Who Loves the Sun


Who Loves the Sun is a small personal dramedy about five people isolated in a rural cabin during a pleasant Canadian summer. The exquisite beauty of the setting contrasts to the pain of the characters.

Will has mysteriously reappeared in the small town after an unexplained five year absence during which nobody heard from him. He drifts into the house of his former best friend's parents, but he is uncommunicative, so the middle aged couple call up their son in New York and then call the wandering man's ex-wife, both of whom make their way to the cabin for a reunion.

Family secrets start to spill out like beer from a power tap. The long-lost Will left town when he caught his best friend and his wife doing the deed. He's angry, but not as angry as the wife, who genuinely loved him, but also had deep feelings for the best friend. Will left without trying to work things out, and refused to communicate with anyone. They had, more or less given him up for dead.

Will makes such a complete ass of himself for two days that his friend's middle-aged dad finally calls him aside and gives him a lecture, which includes a revelation that he also caught his wife with another man when they were first married, and somehow he managed to survive without running away or making everyone around him miserable. This shared bit of intimacy, sworn to secrecy, is supposed to reach out to Will, but instead triggers a chain of further revelations about the result of that affair so long ago, all of which have great relevance to the current enmity between the former best friends.

The film sort of loses its momentum under the drag of the many, many secrets and correlations to the distant past. At first it seems that the three members of the love triangle just have to try to sort everything out, forgive, and move on appropriately, and that would have been enough story for a small, independent film, especially given the natural dialogue, the credible characters, and the fine technical values of the film. The scriptwriter didn't have the good sense to stay with his central premise, but wandered into enough "organ chord" revelations to fill an entire year of Days of our Lives. Without revealing the specifics, let it suffice to say that Darth Vader is the father of all five characters.

By the end of the movie, however, I was willing to forgive the script's excesses. The mistakes it makes are overcome by its strengths, especially by the fact that we always seem to be watching real people talking about things that really happened. They sometimes speak seriously, sometimes hesitantly, sometimes comically, sometimes bitterly, and sometimes sentimentally, as the characters go through the inevitable cycle of avoidance, confrontation and forgiveness. While some of the plot's coincidences seem forced, they are all tied together remarkably well in a nifty little script and the unlikely secrets, once revealed, seem appropriate to the characters. The characters themselves are likeable enough once they let down their hair, but are not instantly likeable, and possess numerous quirks and unpleasant aspects to their personalities. As do we all. The script uses no short-cuts to coax our identification with the characters. They have to earn our empathy, as they have to earn one another's. The film also redeems its plot contrivances with a completely uncontrived ending in which situations resolve themselves, or fail to, as they would if they happened to real people. In other words, this quiet little film is good in enough ways to earn a bit of dramatic license.

It's not even the slightest bit "hip" and it's not a film for action lovers. I suppose it will play best with audiences over 30 and with females. It's just five people wandering around a cabin for a few days and talking about their feelings. It is, however, an excellent example of how a good movie can be created from virtually no budget, provided that the script is smart and the setting requires few characters, no explosions and no special effects. It is a film which stays with it s capabilities, and succeeds at what it tries to do.

Solid C. Nice indy offering from Canada. 6.2 at IMDb, which is reasonable. Not a very commercial film, but that doesn't mean it isn't good.



* 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 Touch of Genie


We are all familiar with Joe Sarno's softcore classics, and know that he is a master of the genre, has a strongly pro woman slant, and focuses on women's reaction to sex more than the actual sex, but Joe was not exclusively a softcore director. He would apply his talents to hardcore material when he was in a place or an era where he felt he could do so without fear of arrest. The After Hours Cinema branch of AI has unearthed a classic example of Sarno hardcore, a spoof of I Dream of Jeanie called A Touch of Genie, a treasure which has long been presumed to have been lost forever.

Genie is played by Chris Jordan, and the master, Melvin Finkelfarb, by Douglas Stone, a stage performer making his only film appearance. Melvin lives with a classic Jewish mother (Ultramax), owns a small second hand shop, and sneaks out at lunch to watch porno films in Times Square. He finds a magic jar, sticks his schlong into it, and thus summons the Genie. She grants him five wishes. He thought three was the usual number, but she explained that that was back when three wishes actually went somewhere, pre-inflation. He keeps wishing to have sex with porno actresses, and to look like porno stars in the process. Genie hopes he will choose her instead.

Sarno felt that hardcore was best performed by hardcore professionals, so he hired the best: Harry Reems, Eric Edwards, Sandy Foxx, John Ashton, Tina Russell, Lynn Stevens, Marc Stevens, Ro Tasha and Ultramax. (The film's acting stars, Chris Jordan and Douglas Stone, keep their clothes on!) Not only is this film from the classic era of hardcore and stars all the biggest names from 70s porn, but it is hilarious and professionally assembled. This is one of Sarno's favorite films, and for good reason. He combines Yiddish theater humor from his childhood, a spoof of a popular TV show, and hardcore performers to create something that has to be seen to be believed. I couldn't decide if the comedy schtick or the sex was the best part of the film. This is a romantic comedy, and has an appropriately happy ending, but the getting there was all of the fun.

AI has done a bang-up job on this release with interviews, a post-screening party, an informative booklet, huge collection of trailers, and a second disk with two other genie-themed pornos, including Swing Genie and Jeanie's Magic Box.  The video quality of the actual film is the best they could do with the one remaining work print of a long forgotten film. It does have numerous scratches and chips, but these are not enough to detract from the value of the film.

This is a C+, at the absolute top of the genre line. It's a full-featured release of a entertaining hardcore classic which was thought lost until recently. If you are like me, and have an affection for classic porn, and/or porn with a sense of humor, this is a must-own.

IMDb has scarcely heard of this title as yet.

Sandy Foxx


Tina Russell


Lynn Stevens





Ro Tasha (breasts only)












Another teen comedy.

Tereza Brettschweiderova & Kristyna Simova topless as they do an Orange Juice commercial.

Michelle Trachtenberg is the lead actress, no nudity but she is cute.

Molly Schade bares the boobs in the pool.

Jessica Boehrs is also topless.






Notes and collages


Shannen Doherty, Season 2, Episode 14








Here is Spanish actress Irene Visedo, from the hit Spanish TV Series, "Cuéntame", which is something like "The Wonder Years." Irene plays a part similar to Olivia D'Abo's character on the North American series.

Some people may remember Irene from the excellent movie "The Devil's Backbone" that was directed by Guillermo del Toro.


Irene Visedo








The lesson in this humorous and well-done 2006 horror/thriller is that if you piss off enough people, they're gonna piss back.

A multi-national weapons manufacturer holds a team-building weekend in the mountains of Eastern Europe. As is normal in one of these corporate exercises in torture, the team fights among themselves while trying to convince the team leader that they're attempting to build unity.

Soon, though, they're too busy fighting a group of crazy killers, fresh from a war in which they faced the company's weapons, and hell-bent on revenge.

A smart and funny comedy with plenty of horror, yet not an excessive amount of gore, produced in the UK, but filmed in Hungary. Quite different, and very worthwhile.

Juli Drajko and Judit Viktor Laura Harris







A few film clips and samples (to the right) from Good-Luck, Chuck. It's apparently a painful movie to watch (I haven't seen it), but there seems to be quite a bit of flesh to ease the pain. The quality of the clips is so-so. They obviously come from a cammed bootleg, but are watchable (as you can see from the sample caps.)


I think we will look back on 2007 as the year in which television nudity surpassed its competition in films. We are likely to have many, many TV clips in out top twenty this year. We already saw a tremendous scene from Alice Henley in season two of Rome, and spectacular nudity in Californication from Paula Marshall, Madeline Zima, Rachel Miner and others. Yesterday we saw just how far the producers of Tell Me You Love Me are willing to go. Today it's Weeds's turn in the barrel, with full frontal nudity from two minor characters and lower frontal nudity in a sexy scene featuring Mary Louise Parker.

Here's a sample to whet your appetite.

A film clip of Meghan Flather in War. She's a first timer. The film is the one with Jet Li and Jason Stratham. Mediocre video quality, but some nice nudity.
A film clip of Maria Bello in Butterfly on a Wheel. No nudity, but I recommend it highly! Very sexy.
I'm shocked ... shocked ... to see Bai Ling's nipple fall out in public.


The Comedy Wire

Comments in yellow...

Tuesday, a House Energy and Commerce Subcommittee held hearings into sexist and degrading language in rap and hip hop music.  After watching videos filled with nearly-naked women, and the "B-, H- and N-words," they listened to critics who accused the music industry of poisoning young people's minds.  Then the CEO of Warner Music said Elvis and the Beatles also upset parents; and the CEO of Viacom, owner of MTV and BET, said it's not their role "to censor the creative expression of artists."  The hearings ended with the music execs, rappers and politicians all agreeing that they oppose government censors stifling artists' creativity. 

*  And by "stifling their creativity," they mean making the women in the videos put on clothes. 

President Hugo Chavez took a break from railing against Bush to berate beauty-obsessed Venezuelans over a trend of giving girls breast implants for their 15th birthdays.  Venezuela is known for oil wealth, beauty queens and plastic surgery, and 15th birthday implants are so popular, they're advertised on TV.  Chavez called the
fad "horrible" and "the ultimate degradation."  He is trying to promote a socialist revolution and overthrow "Western icons," such as Barbie dolls.  The lecture against inflated teenage boobs came on his Saturday TV show, which ran a record eight hours. 

* If he likes the natural look for girls, you'd think he'd be in favor of Bush. 

Tuesday, a woman told Oprah Winfrey that she and her husband had sex on a golf course by their home, and Oprah replied, "You know everybody wants to know what hole"

* I'm betting it was in the back nine.