• * Yellow asterisk: funny (maybe).

  • * White asterisk: expanded format.

  • * Blue asterisk: not mine.

  • No asterisk: it probably sucks.


Catch the deluxe version of Other Crap in real time, with all the bells and whistles, here.







Raw Justice


Today the Time Machine takes a trip back to 1994 for a "Damsel in Distress" April Bogenschutz" from the flick "Raw Justice". Poor April just wants to take a shower and winds up getting strangled. T & A with a flash of bush in these caps and a clip.






TV Land

Over in TV Land Heather Locklear is still looking hot as she visits Conan on the "Tonight Show". Caps with an HD CLIP.





Gingerbread Man


Embeth Davitz film clips. Samples below.

Scoop's comments:

This movie isn't bad when you consider that it is the offspring of a marriage made in hell. In the black trunks, writing the original screenplay, we have John Grisham, champion of conventionally plotted popular bestsellers featuring corrupt lawyers, the gap between law and justice, and larger-than-life villainy. In the other corner, wearing the white trunks, we have director Robert Altman, the irascible old challenger of filmdom's genre formats, who generally ignores plot altogether, unless he accidentally trips over it.

Altman starts right out by saying this ain't gonna be your usual film noir thriller, when he opens the film with a lengthy, virtually irrelevant helicopter shot of an unpopulated flat Georgia outback, with the camera searching all the while for a car. Ah, there it is! In that car is a semi-sleazy lawyer (Kenneth Branagh), back from winning another tricky case, blathering away on his cell phone. 

He makes his way to a celebratory party, during which Altman establishes for us that the lawyer has a weakness for good times and the ladies. As the fete ends, the lawyer sees a woman trying to catch her own car, which has apparently been stolen. The woman is the party's caterer, and Branagh offers her a lift home, eventually to become enmeshed in her life, which is a gothic Southern fable of sorts, featuring a feral, apparently crazed father who lurks in the woods half naked with other equally crazed old coots. It's sort of like the House Republican Caucus.

Ultimately, the film becomes sort of a China Moon / Body Heat kind of picture, involving a woman who studies a useful man's weaknesses, and exploits them at every opportunity. To Altman's credit, he supplies some freshness to the usual genre contrivances. He lets all the main characters create personality quirks, and he uses music and offbeat POV shots to infuse McGuffin-like significance to numerous moments that actually have no significance, all the while having a little smirk at his devilish red herrings. 

Altman's cinematic tricks are far better than his partnership with Grisham's plotting devices, which are sometimes fumbled. For example, we have an ex-husband who seems to be a nearly-irrelevant cameo planted solely for plot exposition. That's a red herring, and Altman might have made us fall for it, except that he cast Tom Berenger in the role, thereby informing us that the character would somehow be back and be involved in a major way. That casting was a dead giveaway which spoiled what should have been a surprise. Altman could have kept the tension inherent in the script by casting an obscure, unknown actor. Such a move would have allowed him to successfully and correctly hide the importance of the character. He failed to do so. Everyone in the theater knew that Berenger wasn't in there to play a cameo, and that the ex-husband must therefore have hidden significance which would emerge later.

Hitchcock might have cast the biggest star in Hollywood, a Brad Pitt or a George Clooney, in a major role, then killed him off in the first two minutes, and we'd be wondering when he'd return. That's the kind of trick he played with Janet Leigh in Psycho. Altman, however, isn't Hitchcock, and the casting isn't a trick. He simply gave away the surprise. (As I just did to those of you too dense to see it yourselves.) 

In general, however, I thought this was a pleasant watch. The cast is great. Kenneth Branagh was quite effective and understated as the Savannah lawyer. He's quite good with the accent, as well. There are some solid background performances from Embeth Davitz, Robert Duvall, and Robert Downey, Jr. Altman didn't really do much Altmanesque except for the few touches I mentioned. If you didn't know the director's name, you probably would never have suspected Altman's involvement in such a straightforward genre picture with so little genre deconstruction. Except for the casting mentioned above, Altman let the plot twists work their way forward without too much art or puffery or thumbprinting or character study to spoil the necessarily plot-driven script, but he did add enough characterization to make the characters less cardboard.

I didn't mind it at all, but don't go into it expecting an Altman film, because it really isn't. I suppose it isn't really Grisham, either, since he insisted on having his name removed from the screenplay credit, and the pseudonymous "Al Hayes" is the credited writer. In this case, "Al" represents Grisham's story, as rewritten by Altman.

Although it doesn't have many of his touches, I suppose the quality of this is somewhere in the middle of Altman's career output. It obviously isn't Nashville or MASH, but it is a damn sight better than Popeye or Ready to Wear or Dr T.


You don't notice this when you are watching the movie, but as I rewatched it, something dawned on me. The main set-up is impossible. How the hell could she have timed the driveaway scene after the party, which was so essential to her seduction of Branagh? We believed that she was an innocent bystander because of the timing of that scene, but only because such a thing could not be timed, and must therefore have been sheer coincidence. When we find out that she is not an innocent bystander, we are then forced to accept that she did manage to do the impossible.  I grant you that detail served to hide the fact that she was pulling the strings, but I'm not sure if it's a valid plot device if one masks the character's motivations by having them do something that can't be done.

In effect, imagine this parallel, so I don't completely spoil the plot for you. Indiana Jones thinks of a number from one to a million. A woman thinks of the same number. Indiana strikes up a conversation with her based on this coincidence, and you the audience never suspect that he is in some kind of plot in which she has arranged to meet him and use him. After all, the plotters couldn't know what he was thinking. This completely convinces you that he is not being set up, and you are drawn into the plot. 

But it later turns out that the meeting was not coincidental, and that Indy was being manipulated. Ok, fair enough, you buy all that - but then you wonder "but how did they come up with the same random number"? Can't be, can it? It was just a trick to lure you into the plot, just as it lured him in. Of course, you'd never notice unless you watched the film a second time, which people rarely do with surprise ending movies. A similar thing happens in this movie.





Part Two from Defoe this week

11 film clips of Deborah Francois in Mes chères études (My Dear Studies). This is a TV drama based on a 2008 autobiographical book. It's allegedly completely true, but the author chose to remain anonymous, disguising herself as "Laura D," a modern language student at a Paris university. The book drew national attention in France because the author claimed that she had to go into prostitution to pay for her education, and described her adventures in the skin trade.

Fair warning: Each of the following zip files is larger than 140 meg. All three will amount to approximately half a gig.


Stay tuned. Still more to come from Defoe this week!






Although it stars Dexter star Michael C. Hall, this 2009 Sci-Fi is no Dexter, but if you like high action and graphic violence, with some nudity thrown in for good measure, and can live with a paper-thin plot, you'll like it.

In the future, video game genius Ken Castle (Michael C. Hall) has become the world's richest man (leaving Bill Gates in the dust) by creating a virtual world called "Society" where players control actual people instead of computer-generated characters. You can pay to be a player, or be paid to be played with. It is a huge hit.

To follow this up, he creates a game called "Slayers" where the pawns are actual condemned death row convicts, and the object is to kill one another, controlled by gamers just like Society. If a slayer survives 40 rounds, he is released with a full pardon. No one has ever made 40 rounds until Kable, controlled by an ace 17 year-old gamer, survives 39 rounds and tries for 40, but Ken Castle has other ideas, so the deck is stacked heavily against Kable and his young controller.

Predictable but fun Sci-Fi, with some OK special effects and plenty of violence and blood. Not bad, but only for fans of this type of flick. The caps are from the unrated Blu-ray version.

Amber Valletta other

Assassination of a High School President


 Mischa Barton




 Mischa Barton (non-nude)



(2010, s1 e1)


 Viva Bianca




A correction from Spaz: here is Melissa Peters seen in About a Girl

Marisa Tomei's deleted scene in Untamed Heart

Embodiment of Evil: Cleo de Paris

Embodiment of Evil: Nana Sakare

Embodiment of Evil: Thais Simi

Madonna's see-through in Dick Tracy

One more of Viva Bianca in Spartacus, s1e1

and one more of Erin Cummings in the same episode of Spartacus

Evelynme Bouix in Temps du chien

Gia Carangi

Carice van Houten

(Alleged) Leaked pics of Karly Ashworth from Big Brother 10 (UK, 2009)

The following pic of recently deceased Jean Simmons comes from a brief comment by Squiddy (in quotation marks, just below). If anybody can address his concerns with verifiable knowledge, we'd all like to hear from you.

"I am enclosing a pic of Jean Simmons which has puzzled me for a long time. I was told that this pic came from the European version of Spartacus. With the newly remastered  (and, I thought, complete) version not showing this scene I do not know what to think. Anyway it does not look like a fake to me so maybe it did come from some old VHS tape of an European version."


Film Clips