There are films that endure the test of time and place and seem to reach the heart and head in any country or decade because they zip along with some combination of witty dialogue, interesting characters, lofty ideas, poignant moments and cleverly constructed plots.

Move is not one of those films.

It was made in 1970, and there it stayed, along with go-go dancers, Laugh-In, and its star, Eliot Gould. He seemed to be in just about every 1970 movie. Thanks to Bob and Carol and Ted and Alice, as well as Robert Altman's M*A*S*H, Gould inexplicably became the hottest property in Hollywood, although he was not an especially attractive man nor a very versatile performer. His entire schtick seemed to consist of leering and mumbling sardonically, skills which were tailor-made for Altman's universe, but which traveled outside that realm with difficulty. A little of that went a long way. It just didn't work here.

Gould plays Hiram Jaffe, a 30-something New Yorker who aspires to be a legitimate playwright. In the meantime, he walks dogs and writes soft-core romance novels to play the bills. In his frustration over  his lagging career and the ennui of his domestic life, he turns to fantasies. This presents a major problem for the film. The distinction between his fantasy life and reality may have been clear in the mind of the scriptwriter, but it certainly isn't clear to the viewer, which makes the film difficult to follow, and continually prompts a reaction of "Did that happen, or did he imagine that?"

The entire film takes place during a couple of days in Hiram's life, during which he is trying to move from one apartment to another. The mover is a mysterious man whose telephone conversations indicate that he seems to know every detail of Hiram's life, although the two have never met. Hiram's attempt to meet with the man and/or get him to commit to a specific moving time is the driving force of the alleged plot. In the course of the film, that mover makes those mysterious all-knowing phone calls to Hiram, visits Hiram's wife, and ultimately steals all of Hiram's furniture. Or does he? Does any of that actually happen? Does some of it happen? Or is it all in Hiram's head? Just who is this mysterious mover, and what is he supposed to symbolize? Similarly, Hiram may or may not have an amatory adventure with a strange woman he meets in the park (played by Genevieve Waite, the mother of Bijou Phillips) , may or may not foil a burglary with the assistance of his faithful St. Bernard, and may or may not have a series of adventures with a persnickety mounted policeman.

The viewer neither knows nor cares. Although the film runs an economical 90 minutes, the pace is so languid, the nature of reality is so blurry, and Gould is so laid-back, that the film seems as long and static as that Andy Warhol film which is just eight hours of a stationery camera trained on the Empire State Building. (How did Andy know when that film was finished? I'm guessing he just ran out of film.) Gould's character comes across as a whiny, white-privileged jerk who has every component necessary for happiness, but has trouble dealing with petty annoyances (ooh, I'm so bored with married life and I need a bigger apartment). His concerns, and the movie's themes, seemed banal and unimportant in an era when most people were concerned with serious global issues like Vietnam, Civil Rights, Charles Manson, and the generation gap inspired by the new counter-culture.

Plus the movie is supposed to be a comedy, but just isn't funny.

Move bombed at the box office, despite the alleged draw of Gould's star power. Nothing fails worse than a confusing, unfunny comedy. While the film was merely tedious, the aftermath of the film bordered on, then reached the level of tragedy.
  • Gould swore never to work with director Stuart Rosenberg again, characterizing him as a nice man and a competent professional who just didn't "get" comedy. (A pretty fair appraisal, in my estimation.) Rosenberg did not need to grasp humor in order to be successful. He was able to direct some successful, acclaimed and laughless films. He had already directed Cool Hand Luke before Move, and would later achieve some box office success with The Amityville Horror, and some critical love with The Pope of Greenwich Village.
  • Joel Lieber, the author of the screenplay and the eponymous novel upon which Move was based, was not so fortunate. He also abandoned comedy and wrote a depressing novel, Two Way Traffic, which was a thinly disguised version of his own unhappy life. Shortly after completing that novel, and within a year after the film version of Move was released, Joel Lieber jumped out of his high-rise Manhattan apartment. As his friends and family told the story, his girlfriend and her mother were sipping coffee on the terrace when Joel walked past them wordlessly, simply stepped into the air, and plunged to the sidewalk below. Like the Eliot Gould character in this movie, he seemed to have a great life spoiled by self-pity and "white people problems."


Three women show their breasts: Paula Prentiss, Genevieve Waite and Garrie Bean

Paula Prentiss,

Genevieve Waite

and Garrie Bean (Who? Nobody seems to know).

Eliot Gould does hirsute rear nudity.

Paula Prentiss also posed topless in a bathtub with Gould for a promo picture (the bathtub scene is in the film, but no naughty body parts are exposed).

And Genevieve Waite exposed the top of her butt for another promo still.

Mas de 100 mentiras

season two, 1080hd

Casandra Balbas in episode 1

Elena Ceinos in episode 2

The Expanse

s4e2, 1080hd

Jess Salguiero


Check Other Crap for updates in real time, or close to it.

Cabin Fever

2003, 1920x1080

Cerina Vincent

Going Danish this week with movies from Denmark, although nearly all of them are co-productions with other Scandinavian countries.



Clown aka Klown has Stine Chen

and an unidentified woman starkers.

Marie Mondrup bares her bum.

The 1980s

Grandview, U.S.A.


Jamie Lee Curtis

Huevos De Oro

1993, 1080hd

One more Spanish movie for the 90s weekend update and it's the 1993 drama Huevos De Oro (Golden Balls) directed by Bigas Luna (Jamón, Jamón, Volavérunt, Yo Soy La Juani, Di Di Hollywood etc.). Haven't seen it since the 90s when it turned up on SBS regularly and it's still one helluva movie. Basically, Javier Bardem is Benito, the most macho man ever who loves women and wants to build the tallest building in town despite having no money, so he does the one thing he does best (love women) and marries the daughter (Maria de Medeiros) of the banker who won't give him money so that he can get the money while keeping another girl (Maribel Verdú) around. Eventually he introduces them to one another and they surprisingly like each other but their threesome ends badly and leaves Benito struggling and it turns out his building has cut corners and he sabotages his marriage.

Wild movie, Bardem is perfectly cast, there's a shitload of sex and zero subtlety (not unusual for a Bigas Luna movie but this movie takes it to the next level) but it's a lot of fun and when Bardem crashes, he crashes real hard, getting massively cuckolded by, of all people, a young Benicio del Toro. Need to get my hands on other Bigas Luna movies from the 90s, more good stuff there.

Maribel Verdu film clip (collages below)

Maribel Verdu and Maria de Medeiros film clip (sample below)

Maria de Medeiros film clip (collages below)

Raquel Bianca film clip (samples below)

Elisa Tovati and Stella Condorelli film clip (sample below)

Diane Kruger in The Operative (2019) in 1080hd

Evgeniya Gromova in Vernost (2019) in 720p

A tremendous enhancement of Ivana Milicevic in Banshee (s1e4) in 1080hd

Sylta Fee Wegmann and Isabel Thierauch in Die Haut Der Anderen (2016) in 1080hd



Vail Bloom in Too Late (2016) in 1080hd

Ariana Grande


Katy Perry