. Hey, my sister is here now and also has opinions!” It’s purely a vehicle to throw in a few cheap jokes and cut to a sex scene, though the actual pornographic story writers might take offense to the portrayal of their efforts.
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There are also a few strange decisions made, such as camera angles which show that the characters aren’t actually typing a thing, or that the script they just started writing is already complete. But, this is pornography and suspension of disbelief is just as important as any movie. Once Raven Alexis shows up it’s only a few minutes before the sex begins – or at least the fantasies thereof.
Scene 1:Getting In starts with the star, Raven Alexis, in a bathroom scene. It’s the highlight of the movie, and the camera work and editing are superior that I don’t doubt an entirely separate team was responsible for it. There’s a sense of intimacy and excitement in the scene that’s sadly missing later, but it really helps the action shine here. Raven and Erik Everhard have real chemistry on-screen, which serves to highlight the shortcomings of the set and the camera work. It’s clear the two never found a good position for lack of a good place to set themselves up, and to compensate the camera goes in for extreme close-ups. As with all the scenes in the movie, this one seems to come to an abrupt halt. There’s no building of energy or excitement, just an instant full on sex scene with a sudden end.
It’s the highlight of the movie, but it’s still a decidedly average scene by most standards.
Scene 2: With the best scene in the movie being the first it seems appropriate that the second be the worst. Make no mistake, what’s going on with Brooke Haven and Mick Blue is outright bad. The scene is introduced as “something for the girls”, and immediately moves into throatfucking and a titfuck where Mick grabs the back of Brooke’s neck and proceeds to jerk her back and forth. I’ve known one woman in my life who actually enjoyed titfucking to begin with, and none who considered whiplash sexy, even the masochists. It’s distressingly difficult to suspend disbelief with this scene’s premise, but that’s easily enough forgotten by the bad angles and total lack of pacing. Once again the camera work falls short, as does the editing. Scene two sets the painful precedent of smash cuts, something the third, fourth, and fifth suffer from. Just when the action falls in place, which takes some time, the whole scene jumps. No fade, no warning, just an instant, unannounced transition that both pulls actors and viewers from their groove.
Scene 3: Third comes a scene based on a weak joke, a devil’s threesome with Erik Everhard, Scott Nails, and Lou Charmelle. Lou’s got a great smoldering look, maintaining an intense gaze that says “fuck me like you hate me” through the scene. There’s potential for something great to happen here, but unfortunately it just never comes together. Despite Lou’s looks and intensity the action seems almost silent. Subdued is one thing, but the energy is entirely absent for the majority of the scene as Erik and Scott switch off. It only takes a few minutes for Getting In’s only anal action to start, with Scott or Erik pounding away while Lou plays with her pussy. Looks nice, but it’s unconvincing, and once again the camera angles and smash cuts ruin it. When Lou finally gets warmed up it’s a sudden jump to the double cumshot, ending before the scene really starts.
Scene 4: The second best scene in the movie comes next, with Charley Chase and Scott Nails performing in a small diner. Charley’s a real looker with a pair of beautiful natural breasts and boundless enthusiasm. There was real potential here, particularly given how Charley and Scott manage to have sex on top of a diner stool that seems ready to tip at any moment. Precarious indeed, but it works quite well.
Of course, at this point it should come as no surprise that the pacing is ruined by more smash cuts. The best action of the scene only lasts for a few minutes before the cuts change to new positions. Charley is working at it a little too hard, though, when she’s in the cowgirl position. She goes from energetic to excessive, with a volume level that’s loud on its own, and outright deafening in comparison to scene three. Because of that it ends up coming across as fake, and some of the appeal is lost despite the strong initial start.
Once again, the scene transitions from sex to cumshot with no warning, another instant scene change from a bad edit.
Scene 5: Alexis both opens and closes the movie’s sex scenes, working with Manuel Ferrara this time; it’s no surprise, considering she’s the cover model, and it’s another average scene. Sex on a couch, an easily shot porn stand-by is the focus this time. Alexis and Manuel work well together, managing good positions and energy, but somehow it feels like it’s all very arbitrary. More smash cuts, more tripod mounted shots, more sensation of disconnection from the whole thing. As gorgeous as Alexis Raven is the scene just doesn’t really work out like it should.
Final Thoughts:Getting In makes a good effort, but it never makes it. The story scenes tend to drag, the sex scenes drag, and whenever something is starting to get good it ends. Viewers are repeatedly jarred because of the editing once things are moving, doing away with any enjoyment to be had.
There’s one final distraction in the movie that must be addressed. Lou Charmelle and Charley Chase are both clearly natural-Lou’s chest is quite small but wonderfully proportioned, and Charley’s, while quite large, is a perfect fit. Alexis Raven is enhanced, but in a way that fits her frame and never looks unnatural, only truly noticeable when she’s leaning forward.
Brooke Haven, however, is enhanced in a way that’s best described as a disaster. Her implants resemble the cheap work often seen at a low end topless club that tries to present itself as high class. Her breasts stick straight out in defiance of gravity normally, but maintain their place with an iron resolve no matter how hard she bounces on top of Mick Blue. They’re oversized, they’re misplaced, they’re awful, and they ruin her scene all on their own.
Getting In just doesn’t cut it, despite the on-screen talent and the talent behind the camera. Skip it.