Shred is your standard underdog sports movie, pitting the slobs who play for the love of the game against the snobs who play for the corporate greedheads. In this case the sport in focus is snowboarding, so the slobs are a little sloppier than usual, and their coaches are total stoners, but if you have ever seen any of the lowbrow ski school movies, or for that matter any other "slobs vs snobs" movie about sports or any other subject, then you've already seen this one as well. The film's short running time probably includes close to 30 minutes of actual snowboarding footage in gorgeous locations in British Columbia, so that may be interesting if snowboarding is your thing. If you are among the vast majority of people whose interest in snowboarding is casual, all that filmed competition looks like the same footage being used again and again, and the sheer volume of it just means that the film is even lighter than you might expect in terms of character development. I started to type "in terms of plot and character development" but immediately realized that my point was incorrect. It has exactly as much plot - in fact, exactly the same plot - as every other similar movie. If you're scoring at home, you can check off the plot points and stock characters one-by-one.

I guess the film was actually made in 2006 because there is a dedication at the end dated in January of 2007. I am writing these words nearly two years later and the film is a complete cipher to IMDb visitors: no votes, no reviews, no comments, no message board. In other words, it has spent two years somewhere in movie limbo.

And with good reason.


There is a bit of female nudity.

There are various uncredited topless revelers at a party.

There is a stripper at another party, as played by Amber Leiterman


The Good Life



The Good Life is an arty indie film about people alienated from mainstream life. The focal point is a young man named Jason who graduated from high school in small-town Nebraska and never managed to move away. He comes from a poor family and his father has recently passed away, so he can't afford to pay the electricity bills and lives in a freezing house. He makes the best living he can by working at a gas station. His only real amusement comes from his nightly visits to the local nostalgia cinema, but even that pleasure has become more of a responsibility because the owner of the theater, an old gent who has become his good friend, is gradually losing his mental functions and needs the younger man to keep everything on schedule.

The bane of Jason's existence is a former high school football player about Jason's age who has lost his mind and turned into a vicious bully who never takes off his old jersey. The redemption of his existence is an ethereally beautiful young woman who wandered into the theater one night and just forced her way into Jason's life. She initiates a sexual relationship with the young man, and seems totally unconcerned by the total hair loss that has affected him for years.

This film was screened at Sundance in 2007, and if ever there was a film "made for Sundance," this is it, and not just because of the themes. There are the snippets from old films. There are the long, quiet scenes punctuated by melancholy piano chords. There are the rejections of mainstream American life. There are the lingering shots of desolate wintry streets in once-respectable neighborhoods gone to seed. There are the decaying artifacts of obsolete technology like rusted old gas pumps, manual cash registers, and old-fashioned projectors. There is the run-down Capitol theater in a neighborhood full of warehouses, boarded-up shops and razed apartments. Every shot is carefully calculated to present a world left behind by the glitz and prosperity of modern American life.

Jason is desperate to leave this world, but cannot. His mother is alone and jobless, so Jason's meager income is their sole support. His old friend in the movie theater is falling into senile dementia, so Jason's care is his only connection to normality.

This film has some flaws, the worst of which is "piling on." It seems that every major character is theatrically tragic in some way, and most of them have mental illnesses which would typically require institutionalization. The beautiful, angelic girlfriend turns out to be deeply disturbed, and her entire background story turns out not to be her own, but Judy Garland's. The ex-jock is hurting people physically and obviously represents a danger to the community, but no law authorities seem to care or notice. The theater owner has lost his grip on reality. And Jason's recently deceased father turns out to have been the craziest one of the lot. It may be possible to find so much insanity linked through one central person in small-town America, but a realistic cast of characters would also include other people who are completely sane and who are resigned to or even happy with their lives. There would be waitresses and police officers and store clerks with upbeat personalities and cheerful outlooks. There would be loving young mothers who are a bit bored, but thrilled to be raising their new babies. There would be good kids having a great time from the final school bell until bedtime. Those sorts of characters are excluded from this story, which chooses to focus only on the damaged goods. That sort of exclusion turns what might have been a poignantly realistic story about America  into a archetypal fairy tale about Neverland, and destroys any credibility or insight it might have been able to establish as an examination of the American underbelly. And isn't it enough that the lead character is living in dire poverty, trapped in a town where he gets beaten up at random times for no reason? Does he also have to be hairless and surrounded by insanity?

That doesn't mean it is not a good film. The cinematography and score are consistent and evocative. The performances are delivered by the cream of the indie scene, like Donal Logue, Mark Webber, Zoe Deschanel and Harry Dean Stanton. The script is deeply heartfelt and well considered. The main characters are allowed to develop on screen. The film is a genuine piece of art. That's not to say it is great art, but it is art nonetheless, not formulaic commercial filmmaking, and I applaud many things about it, especially the depth of characterization, the attention to detail, and the ability of the author to tie so many elements together as artfully as a composer might wind separate instrumental parts into a symphony. I also admired the filmmaker's ability to allow us to draw our own conclusions about some scenes without offering an editorial perspective or an excessively verbose explanation. I was also impressed by the fact that he allowed some characters to move toward more hopeful and positive situations. This film, while a superb effort from a first-timer, is just too downbeat and poetic to attract much of an audience, but you should probably enter filmmaker Steve Berra on your list of people to watch, because the potential on display here, while unrefined, is enormous.

The only nudity is this "sorta topless but not really" scene featuring Zoe Deschanel.


  • * 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.








Far Out Man



Far Out Man is essentially a Cheech and Chong movie minus Cheech, other than a cameo appearance. Tommy Chong wrote and directed, and the cast includes just about the entire Chong family, including Tommy's wife, one son and one daughter.

Rae Dawn Chong (as herself) is trying to star in a film, and her dad keeps showing up on set, nearly costing her the role. He lives as a hermit, ever since his wife (played by Tommy Chong's real wife Shelby) left him. Rae Dawn brings a shrink (Dr. Liddledick) to snap him out of it, and the shrink eventually uses hypnosis to convince him he is a roadie again.

Cut to the wife, who is a wannabe actress now living with C. Thomas Ponyboy Soul Man Howell (as himself). She goes to a concert to hear the Fartz, the loudest rock group ever. Guess who shows up there for a roadie gig.

The DVD was obviously mastered from tape, and is not good quality. The film itself is stupid, infantile, obvious, and offensive ... but I caught myself laughing out loud here and there. The truth is that Tommy Chong is funny. If you like the Cheech and Chong films, you probably want to see this one as well.

4.1 at IMDb.


Shelby Chong shows a breast.

 Peggy McIntaggart shows breasts.










Criminal Law


Karen Young film clip. Sample below.













Women Behaving Badly


Jami Farrell













Hank and Mike


Non-hefmag bunny film about some guys in easter bunny costumes.

Talia Russo: shaved full frontal showing some nude camel toe.

Aniela Kurylo: boob and butt having furry sex.

Dawne Furey: cleavage.

Akela Savage: topless as stripper in the original "Hank and Mike" (2000) short.

unknowns: nude in deleted section. One has her tuckus fuzzed out.



Kill Switch

(2008  V)

...aka "Killing Point" aka "A Higher Form of Learning"

Steven Seagal direct-to-dvd released shortly after the death of Isaac "Chef/Shaft" Hayes. The only thing that could have saved this stinker was Canadian über-cutie Leela Savasta who was in the original cast lineup but mysteriously disappeared.

Holly Eglington: literally wired up to booby trap.

Apollonia Vanova: topless as corpse.

Daniella Evangelista: bra and panties.

Andrea Stefancikova: topless in love scene tacked on at the end.


Geraldine's Fortune


Light comedy starring Jane Curtin.

Nicole Maillet: sexy as daughter.

Suzie Etesonne: nude as Jane Curtin's stunt butt.

End of the Line


Horror from the writer/director of  "Lady of the Lake" from a decade ago. No nudity.

Ilona Elkin: partial boob in shower.

Emily Shelton: cleavage.

Nina Fillis: brassiere.


Joy Ride 2: Dead Ahead

(2008 V)

Recently released sequel to the trucker horror this time with female nudity instead of male nudity. After all truckers
drive hard on their stick shifts and prefer their Jack Daniels straight.

Nicki Aycox: bra and panties after being force to strip.

Krystal Vrba: topless as truck stop hooker.

Colette Hills: nude as corpse.

Rebecca Davis: camel toe as stranded motorist.







Film Clips

Claire Borotra in Lautrec. Sample right.
Elsa Zylberstein in Lautrec. Sample right.
Vanessa Guedj in Lautrec. Sample right.
Dana Ivgy in Or My Treasure. Sample right.
Ronit Elkabetz in Or My Treasure. Sample right.
Lauren Hutton in Manchild. Sample right. She looks mighty good for a 65-year-old woman. (This is a failed cable TV pilot.)
Julia Jentsch in My Brother, The Vampire. Sample right.
The women of the 2002 black comedy Flyfishing: Frances Barber and Kate Ashfield.

The women of Juliette och Justine: Maria Forsa, Anne Bie Warburg, and others.

Victoria Principal in The Naked Ape. This low-quality clip is pretty much a waste of time, but, hey, it's Victoria Principal.