Half of the spirit of Outlaw comes from the British gangster genre, humorless division. The other half channels Death Wish.

Sean Bean stars as a returning war vet with some psychological problems and a rucksack full of automatic weapons. He finds that the life he's returned to in Britain is shattered. His wife is involved with someone else, and the country he fought for is filled with criminals and street thugs. As time goes on, he hooks up with a handful of disillusioned men who have been let down by the justice system. For example, there's a barrister whose wife was killed by a mob boss he was prosecuting. He can't prove the connection to the mobster in court, so he turns to the vigilantes. Bean eventually teaches his rag-tag army of middle-class wankers to man up, and with the aid of a sympathetic policeman (Bob Hoskins), they form a Robin Hood vigilante gang to take on the people who wronged them.

Bean, Danny Dyer, and Hoskins do provide plenty of talent for the project but, like Dr. Frankenstein, they should have used their genius for good instead of evil. The story is trite and fundamentally unsatisfying. It can be boring and repetitious throughout the development stages of the story, and the dramatic conclusion doesn't even provide the usual revenge fantasy catharsis. Every member of the gang dies except one, and several of their enemies survive, including the snitch who rats them out and the crooked cop who ends up being the mastermind behind the mob boss. Because of those developments, Outlaw plays out like a revenge flick without enough revenge. On the other hand, the director contends that it is not intended to be a sensationalized revenge film. His commentary says, "People have to watch it twice. It's a serious film!" So possibly it is supposed to be a meaningful drama that has been pimped out with lurid ultra-violence to dramatize the deterioration of social conditions in England. Right. Either way it won't find much of an audience. It's too one-dimensional and visceral for the Ken Loach social realism crowd, and too ambivalent for the Charles Bronson revenge audience.

I don't whether the director was trying to make a thoughtful film, but I do know this much. I will not follow his recommendation to watch it twice.

The film was savaged by the British Critics, with an average score of about one star out of four (26.2/100)



Film clips:

Just so I could consider the film a complete waste of my time, even the nudity sucks. The only flesh comes from some miscellaneous strippers in a club scene, and even those women are generally decapitated into total anonymity by the framing and editing of that scene.



  • * 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.







The Swinging Cheerleaders


Back to the seventies in our Time Machine. This one has an interesting cast of females:

  • Jo Johnston starred in her one and only screen appearance, so these caps and two clips will cover her whole career. She shows breasts.

  • After this early screen appearance Roseanne Katon went on to a series of TV guest shots right up through 1991. Breasts from Roseanne in these caps and a clip.

  • The legendary Cheryl Rainbeaux Smith and her impressive rack ( she was pregnant at the time). Caps and a clip.


  • An early screen credit for Colleen Camp ( no nudity ). She is still making movies to this day.






Notes and collages

Promises! Promises!


Part 2 of 4

Jayne Mansfield


As a film to watch and enjoy, Promises! Promises! is way down the list. It's a waste of valuable time for many reasons.

In terms of film nudity history, however, it was a major turning point in Hollywood.  Ms. Mansfield was the first major American actress to get that very naked for the movie camera. The film was banned in the U.S. for that reason.

Ms. Mansfield was reputed to have an I.Q. of 163, so she was never the dumb blonde she portrayed. I suspect that her plan was to use this film to jump start her waning career; unfortunately that did not work out. She also once linked herself with the Church of Satan as a publicity stunt.

I wish I could have met her just for the fascinating conversation we could have had...







Assault of the Party Nerds


Apart from Julie Strain, former Pet of the Year Michelle Bauer has done as much nudity as anyone,  She is still acting and will be seen this year in Gingerdead Man 2.

Film clip here. Sample below.








A Good Lawyer's Wife


Well, here is my first attempt at a Korean update. While the caps are fine, it's frustrating to work out the English language version of their names because the languages are so different in so many ways. Ah well, I hope they're right...

I suggest you look for the poster of A Good Lawyer's Wife, as it sums up the film perfectly. The poster is basically just Moon So-ri naked. A black square covers up the good bits, and features the name of the film. The film doesn't skimp on the frank sex and nude scenes, but it's also an interesting look at two people in a bad marriage and what happens to their relationship when their adopted son is murdered. Worth a look if you can find it, but it's confrontational.

Here are the film clips of Moon So-Ri (Warning: 150 meg).

The collages are below:


And here are the clips of Baek Jeong-Rim (Warning: 90 meg.)

The collages are below:







The Lost


This film starts off as a crime drama, and ends up as a horror flick. It blew me away.

Ray Pye is a domineering 19-year-old who abuses his girlfriend Jen (Shay Astar) and best friend Tim, yet they continue to tolerate him. One day while hanging out at the campgrounds, Ray decides to kill two young women (Erin Brown and Ruby Larocca) who just happen to be there, on a lark. His friends are horrified, but do nothing to stop him. Four years later, thanks in large part to the silence of his friends, Ray has never been arrested even though the cops are sure he did it.

Ray meets Katherine, a beautiful bad girl that starts pushing his buttons. Even though Jen is still his girlfriend, he is swept off his feet by Kath, but she suddenly dumps him for no apparent reason, and Ray doesn't deal well with rejection.

This is one cool flick, although at the beginning and the end it gets really violent and bloody, but it keeps you on the edge of your seat throughout, and the acting was dead-on.


Robin Sydney Shay Astar Erin Brown






Film clips from Pineapple:



Scoop's notes: I was thrilled to see that LC did this film because I have a screener and just kept putting it off. When he did it, I tossed the screener in the circular file.

Why was I dreading it? Perhaps the IMDb description will give you the answer: "Pineapple offers a window into the frailties and fallibility of humanity. This gritty story exposes a world of rampant drug use and sexual experimentation. Brutally honest in its portrayal of a dark lifestyle, it shows man at his best and worst and how sometimes the two are nearly indistinguishable. The frank subject matter and accurate character portrayals provide an experience bordering on voyeurism."








Some spectacular images of Valerie Kaprisky from the May,1982 issue of Lui.

Jeez! Can this really be 26 years ago? I guess so, because women still had pubic hair then.


One more of Kaprisky in a great promo still for La Femme Publique.

And one last one of Kaprisky in a promo poster for Breathless.

And a nice magazine pose from Isild LeBesco.

Karen Black in Can She Bake a Cherry Pie?


Film Clips

Three women from Les Marmottes: Virginie Ledoyen, Marie Trintignant, and Patricia Malvoisin

Beatrice Dalle in Betty Blue

Three women from Don't Sleep Alone: Bonnie StauchJoyce Westergaard, Lisa Welti

Rhonda Griffin and Jacqueline Lovell in Hideous

Marta Larralde in Lena

Hunter Tylo in The Initiation