From the mailbox, re the French-Canadian women in the breast cancer awareness program:

"Hi, there. I can help you with a few names.

  • Karine Vanasse is an actress from Quebec whose last movie is Polytechnique, which relates the killing of female students in a school.
  • Mélanie Maynard was in radio and is now the animator of a French-language morning show on tv.
  • Caroline Néron is a singer, tv and movie actress, and artist. She played in a sort of remake of Countess Bathory a few years ago.
  • Anne-Marie Cadieux is an actress who does theatrical movies and tv.
  • Anne-Marie Losique is the daughter of the Festival des Films du Monde ( FFM ) in Montreal. She's also a producer of adult tv shows and is trying to launch an adult tv network in Quebec. She's also remembered for interviewing a drunk Ben Affleck who was coming on to her like crazy a few years back.
  • Caracol is a singer from Quebec.

I'm not too sure about the others."



Quick, name a period film starring Michelle Pfeiffer, written by Christopher Hampton from a vintage French novel, and directed by Stephen Frears, in which two scheming French seducers wile away their dotage manipulating the lives of youngsters. Personal tragedy ensues when one of the calculating puppet-masters falls in love with one of the innocents, a love which is prevented by the machinations of the other sophisticate.

Too easy?

Here's the difficulty: it's not Dangerous Liaisons. The answer is this film, Cheri, from two stories by Colette, "Cheri" and "The Last of Cheri."

Starting with Liaisons, Frears has created several excellent films:

  1. (7.60) - The Queen (2006)
  2. (7.60) - Dangerous Liaisons (1988)
  3. (7.60) - High Fidelity (2000)
  4. (7.50) - Dirty Pretty Things (2002)
  5. (7.10) - Mrs Henderson Presents (2005)
  6. (7.00) - Liam (2000)
  7. (7.00) - The Grifters (1990)

But there has been one noticeable failure in his filmography: Mary Reilly, rated 5.5 at IMDb, which also was scripted by Christopher Hampton. Perhaps that was a bad omen for Cheri, which is significantly below Frears' usual standard. Not only does it feel like a Dangerous Liaisons copycat, albeit placed a century later, but it also suffers from a script which includes very little forward motion and in which the most interesting things occur off-camera and/or are recited to us by the omniscient narrator. Frears and Hampton both have tendencies toward the prolix, but in this case, the script is all yakking with no visual payoff, as both author and director seem to have forgotten that film narrative is visual and not something to be followed with our eyes closed as if we were listening to a book-on-tape. Even the film's tragic final surprise is simply narrated to us matter-of-factly. Imagine if Star Wars had ended with the rebels sailing through space toward the death star while a narrator told us "Oh, yeah, they won, destroyed the death star. Got some medals. It was pretty cool. Too bad you couldn't have seen it." This film has that kind of ending. It's not anti-climactic, but pre-climactic!

And frankly, for a film about sex and prostitutes, it is excessively delicate in its sensibilities. For example, the film has several sex scenes or potential sex scenes, but they are all castrated by editing and lighting. Either we are forced to watch two barely discernable shapes rolling around in stygian darkness, or the camera cuts away discreetly, just as it becomes apparent that sex is about to occur. If you didn't recognize the actors, you might think this film had been made in 1939.

On the other hand, 1939 was a good year. The lavish Victor Fleming style of filmmaking had its advantages. When Frears is not focused on the plot, the visuals are splendid. There are old-time motorcars being driven through a beautiful French countryside by men and women in gorgeous costumes, as photographed by helicopters. There are impeccably decorated Belle Epoque interiors and the manicured exteriors of stately mansions.

The film can also count among its positives the beauty of Michelle Pfeiffer, a beauty which stands virtually alone in modern screen history. She has a face as beautiful or more beautiful than Jolie's or Megan Fox's, with none of their aloof insouciance. Pfeiffer is beautiful, yet also obviously normal and approachable, with compassionate, expressive eyes. There are very few 50+ women who could fit believably into this story as the lust object of a 25-year-old man, but Pfeiffer is utterly convincing in that capacity. Her body is as slim and narrow as a teenager's. Her chin hasn't the slightest sag. She has only the faintest hint of crow's feet. She is still beautiful, not qualified by "for a woman of 50," but just plain beautiful.

So Cheri is not without merit. Prepare to be dazzled by elegance.

But, lord-a-mercy, is this film dull!

Nudity: very little. Feel free to go through this third-party clip and see if you can make out anything.  

I added this higher-res clip of the only clear female nudity. (An extra in the dark.)


  • * 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.








Mojave Moon


Angelina Jolie film clips

Scoop's notes:

In 1992-1994 Angelina Jolie was in the struggling actress stage, attracting little attention except the occasional note that she was Jon Voight's daughter. 1995 and 1996 were her transition years, during which she was not a star, but was starting to be noticed with major roles in interesting little films. In 1997-1999, she shot through the roof, climbing through the levels of stardom as easily as a game geek climbing through the levels in The Legend of Zelda: she beat one level, went to the next, beat that.

1997: a Cable Ace award winning role in Wallace.

1998: an Emmy winning role in Gia

1999: an Oscar winning role in Girl, Interrupted.

That Oscar put her on the A-list, where she has stayed, as you well know.

Along with Hackers and Foxfire, Mojave Moon was from her "major role in quirky little movie" period when people were starting to notice her. All three of those films are rated in the mid fives at IMDb, all are watchable for one reason or another. To me, Mojave Moon is the worst of that trilogy, not because of Angelina, who did fine, but because her character is oddly scripted and the movie in general is cheesy.

Danny Aiello plays a car salesman who is picked up by Angelina Jolie one morning in a breakfast restaurant in L.A. There's a middle aged fantasy for you, eh? Danny is well aware that he is not as young or as attractive or as buff as Brad Pitt, so he is understandably suspicious of Jolie's motivations, but she keeps coming on to him to get him interested, so  ... well, would you resist? Neither does he. He sort of lets himself be tugged along, although she always pulls away when he gets too interested. She asks him for a ride out to her trailer in the desert, and he figures, "So that's what this is about. Oh, well, why not?", so he drags her out there in his "old guy" sedan. Upon their arrival, she promptly abandons him with her mother (Anne Archer) and mom's psycho boyfriend, while Jolie herself leaves to elope with her boyfriend. All sorts of bizarre behavior ensues.

It seems that Jolie was really luring Aiello out to the desert as a "gift" for her mom, but Aiello is totally and understandably uncomfortable with that situation, especially given that mom is currently attached to a violent, possessive nutbag.

That first act was sorta strange, but not exceedingly strange. The rest of the film more than took up the slack. The film stops being an offbeat domestic romance about coping with the middle age crazies, and shifts gears completely to become a crime comedy. The boyfriend turns up dead in Aiello's trunk in the desert. Then Aiello has a flat tire and a cop happens by to help out while the body is still in the trunk. Eventually, Aiello's car is stolen, corpse and all. Then the car shows up, but the corpse disappears. Then the corpse isn't even dead.

Meanwhile Mom's psycho boyfriend wants to kill Aiello. Through a friend of a friend, Aiello enlists the help of some mob guys, and it turns out that there are bars in L.A. where various highly specialized mobsters hang out waiting for people to come to them. Various black market corpse traders argue over the business when they think Aiello wants a corpse. The quibbling mobsters prove to be little help, so Aiello hires his actor friend (Alfred Molina, the funniest thing in the film) to dress up in Soldier of Fortune garb to scare the psycho boyfriend (with a paintball gun.)

The good guys keep failing miserably.

Mom, daughter, Aiello and Molina eventually end up inside a car balanced precariously on the edge of a cliff, where ...

Well, now you know what the film is about and you have enough info to determine whether you'd like it. I reckon, you can watch the movie if you really care to know what happens. I don't think you'll find any edgy, electrifying surprises in the resolution.

Overall, it's a surreal comedy, or maybe a dark comedy without much darkness. Jolie is lively and sexy and offbeat, and steals her scenes, but does not dominate the film at all. It's really Danny Aiello's movie, and it's just so-so, as you might imagine of a film with Danny Aiello in the romantic lead.

Raw screen grabs










Nothing for Saturday and Sunday ... be back in time for the Monday edition. Have a good holiday weekend.



A Passion for Murder

A Passion for Murder (1997) aka Deadlock has all the usual softcore scenes.

Doria Rone and Ashlie Rhey do the lesbian bit



and there are a couple of unidentified strippers.

De'Ann Power in her dying scene impersonates Marilyn Monroe

and Shauna O'Brien leaves little to the imagination.


Virtual Girl 2


Virtual Girl 2 aka Virtual Vegas (2001) has another lot of naked ladies.

 They are: Amber Newman


Amy Damkroger

Katherine Hare

Lisa Throw

Michelle Von Flotow

Shyra Deland

Susan Featherly


Tamara Landry

 and one I couldn't identify.


Charlie's Angels

This is the second half of the fourth season of the Charlie's Angels TV series. There are slim pickings and there is not a lot to get  excited about.

Episode 14 Of Ghosts and Angels

Cheryl Ladd - looking good

Jaclyn Smith - a bit of cleavage

Shelly Hack - looking good

Episode 16 One of Our Angel's is Missing

Cheryl Ladd - looking good in a bikini

Episode 17 Catch a Falling Angel

Cheryl Ladd - Olivia Newton John in Grease comes to mind

Elissa Leeds - lovely in leather

Episode 18 Homes $weet Homes

Cheryl Ladd - in bathers

Shelley Hack - a bit of an upskirt

Episode 19 Dancin' Angels

Cheryl Ladd - cleavage

Jaclyn Smith - cleavage

Shelley Hack - minor pokies

Episode 22 Nips and Tucks

Joanna Pettet - cleavage

Episode 23 Three for the Money

Jaclyn Smith - sexy

Episode 24 Toni's Boys

Roz Kelly - cleavage

Episode 25 One Love - Two Angels

Cheryl Ladd

Jacyln Smith




This is obviously the main attraction today: Milla stark naked from all angles. I'm assuming that Milla calculated this. She went up to about 200 pounds when she was pregnant, and this spread shows potential employers that she got her body back completely and can do any of the roles she used to do.

And Missy Rayder gives Milla a run for the money

Three beautiful collages made from the gorgeous pics of Dree Hemingway (see yesterday's edition)

Jewel - on TRL photo booth many years ago

Ty Badger in Cryptz

Lunden De'Leon in Cryptz

Tennis pro Caroline Wozniacki

Eniko Mihalik in Purple mag

Eniko again, joined by Abby Kershaw and Magdalena Frackowiak (3)

Magdalena Frackowiak alone

Abby Kershaw and Magdalena Frackowiak

Freja Beha in Purple

Muhl Kemp helps Julian Lennon re-enact a famous pose of his parents

This is what Muhl looks like when otherwise occupied

Film Clips

A young Mathilda May in La vie dissolue de Gerard Floque

Mathilda May today, showing her vast expanse of cleavage on a French TV show

Roxane Mesquida in Sexes Tres Opposes

Gunilla Karlzen in Fathers Day (nice short clip, impressive breasts)

A young Courteney Cox in season three of Dream On