All the Boys Love Mandy Lane


This is a case where the story behind the film is more interesting than the film itself. First question: "Why the multiple dates?" This variation on the teen slasher genre was first screened at Toronto in 2006, where it was bought by the Weinsteins, who had fairly big plans for it. Shit happens. Those plans changed and the Weinsteins re-sold the film to Senator Entertainment. Except for some tiny theatrical runs in Europe, Senator has basically just been sitting on the film since they acquired it, and it now appears to be headed to DVD without a theatrical release in North America.

Maybe. Assuming it ever gets to DVD in the USA.

A DVD release was supposed to happen in October of 2007, but that was postponed, and there is now no definite date available, so this flick just seems to be in limbo in every North American respect. (It is available in Region 2 on DVD and Blu-Ray from Amazon UK.)

The film itself is sort of a hybrid between a teen angst film and a conventional slasher pic. Mandy Lane is the pure girl who suddenly becomes gorgeous one summer in high school, enticing all the cool guys to start chasing her. She resists at first and stays loyal to the nerdy boy who has been her best friend since childhood, but she seems to change when a bizarre accident results in the death of an obnoxious jock. The athlete seems to have been goaded into a suicidal leap by the nerdy best friend. After that incident, Mandy gravitates to the cool crowd and dumps the nerd.

... at which time the prologue ends and the real story begins.

Mandy agrees to go off to an isolated ranch with three sleazy guys and two slutty girls. Nobody else is on the property except a mysterious caretaker who is supposed to have some mental problems resulting from his service in the Gulf War. As the first night progresses, the cool kids start dying one by one.

You should already have figured out the basic solution to the mystery, even though I've only described the first ten minutes of the film. Obviously, the ranch hand is a red herring. He has no motivation to kill anyone, so the killer must be someone else. There are two questions you should ask at this point:

1) Why did the script bother to show the prologue, which introduced and dropped the character of the nerdy boyfriend? Wouldn't the film have worked exactly the same if they started with the trip to the ranch. If not, why not?

2) Why would sweet, virginal Mandy agree to go on a drunken road orgy with three sleazebags who obviously wanted her there only to mount an assault on the fortress between her legs?

To each question there is only one possible reasonable answer to the question, and those answers supply the film's "surprise" resolution.

Despite the telegraphed solution, the film does rise above the teen slasher genre for three reasons:

The interaction between the teens makes it a fairly interesting teen drama before the actual slashing begins. The character development is not especially deep, but the script does pay some attention to it and makes an effort to make it realistic, which allows the film to reach a wider audience than just slasher aficionados.

The style of the film, including a grainy kind of look, harkens back to the genre classics. If you did not recognize any of these actors and a friend told you this movie was made in the seventies, I doubt that you would question him. I'm not sure when it is supposed to take place, but the characters conveniently lack the cell phones which would have saved their lives, so that element added to the seventies vibe. Since every human being on the planet now has a cell phone, I guess we are to assume that the story took place some time in the past.

Although the film goes through the normal motions of a slasher film until about five minutes before the end, there are then several consecutive plot twists, some of which are more unexpected than others. The last five minutes of the film are genuinely nutty, with a bizarre showdown between the main characters and various plot twists so improbable as to verge on satire. Notice that I'm listing that as a positive. Your mileage may vary, but I like the over-the-top finale, which injects a little craziness into a film which had earlier seemed more like a soap opera than a slasher film. All sense of logic disappears in a couple of the film's worst moments, and two of the plot twists are completely predictable, given the questions I asked above, but the ending does offer some surprises and a couple of original, unusual set pieces.

All in all, not a bad little film. Is it good enough to have been released theatrically? Well, it seems more like a STV film to me, but there have been many worse films to receive theatrical releases in the past two years, so this might have made for a decent addition to the usual Halloween line-up.

Whitney Able (topless)

Amber Heard (sexy, but no real nudity)



  • * 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.








Monique Parent


Oops. One more day delay on Wild Women at Work. More variety today. Once again, I think you all know who Monique is:

Monique Parent in The Last Suspect

Monique Parent in Sexy Stars and Rising Starlets








Connie Britton

Over on the TV side for today with some MILF action.

Last fall Connie Britton paid visits to Conan and Letterman.

Great legs on Conan.


Some nice cleavage and a little leg on Letterman.











(1984, IMDB Top 100, deleted scenes)

A real treat today. This is the first time I have seen this scene in Blu-Ray quality, and until a couple of years ago I had never seen it at all. Elizabeth Berridge in a scene deleted from Amadeus.








This section will present Defoe's film clips to accompany Charlie's collages, which are found on his own site.

Today's group brought to you by the letter E:

Eglantine Rembeauville in La Maison Tellier

Emmanuelle Devos in Ceux Qui Restent

Eriko Takeda in Panorama

Esse Lawson in Groupe Flag

Eva Darlan in Decko Koji Obecava






Notes and collages



Demi Moore






Dark City


A forerunner of The Matrix, with a similar theme, this 1998 Sci-Fi is intricate and fascinating, with a dark tone throughout. John wakes up in a strange hotel, with no memory. He doesn't know who he is or where he is. He discovers he is wanted for a string of brutal murders of prostitutes, but he also discovers he is apparently married to a cabaret singer that he doesn't even recognize. He is pursued not only by the police, but by a mysterious man who claims to be a psychiatrist wanting to "help" John. As the chase for John ensues, John tries to piece his life together, and accidentally discovers a strange shadowy group called The Strangers, who seem to be controlling everything. Before John's eyes, the city and the people in it seem to be changing at the hands of The Strangers.

An outstanding Sci-Fi, spellbinding and interesting even as it is complex.

Jennifer Connelly Melissa George Natalie Bollard







Who says there are no miracles in today's world? If you truly believe that, then explain to me how Elizabeth Hurley managed to walk around an entire night in this dress without falling out.


Film Clips

Mysteries of the Organism is one of the strangest movies ever made, and was highly explicit for its time. Here's a sample scene with Jagoda Kaloper, which is not all that explicit, but plenty strange enough.
Heike Makatsch and Jasmin Tabatabai in Gripsholm (sample right)

Christiane Paul in Ein Verlockendes Angebot (samples right)
Lilian Naumann in  Mozart - Ich haette Muenchen Ehre gemacht (samples right)
Anna Paquin in Episode 7 of True Blood in high definition (sample right). This is the continuation of the scene which rocked the celebrity nudity community in Episode 6. It's pretty much the same footage, but for the sake of completeness ...

Katie Lyons in Boy A (sample right), I have this film but still haven't been motivated to watch it.

Britt Ekland in Percy (sample right)

Polina Agureyeva in Eyforiya (sample right)

May 6th is not an especially good film, but is an important film for two reasons.

First, it is kind of the Dutch version of JFK, a recreation of a massive conspiracy theory involving the assassination of a popular Dutch politician (Pim Fortuyn) who was highly critical of the Islamic subculture in Dutch society. According to his convicted murderer, he was assassinated "to stop him exploiting Muslims as scapegoats and targeting the weak parts of society to score points in seeking political power."

Second, and more important, it was the last film directed by Theo Van Gogh, who was assassinated by a Muslim extremist. Van Gogh himself, like Fortuyn, was openly critical of the Islamic influence on Dutch culture, and of Islam in general. In that sense, Van Gogh's film foreshadowed his own murder.

Van Gogh was, by the way, the great-grandson of THE Theo Van Gogh, the art dealer who was Vincent Van Gogh's brother, confidante, supporter, etc.

Femke Lakerveld and Tara Elders have now been in three films together. I don't suppose there is any special link between them.  I reckon that there just aren't that many proficient Dutch-speaking actresses to choose from. I suppose it's a situation comparable to Spanish films about 15 years ago, where the same 15 actors and actresses made every Spanish film. (Despite Jorge Sanz's limited acting ability, he seemed to be in every Spanish movie in the 90s.)

Femke Lakerveld in May 6th (samples right)
Tara Elders in May 6th (samples right)