Tag Archives: top model

There is certainly no shortage of hot photo sets in the vast MetArt archives. And models worthy of that three-letter description are MetArt‘s stock in trade. Still, choosing to title this pictorial “Hot” was an exercise in accuracy and honesty.

Lily C is a singularly hot model. I realized this moments after viewing the first handful of images in her first ever MetArt series. Putting aside her facial beauty and spirited, engaging on-camera personality, this girl has an exceptionally hot body. There’s a robust vitality to that toned and sculpted physique that suggests passionate, vigorous sexuality. And in “Hot” Lily’s beautiful body is as irresistibly and explicitly inviting as ever.

Frequent MetArt contributor Leonardo has crafted the majority of galleries in Lily C’s portfolio, and in “Hot” he demonstrates once more why theirs is such a successful collaboration. The lighting — and the slightest sheen of oil on the model’s smooth skin — enhances and emphasizes the sculpted perfection of Lily’s body while also adding highlights to her hair and eyes.

While “Hot” contains many eye-opening explicitly erotic poses, I find it interesting that there are no extreme close-ups. Leonardo seems to understand that with a girl who projects so much high-voltage sexuality, detailed close-ups are unnecessary.

Some of my favorite shots in “Hot” are: #023, for Lily C‘s kittenish demeanor in a fully clothed, full length composition; squatting, bottomless and smiling with her mouth and eyes in #061; #098, an revealing rear-view with enticing over-the-shoulder attitude; and #125 for spread-legged, spontaneous, explicit sexuality.

I had a little help from the membership in selecting this MetArt HD erotic movie for review. While browsing the Movies page I sorted the list by “Most Popular.” A title in the top row that I’d neither reviewed or viewed caught my eye. I am certainly familiar with the star. And the fact that this production was added to the MetArt archives over three years ago didn’t deter me — even after that span of time “Erotsis” has remained highly popular with the membership. An easy pick with an extremely meaningful endorsement.

As Anna AJ makes her entrance I was a little surprised. The outfit she’s wearing is cute, yes, and sexy, but it’s got a bit more American porn star flavor than I’m used to seeing anywhere at MetArt. And the style of the bedroom setting is slightly curious. To me it looks like the bedroom of a stodgy older couple. Perhaps that’s the idea: Anna AJ in her naughty cheerleader outfit is going to put on a show in her parents’ bedroom. I put my concerns aside — if Anna AJ is going to put on a sexy show, she can do it wherever she likes!

And so she does. Voronin‘s creation is very much a leisurely and enjoyable record of a strip tease. The pace is slow and deliberate — although we do get a glimpse or two at Anna’s south-of-the-waistband charms early on, her micro-mini skirt doesn’t come off until the just after the six minute mark. There’s a cute bit of action where Anna plays it pleasingly coy. Her top has slid up slightly and threatens to expose her left breast. She tugs the top back into position and smiles ever-so slyly (see for yourself at 5:28).

While Anna stays in a near-constant state of motion, Voronin’s camera is far from stationary. In one memorable sequence, beginning at the 6:28 mark, he follows the models’ hands from between her thighs, up to her bosom, and back down again. The cinematography is fluid, the body it’s capturing is flawless.

Voronin also places the camera high above the bed for a particularly dramatic effect. In fact, he uses the high angle in the final moments of the production. But in those waning moments he also skillfully deploys a somewhat subtle double-exposure. As Anna AJ writhes sensually on the bed a second, far fainter, out of synch image, appears creating a multi-limbed, kaleidoscopic effect. In “Erotsis” we have a beautiful model, creative direction and camerawork, and plenty of inviting tease. No wonder it’s so popular!

Although it’s not a hard and fast rule, I generally review the newest, most recently released MetArt HD erotic movie each week. There has been no update since last week’s impressive offering, so I decided to let the MetArt membership make the choice for me. I went to the Movies page and on the “Sort By” pull-down, I picked “Most Popular Movie.”

After taking note of the fact that two of the finest MetArt movies I’ve had the pleasure of critiquing in this space were in the Top 5 — “Shakti” starring Kelly F., and “Gazelle” starring Miela A. — I picked the current most popular production, the inscrutably titled “Sasiavis” starring Divina A.

I was very, very impressed by this model’s first MetArt erotic pictorial — and so was the membership at large. Immediately upon release of her debut still set Divina A. shot to the very top of MetArt‘s Top Models rankings, and she has been a fixture at or near the top of the list since then.

“Sasiavis” helps explain Divina A.’s extraordinary popularity. It is not a great movie based on the technical skill or artistic vision of the director — I would suggest that this production is popular simply because Divina A. is so beautiful, so sexy, and knows how to move her firm, nubile body in beautiful, extremely sexy ways. I mean no disrespect to director Peter Guzman, I’ve praised his work in the past and look forward to more, but here he’s making no great creative statement. He aims the camera, hits the “record” button, and lets the model work her magic.

Shot in a bathroom, and featuring much running water (more about that shortly) the live sound, heard in the first half of the film, is somewhat jarring. The soundtrack, edgy and propulsive, seems ill chosen. The lighting is somewhat erratic. Yet none of these “flaws” matter one bit when Divina A. starts doing her thing.

That “thing” is simply standing in a spa tub and directing the stream from a handheld showerhead at her profoundly pretty private parts. A moment ago I used the word “magic,” and I wasn’t kidding. The moment Divina begins to roll and rotate her hips you’ll be completely spellbound. It’s not dramatic, but it’s far from subtle, and it’s entirely entrancing — this girl can move!

In the second half of “Sasiavis” Divina steps out of the bathtub but continues to display her magnificently sculpted body and to gyrate and pulsate in provocative and revealing positions. It’s so simple! And yet it’s completely riveting. Face, body, attitude, beauty, steamy sexuality — Divina A. has it all, and she shares it freely in this pulse-quickening production. Thanks to Divina A., “Sasiavis” sizzles.

This is the second MetArt HD erotic movie starring Candice B. that I’ve had the pleasure of critiquing. Ordinarily, I would make an effort to review a production starring a model I’ve not yet seen in a motion picture. But I’ve been so impressed by this model’s still galleries (here and here), and by an earlier movie, that I can’t resist risking the repetition.

After viewing “Aclamat” my enthusiasm for Candice B. is undiminished. Between her exceptional physique and sweet, lively, flirtatious personality, she’s quite irresistible. But, in all honesty, this outing pales a bit when compared to earlier efforts.

The problem is one that I’ve discussed several times — and that readers frequently comment on — but with an interesting, somewhat redeeming twist. The first half of “Aclamat” is a video recording made while a still shoot is taking place — the pictorial “Sevikis” I reference above. This means several things. One, Leonardo isn’t operating the video camera. Two, the video is punctuated by flashes of the still camera’s strobe. Three, the model is playing to the still camera which distances her from the video viewer. There is one wonderful moment, at the 3:03 mark, when Candice turns her attention briefly to the camcorder, smiles warmly, and raises her eyebrows playfully.

Shortly thereafter, there’s a noticeable change in the production. At approximately 4:54 Candice transitions to posing for the videographer — who may indeed be maestro Leonardo. From this point to the conclusion, Candice B. is front and center — as befits a MetArt Top 10 model — and directing her full attention to the camcorder. Much, much better!

While I clearly can’t claim to have discovered her, I can say that I knew a good thing when I first saw it — my review of Candice B.’s debut MetArt gallery was profuse in its praise, glowing in its admiration, and energetically optimistic about her future as a MetArt model.

While I recognized the debut of a major talent, I had no way of predicting with any certainty how successful Candice B. would become. As it happens, she’s been very successful — Candice has become a MetArt Top Model — a Top Ten Model, in fact — and her popularity is easily understood (I understood it, again, in my second review of a Candice B. gallery).

Now I have the “Opportunite” to view this stellar specimen in a motion picture. I am expecting a rewarding experience, and I am not disappointed by Leonardo‘s creation.

As “Opportunite” opens, Candice B. is wearing nothing but a subtle smile and an abbreviated denim vest. Color me tantalized. While every inch of this model’s body is delectable, her magnificent breasts are two of her most outstanding (ah-hem!) assets, and making us wait to see them exposed adds some pleasant tension to the proceedings. And when they are unveiled it is absolutely worth the wait. Mother Nature does some truly wonderful work, but this girl’s body really is a masterpiece.

Candice maintains a cheerful, warm, and engaging spirit for the entire film. And she is completely comfortable, and generous, in front of the camera. Those who seek the intimate details will certainly find them. And those who simply want to revel in the sight of a sweet, flirtatious, and exquisitely constructed young woman will celebrate every shapely second. If you are an admirer of Candice B., “Opportunite” is an opportunity you must not miss.

I’ve written a lot about new MetArt models. That shouldn’t come as a surprise, as new girls are added to the site with an almost astounding frequency. And that is a very good thing, indeed.

But today I have the pleasure of reviewing a set featuring a “veteran,” a well established MetArt model. And, in the case of Lorena B., it’s immediately obvious why she has become a veteran and had such an enduring career at MetArt.

Lorena B. is beautiful. We are all entitled to our own opinions, and I don’t think there is such thing as absolute or entirely universal beauty. But Lorena B. is beautiful, and not only would I be happy to argue this point, I would be saddened to meet the man who didn’t agree with me.

And Lorena B. has an abundance of personality and an easy, extremely photogenic quality. She loves the camera, and the camera returns the favor. Koenart doesn’t do anything particularly dramatic or impressively technical in “Gulmek,” but the set is brimming with beautiful, eye-pleasing images. Which brings us back to Lorena B.

As the erotic photo series begins, Lorena B. is wearing casual street clothes. Even “dressed down,” her natural beauty and personality are on full display. A shot like #008, a fully clothed headshot, radiates bubbly, beautiful energy. I can’t resist it. And what about that cute smirk in #005? Love it. Love her.

But when she’s “working,” when she’s demonstrating her professional skills in a shot like #024, there can be no doubt. The pose is intriguing. The facial expression is genuine. The beauty is abundant.

Yes, there are wonderful close-ups of an explicit nature. And there are headshots, because that face demands them (I like #018 #027, for starters). And in a shot like #061, on all fours, the pose, the face, the hair, it’s just perfect. This is how it’s done.

It will come as a surprise only to newborns or those misbegotten souls once referred to as “simple” that someone such as I, with the lofty title and position of Professional Blogger, is not always made privy to the inner workings of the enterprise for which I toil so faithfully.

So, when I encounter a situation such as this — henceforth to be known as The Mystery of the Model’s Moniker — I must plead ignorance. When I first encountered the subject of the MetArt HD erotic movie titled “Desert Rose,” she was named “Rylee A,” and I was quite impressed by her first MetArt series. A bit later, still employing the introductory handle Rylee, I was, once more, intrigued by the model’s beauty (and her braces).

Today, having been asked to review the latest addition to the MetArt HD movie collection, this model who I have had two pleasurable encounters with, has changed her name, sort of. On the cover she’s billed as Rylee A. But in the credits, and in her spoken declarations, she’s proudly and unambiguously Rilee Marks. Wha?

“Desert Rose,” the movie, is far less confusing. True to emerging form, director Bo Llanberris includes interview footage. Those who know Rilee Marks only through her still photos will be intrigued, and perhaps even shocked, by her frank revelations. As with previous Llanberris productions, I find the interview a valuable and entertaining element. The footage of Rilee, wearing a Santa hat and white panties while posing near a fully decorated Christmas tree is another treat.

The second half of “Desert Rose” is free of chat and focuses on Rilee Marks, outdoors, in her totally nude state — and with this girl that is a particularly fine state, indeed.

All viewers should be advised: Watch “Desert Rose” all the way to the end. There is a special after-the-end-credits treat, beginning at the 7:56 mark, that no fan or admirer of Rylee A. or Rilee Marks will want to miss!

MetArt HD erotic movies are a unique product in a highly specialized niche. The short form presents its own challenges, as does the fact that the majority of MetArt models are non-English speakers. We may hear a bit of chat here or there, but due to the language barrier, MetArt movies tend to tell their stories with images rather than with dialog. To further complicate things, many of these movies were created at the same time as a still photo session. I can find much to enjoy in these short subjects, but I have no illusions about their inherent limitations.

And then I view “Watercolors” and any thoughts of challenges and limitations go right out the window. This erotic cinematic experience marks both a departure and an arrival. Let me explain.

This is a stand-alone production. It was designed and created as a movie. But “Watercolors” is not only a departure from the typical behind-the-scenes video, it is also the arrival of a gifted new filmmaker. Bo Llanberris, who directed and edited the film — with the able assistance of cinematographer Jean Demile — has created a wonderfully engaging production. It is completely consistent with the MetArt aesthetic, but it also expands and builds on the potential of the short erotic film format.

To achieve this brilliant result he has crafted a film that falls, roughly, into three segments. In the first we have beautiful images of MetArt Top Model Malena Morgan looking delicious in lacy panties and a white shirt. Then something magical and surprising occurs: We watch as the starlet answers provocative questions posed by an off-camera interviewer. Her responses are informative and entertaining, to say the least! And her relaxed and warm personality is a delight. The middle portion consists of beautifully shot and edited footage of Morgan at work on a watercolor creation of her own. And the final third, with the model now totally nude, involves a vessel of water, a sponge, and a leisurely, eye-pleasing, impromptu erotic interlude.

The beauty of the imagery is exceptional. And the insight provided by the interview is invaluable. Thanks to the creative skills of those behind the camera, and the engaging beauty of the model in front of it, “Watercolors” really is something of a masterpiece.

“Charm” is a particularly apt title for this MetArt gallery. The model certainly exudes her own unique and irresistible brand of charm. And the photographs are designed and executed in a way that is also stylish and charming.

Simple art direction and lighting, two Alex Sironi signatures, are on display here. Costumes and props are minimal, and a white bed is the only furniture. Here he’s created an interesting effect. While I believe the room is white, through some lighting or technical device the background takes on a subtle, light yellow, tint — #068 is an excellent example of this effect. This bit of warmth in the background gives a gentle boost to the female heat in the foreground. And, while the lighting is soft and natural, Sironi adds just a kiss of key light to emphasize the gloss of a luscious lip or a golden hank of hair (see #011 for an example of the latter).

MetArt Top Model Barbara D. has vast reserves of nubile charm, and she dispenses it freely here. But she’s never overbearing, never pushy, never trying too hard. In fact she has a bedroomy expression in many of these images — see 100 and 101, for example — that is relaxed and, well, effortlessly charming.

In the right pose and the right light, Barbara D. can deliver real bombshell glamour — she does exactly that in #025, a stunning figure study. But, overall, her greatest charm is her youthful, natural beauty. It’s hard not to be charmed by an image like #035, in which she smiles softly and spontaneously. And her explicit poses — #057 is a sizzler — are no less effective.

To state the obvious, I was completely charmed by “Charm.”

I’ve had the pleasure of reviewing a MetArt gallery and a MetArt HD movie starring Caprice A., and in both instances it was quite clear why she is a constant resident in the uppermost ranks of MetArt Top Models.

In “Sumaku” I have another chance to linger over this lovely — and particularly lusty — young woman, and I am not disappointed. This is not a complicated or elaborate series. In fact, it is really quite simple, even casual. But the model’s physical beauty and potent sexuality make it a highly enjoyable experience.

The setting is a patch of lawn at the foot of a weathered palm tree. Caprice is wearing high heels, a little black dress, and a whole lot of steamy attitude. She isn’t wearing panties — a fact made clear in the very first image — and it does take a little time before she is totally naked, but there isn’t a lot of effort expended on “tease” here, the set opens hot, runs hot, and ends hot.

Of the introductory images, #017 may be my favorite. Here the hem of her dress has crept up, and she’s pulled down the top to reveal her breasts. Her hair swings in the breeze, her eyes are downcast, her features exquisite.

Explicit images are the rule rather than the exception here, and Caprice displays her succulent charms in a range of stances with a variety of moods and expressions. In #048, on all fours in the grass with her ass aimed at the camera, she looks back at us with a look of smoky sensuality. In #084, seated, knees up, thighs spread wide, she smiles with genuine joy and delight. Even in a shot like #117, which is far from explicit, and in which her expression is somewhat enigmatic, Caprice A. radiates erotic energy.

The presentation may be simple, but Caprice A. makes “Sumaku” sizzle.