• * 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.








The Human Stain


Jacinda Barrett film clips

(The famous whipped cream bikini)

samples below


Nicole Kidman film clip

samples below



Scoop's comments:

I want to begin with a simple statement: Human Stain is a good movie. I want to establish that before I get off on a rant about how nobody will ever want to see it, because if you are that one person in a hundred who appreciates Ibsenesque insight, it may be your kind of film. It features a cast of four excellent actors who play their parts perfectly (Nicole Kidman, Gary Sinese, Sir Tony Hopkins, Ed Harris). It is a serious, faithful adaptation of a significant novel. It contains human truth and some vivid analysis of society. I admire what it accomplishes.

But I'll be damned if I can figure out why the investors thought they'd get their substantial investment back. It is a thirty million dollar film packed with stars, but it has the soul of an arthouse indy. The other 99% of you will find it duller than an evening with Andy Rooney, and more painfully serious and obviously wounded than John Hurt discussing world hunger. It is an oh-so-serious-and-literary treatment of a man who is fired for making a "racist remark," although he did not. He is a college lecturer and two of his students have never shown up for class. He asks, "do these people really exist, or are they spooks?" I guess he should have said "phantoms" instead of "spooks", because it just so happens that the two missing students are of African descent, and one of them turns the remark into a racial incident.

Why is this enough material for a film? Because the offending professor is, himself, a light-skinned African American man who has been passing for white since he graduated from high school and joined the navy. Within a few years after that time, he was in a different city, he and his family had turned their backs on one another, and there was nobody to dispute his whiteness. His white wife lived with him for forty years and never suspected.

The film chronicles his life after the incident which provoked his resignation, and flashes back to the path that led him to that point in the first place. Ultimately, the film suggests obliquely that perhaps all of our assumptions are incorrect, and that he really might harbor a form of racist feelings against black people, even though he is black himself.

The forward engine of the story is, unbelievably enough, a love story between the disgraced professor and a young female janitor half his age, played by Nicole Kidman. The Kidman character has also rejected her own past, although she has moved in a direction nearly the opposite of the professor's. She came from a wealthy family and rejected their values to do some downward social climbing, resulting in a trailer-trash life, a violently insane husband (Ed Harris), and a tragic incident involving the loss of her children. The black/white man and the downwardly mobile woman, lovers who have each rejected their families, manage to find some (uneasy) comfort in one another.

Yeah, you read that right. It's Nicole Kidman and Hannibal Lecter in the sack.

Ed Harris is tremendous in this movie. Not only does he depart from his usual refined self, but you'll barely recognize him, and he'll just frighten the hell out of you. It is amazing to me how he can take his haunted intensity and apply it in so many different ways. After I saw this film, I realized that Harris has just the right qualities to make an excellent villain in a horror movie.

The film was directed by Robert Benton who is most famous for having written Bonnie and Clyde and having directed Kramer vs Kramer. He's not exactly what one might call prolific. In 31 years as a director, he's made only ten films:

  1. (7.39) - Kramer vs. Kramer (1979)
  2. (7.36) - Places in the Heart (1984)
  3. (7.19) - Nobody's Fool (1994)
  4. (7.07) - Bad Company (1972)
  5. (6.78) - Human Stain, The (2003)
  6. (6.51) - Late Show, The (1977)
  7. (6.11) - Twilight (1998)
  8. (6.07) - Still of the Night (1982)
  9. (5.72) - Billy Bathgate (1991)
  10. (5.22) - Nadine (1987)

That's not a bad list at all. Benton has seven Oscar nominations and three wins (one as a director, two as a writer). He has been nominated for his work on five different films. The Human Stain has been ranked in the middle of his career output by IMDb voters, beating out one of his Oscar nominees. That's fair enough. As I said in the first sentence, it is a good movie, but I don't know how the investors thought this kind of literary introspection would pay off, because it is not only a serious film, but a seriously depressing one as well. Winston Churchill described the Soviet Union as "a riddle wrapped in a mystery inside an enigma". If he saw this movie, he might have called it "calamity wrapped in pathos inside of tragedy". From the board's callous firing of the professor, to the professor's callous rejection of his family, to the tragedies of Kidman's past, to Harris's insanity, to the ultimate tragic conclusion of the bizarre love triangle, this may be the single most depressing film you'll ever see.

It just had "feel-good summer blockbuster" stamped all over it!

I reckon Miramax knew it would lose money, but considered this a "prestige" picture and hoped it might warrant some Oscar consideration, at least for the actors if no other categories. Had that been the case, the additional publicity might have pushed the receipts up as well, but that never happened, despite the undisputed ability of Miramax to lobby successfully for awards consideration.



East West 101

TV - season 2, episode 6



Keeley Hazell for PETA, in ultra-high resolution.

Jenny Mollen in this week's Crash in HD

I don't think this is actually Romy Schneider. In fact, I think it's a painting. But we can dream.



Film Clips

Katrin Cartlidge in Career Girls

Chiara Schoras in Stan Becker

Rare nudity from Jennifer Beals in The Prophecy II

The women of Glissements progressifs du plaisir: Anicee Alvina and Olga Georges-Picot

The women of The Band, a deliberately transgressive film about sex, drugs, and rock 'n' roll. The sex is explicit, and not simulated.

Brinna Heart film clips (samples below)

Amy Cater and Anthea Eaton film clips (samples below)




Paz de la Huerta in The Limits of Control. Surely this will be one of the twenty best nude performances of 2009. Great stuff! (Samples below)