Then She Found Me


Helen Hunt did it all in this chick-flick. She co-produced, co-wrote (adapting a novel), directed, and starred in this film about a woman facing a series of mid-life crises.

April Epner is a 39-year-old teacher in a New York elementary school, disappointed that she has never become pregnant, but still hopeful. Her hopes are dashed somewhat by the fact that her juvenile husband has decided to leave her in order to go back to his mother's house. Within a couple of days her own adoptive mother dies.

If that sounds like the setting for a tragedy, it is not. It is the death necessary for a rebirth. The film is actually a dramedy. The death of her mother is soon followed by the appearance of her eccentric birth mother, about whom she had previously known nothing. In the next stage of renascence, her bumbling husband is soon replaced in her bed by a handsome, sensitive Englishman who is the father of one of her students.

That sounds good on the surface, but life is complicated, and this is a film about life. April betrays her new love by having break-up sex with her husband, and this results in something they could never achieve before - a pregnancy. When they go to the first ultrasound, they are so moved by the experience that they promptly have sex again. The Englishman is in the process of recovering from having been abandoned with two children by his own wife, and does not react well to April's assorted betrayals. He gets through the first incident and accepts the resulting pregnancy, but the second one understandably drives him off. April's birth mother, meanwhile, is a blustering talk show host who charges into April's life like a rhinoceros, and fails to provide candid answers to her daughter's questions about the circumstances of her conception and birth. The conclusion of the film is about April's mother begging April for forgiveness for her mistakes past and present, while April in turn is begging for forgiveness from her new boyfriend.

There's a lot of excellent material in this film and some very good moments closely observed. Despite the seemingly unrealistic chain of dramatic developments in April's life (I've omitted many of the details, which start to pile up like a yearly synopsis of Days of Our Lives), the film succeeds in developing three characters who are completely distinct, interesting, and believable: April (Helen Hunt), the Englishman (Colin Firth), and the birth mother (Bette Midler). They rarely resorted to clichés, each of them being intelligent, thoughtful,  and complicated enough to express thoughts in a witty and/or interesting way. Each of them speaks as if written by a separate author. That's a good thing. They are all real characters, not extensions of the author, and the script could turn any one of them into the central character with only slight twists of perspective.

That alone should earn our respect. I often write that it would be nice to see movies about realistic, complicated people in genuine situations, but such movies rarely appear. Hollywood's concept of "realistic" is to create a maverick cop from another planet who doesn't have any super powers. The Hollywood concept of "'complicated" is that the vampire feels really bad when he kills people, so he tries only to kill bad men. In the typical Sundance-type independent movie, realism is another word for "junkie." It is only in the more experimental mumblecore indie movies where there really are ordinary people doing ordinary things. Unfortunately, it is not possible for audiences to stay awake while those things are being done. Given all that, I am always ready to applaud when a film can hold my attention with three ordinary people facing real life with no super powers nor drug addiction nor weapons. Bravo to Helen Hunt for accomplishing that.

The film is not without its flaws. The character of April's husband (Matthew Broderick) is badly underwritten. We hear that he is childish, but we don't get any understanding of why, and we might not even know the problem existed if the script didn't keep reminding us verbally. We hear that he has uncanny power over April, and we can see that he exerts uncommon sexual magnetism whenever he is near her, but we don't "get" that either. Matthew Broderick is always sympathetic on camera, but his alleged sexual power is absolutely mystifying. The character seems soft in the head, and carries himself like the kind of guy who would date a woman for months before finding the courage to hold her hand. Furthermore, I still have absolutely no idea why he wanted to leave April to go back to his mother in the first place. His motivation was entirely unconvincing and, for that matter, entirely unknown.

The film's other main liability is a tendency to "pile on" - primarily with one dramatic development after another, but also with a series of emotion-milking, heart-tugging moments which aren't even related to the central storylines.

Those problems tend to drag the film down a bit, but I enjoyed the three central characters, and that made the film a winner in my book. It won't produce big box office results, but it will demonstrate that Hunt has the ability to connect with audiences from behind the camera as well as facing it. I hope she gets some more opportunities to develop her craft.

These clips are only slightly different from the footage we saw yesterday, because I used the same screener as a source, but I tried to master them in a larger size, just for a little variety.


  • * 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.







A double feature day.

Dreams in the Witch-House


First up from the Masters of Horror series we have Chelah Horsdal in Dreams in the Witch-House. Some boobs and bush from the luscious Chelah.





Then a "Babe in Bondage" as Chauntal Lewis gets all tied up in Seance. Just a quick nipple as far as nudity, but she is cute until she gets all messed up. Caps and three clips.








Notes and collages



Irene Cara

Whatever happened to her?

Nora Catrone







Naked on the Inside

Naked on the Inside (2007) is an Australian documentary. However, the  filmmakers fortunately managed to persuade Carré Otis (she was about 39 years old at the time) to take off all her clothes.


A Likeness in Stone

A Likeness in Stone (2000) is a British telemovie.

Rebecca Palmer was topless and there is somebody's backside that is supposed to be her.



There is a brief topless shot of Amanda Kravat in Duets (2000)

and Maria Bello looks very sexy in thong underwear.



High Heels and Low Lifes

There is no nudity in High Heels and Low Lifes (2001). The closest we get is to see a sexy Minnie Driver in her underwear.



The Family Man

Another movie with limited nudity is The Family Man (2000).

Amber Valletta is topless but facing the wrong way,

and Tea Leoni's probable body double is naked through a translucent shower door.

The Namesake

From India and America we see the naked rear of Zuleikha Robinson in The Namesake (2006).



This is not the Bo Derek classic but Bolero (2004) is a Czech movie with plenty of nudity. The topless women were

Anna Polívková

Barbora Seidlová

and Jana Stefánková


A woman that I couldn't identify from the credits is completely naked.



From Denmark, we have Prague aka Prag (2006). Jana Plodkova is topless very briefly.



Still in Scandinavia, there is the Norwegian movie Sons aka Sønner (2006). It reminded it me very much of Porky's as it also has a lovely shower scene, as you can see from the caps.


Quo Vadis, Baby? (2005)

From Italy we have Quo Vadis, Baby? (2005) with

Claudia Zanella

and an unknown woman topless.

Angela Baraldi briefly shows some bush.


Cazuza - O Tempo Não Pára

Cazuza - O Tempo Não Pára (2004) is a Brazilian movie.

Maria Flor

and an unknown dancer are topless.


"The Erotic Traveler"

Two episodes from this softcore series.

"Stolen Image"

Nakedness by

Divini Rae

Kaylani Lei

and Shy Love.

"Baring it All in Bali"

Amy Lindsay


and Kaylani Lei show all.


Charlie's Angels

 Series 1 Part 2

Episode 8 - Lady Killer

Farrah Fawcett - pokies

Jaclyn Smith - cleavage

Lory Kochheim - in a bikini

Episode 9 - Bullseye

Farrah Fawcett - pokies

Episode 10 - Consenting Adults

Farrah Fawcett - pokies and cleavage

Episode 11 - The Seance

Farrah Fawcett - cleavage

Jaclyn Smith - cleavage

Episode 12 - Angels on Wheels

Farrah Fawcett - pokies

Jaclyn Smith - cleavage

Episode 13 - Angel Trap

Farrah Fawcett - pokies

Episode 14 - The Big Tap-Out

Farrah Fawcett - pokies

Episode 15 - Angels on a String

Farrah Fawcett - pokies

Episode 16 - Dirty Business

Farrah Fawcett - pokies and cleavage

Episode 17 - The Vegas Connection

Farrah Fawcett - lovely

Jaclyn Smith - lovely

Episode 19 - Dancing in the Dark

Farrah Fawcett - cleavage

Episode 22 - The Blue Angels

Farrah Fawcett - pokies and cleavage







"Canal Road"


Another bit of flesh from the Aussie TV show.

Here are the film clips of Klara Lisy

The collage is below:








Maria Valverde in Glamour


Paparazzi stuff: Katherine Heigl Cleavage

More deep cleavage, this time from tennis star Anna Ivanovic

Three great Arielle Dombasle collages from Charlie, all from films made in the past two years.

(With Arielle in her mid-50s)

Megan Hughes in Smooth Operator

Megan disappeared from the industry in 1995 but, according to IMDb, she made a comeback in the past year in an obscure film called The Rub of Attraction




Film Clips

Tawny Kitaen in Crystal Heart

Some women from various episodes of The Hitchhiker: