Scarlett Johansson in Under the skin [CAM Captures]. Click HERE.
'True Detective': Overrated or A Masterpiece? And [S2] Cast/Story Speculations. Click HERE to comment away.

Tuesday, January 22, 2013

stars, sex and nudity buzz : 01/23/2013

Maggie Grace first 'butt' nude scene clip is now at Recapped site.

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* 34-years old ice queen January Jones goes topless in Sweetwater. Here is her explanation why she did her first nude scene which should be heeded by all newcomers who think dodging nudity is far more important than a good script.
(let me clarify something. No matter how good the script is - and Sweetwater is certainly not in that category - it'll never alter the fact you're a shitty actress and January is the type that floats quickly to the surface. Nice to look at though)

January Jones explains why she bares all in ‘Sweetwater’
January Jones is currently at Sundance to promote her new movie ‘Sweetwater’, with co-star Jason Isaac and boyfriend/director Logan Miller.  

In an interview with MTV, Jones explains why she decided to do racy scenes in ‘Sweetwater’, saying, “Well you know, it’s interesting, I always said that professionally, I was going to choose not to do that. But weirdly, as I got older, it didn’t become… it became sort of a non-issue.  I don’t know, I don’t know, it didn’t really bother me.  I mean, it’s kind of awkward on set, with so many people around you when you’re very vulnerable.”
January also spoke about her ‘Sweetwater’ character to EW, saying, “She reminded me of Clint Eastwood in Pale Rider, kind of dark and mean.  She has a stalking, predator type quality that I’d only really seen in male roles, and I tried to summon that up when I was playing her.”  She also talks about meeting Jason Isaacs [best known for playing Lucius Malfoy on the Harry Potter films] on the set, saying, “When I first met [Isaacs] off screen, he’s super charming and a very handsome man with very blue eyes.  But there were moments in the film when he needed to frighten me, and he did a good job. There wasn’t a lot of acting involved.”


Sweetwater

Variety
Thirty years ago, drive-in auds would have greedily devoured the ensuing carnage, cheering as Sarah baits Josiah's henchmen by bathing topless before shooting them dead. The Millers endeavor to portray these sophomoric altercations as artfully as possible, but fancy-sounding dialogue and handsome widescreen lensing goes only so far to disguise the shallowness of the underlying material.
Sarah may have the least to answer for her past, having suffered the murder of her husband (Eduardo Noriega), the harassment of the townsfolk and a gratuitous miscarriage, which the Millers tastelessly exploit for a few less-than-mythic beauty-shots of her grieving against the sunset.

Hollywood Reporter  
In a bizarre early scene that Sergio Leone would have admired, Sarah goes into town to shop and, while trying on clothes, is ogled through a knothole by the nutty proprietor, only to get his eye poked out with an umbrella by the merciless beauty. Played to an extent for comedy, this might seem like overkill on her part, but the act does suggest something about Sarah’s past as well indicate that she might have what it takes to survive in this harsh environment.
Although the film is nicely decked out and features some distinctive moments along the way -- Jackson deliberately scratching the pretentious Josiah’s imported fine wood dining table, a topless Sarah gunning down two bad boys while bathing in a river -- most of it feels derivative and generally predictable in its eccentricities.

djmecca ‏@djmecca
SWEETWATER: aside frm a topless gun-toting January Jones and a wackadoo perf frm Ed Harris, not mch too enjoy in this revenge pic #Sundance

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The Rambler
Roof Top Films
All along he his led by or followed by or haunted by his Penelope (Lindsay Pulsipher), a Siren who gets her head smashed in while singing, a Circe who’s elixirs cause her vomit-spewing, monstrous transformation. Her endless deaths eventually chase The Rambler into the domestic life, but he has been forever changed by the journey, and has to hit the road again (again, as with Odysseus, seeking a nihilist destruction through adventure).

Salt Lake Craglist
Every year Sundance plays one big joke on attendees ripping them off, seeing how far they will go to pay for the biggest piece of crap film they can find.
Ask anyone, call poop what it is, do not step in it. RETURN YOUR TICKETS NOW, GO TO THE BOX OFFICE AND EXCHANGE NOW, make Sundance eat them, not you.
Send a message to Sundance with an empty theatre at all screenings, get this puke out of the fest.

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Hell Baby

NYPost
A Wiccan seance scene led by Vanessa’s sister (Riki Lindome) also goes on too long and should have been cut.  Soon a female ghoul who looks like she just got out of the bathtub at the Overlook Hotel is sexually attacking Jack (Corddry.

Thomas Lennon and Robert Ben Garant, are en route to save the day, but are consistently sidetracked by delicious po’ boys and merrily be-tasseled strippers.
Hell Baby introduces a string of memorable, likable characters who carry the film during the occasional slow patch (not every joke can be a winner), and are occasionally open to glorious full-frontal nudity. Really, truly, glorious full-frontal nudity. (Wistful sigh…)

What do you want from a horror parody? Cheesy yet entertaining special effects? Check. Over the top gore? In spades. Titties? Yes indeed, and on both the "Ah hell yeah" and "Oh sweet Jesus no" level.

Riki Lindhome makes a striking entrance in the film, naked in ways I did not know you could be naked, but she has comic chops as sharp as anyone else in the film. She's Bibb's sister who comes to the house to do a Wiccan blessing ceremony. I've seen her perform live a few times as part of Garfunkel and Oates, and she is disturbing in the "Last House On The Left" remake, but this is probably the most fun she's ever been in a film, and the movie benefits from the way she turns up and how she's used in the rest of the film.

@jamesrocchi: 
HELL BABY: Walkout. Even worse than A HAUNTED HOUSE, in that you expect nothing from Marlon Wayans. A blot on Sundance's programming record.

The Cast of the Comedy 'Hell Baby'




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KINK
Variety
Director Christina Voros is here to educate rather than titillate, aiming to remove the unsavory stigma from an unusual leisure activity. It remains to be seen who will get the message, as scene after scene of explicit sadomasochistic activity will keep the pic confined to the fest circuit.
Coming in at a brisk but decidedly adequate 80 minutes, the pic takes the structural form of a typical day of filming in the San Francisco offices of Kink.com, the world's largest producer of online BDSM video content.
None of it is particularly erotic in its presentation, but those looking for an eyeful will get one, as the camera takes in a plethora of exposed bodies -- covering a range of ages, genders and sexualities -- in sundry dominant and submissive states, in such reconstructed settings as a public restroom or abattoir.
Vietnamese performer Van Darkholme's reasoning that the seed was planted for him by a Catholic boarding-school education, with nun-administered corporal punishment, is about as dark as the film's psychology gets. The general emphasis is on healthy stability and personal gain: "I am the strongest person in the world," beams one woman after a particularly grueling round. "Look what I just handled."
The consistently celebratory stance of "Kink" is commendable, but also feels somewhat limiting: There's a defensive tone to some of the testimonies, and it'd be interesting to hear from a few subjects with more conflicted BDSM histories, if only to help viewers better understand the potential challenges of the lifestyle, and the difference between good and bad practice. Meanwhile, the "don't try this at home" warning with some of the more severe, prop-led setups goes without saying.

Hollywood Reporter
It's not every doc in which you can hear lines like "Sorry, we have a gang-bang going on next door" and "There's a way to step on a cock where you don't hurt it, hon." There are fewer films still in which you might then see the latter claim in action. (Plenty of erect members appear here, sometimes handled quite comically; onscreen penetrations are seen only briefly.)
Torturers take pride in being able to endure what they dish out; safe words are sacred; and "aftercare," in which directors comfort those they've just subjected to simulated assault, is a major part of the game. It's a world with rules, we see, in which each "model" (they're not called actors here) dictates what can happen when the cameras roll. "I like choking," for example, "but don't call me 'bitch.'"
Voros' interviewees, from models and directors to company founder Peter Acworth (who ran his first website for a year from a grad-school dorm room), are articulate, adjusted-seeming people who can talk convincingly about misperceptions and stigmas surrounding both porn and BDSM (the catchall label for all this spanking, choking and such).

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Big Sur

UPDATE : 01/24/2013
Hollywood Reporter
Kerouac comments about their bucolic sojourn. After returning to the city, Cassady introduces Kerouac to his lover Billie (Kate Bosworth), a single mother with a young son. Their passionate relationship at first proves a distraction from drinking, but before long, Kerouac is bingeing again and feels the need to return to the cabin with Billie, her son, Lew and his girlfriend. 
Bosworth is sexy, vulnerable and finally unyielding as his lover, painfully reaching the realization that Kerouac will never romantically commit to her.
* love that word: sexy

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Film School Rejects
Once back in the city, Cassady decides to take Kerouac to meet his mistress, Billie (Kate Bosworth), and she and Kerouac hit it off immediately, falling into bed (and a relationship) almost before Cassady is out the door.

Kate Bosworth on Big Sur
 
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Lovelace

UPDATE : 01/24/2013
Film [dot] com
If you’re looking for sensationalism and sex, you might want to keep looking. The film suffers a bit from jumping around, and oddly, a lack of both sexiness and point of view that eventually just fizzles out into a merely mediocre movie. The sex feels just as empty and unpleasant as one might imagine. The classic bait-and-switch works; if you think you’re going to be watching a sexy film about the porn industry, and “Deep Throat” in particular, it certainly sets you straight on the record, according to Lovelace. “Lovelace” is an acceptable exploration of a moment in time, but little more than that.

UPDATE : 01/23/2013
Indiewire
But even "Lovelace" as turns up the heat, it never gets kinky. A noticeably less graphic portrayal of the porn industry than Paul Thomas Anderson's "Boogie Nights," the new movie comes across as overly referential toward the plight of its heroine even when she's apparently into it.
Just as the frequent cutaways from sexual activity tone down the titillation, "Lovelace" never garners the energy to construct a fully involving melodrama, rarely rising above Lifetime movie standards. Given the material, the irony here is that the filmmakers play it too safe.

Hollywood Reporter
Making a huge swing from the sweet, innocent Cosette in Les Miserables to the queen of porn, Seyfried has been decked out in curly black hair and freckles and otherwise deprettified to an extent to approximate the look of her real-life character. She gives a strong, credible performance that catches Linda’s insecurities and exacts sympathy and regret for all that happened to her, even as she might not seem to completely inhabit the role at all times.
Another theatrical feature on the same subject, Inferno: A Linda Lovelace Story, has been filmed and awaits its debut. Directed by Matthew Wilder, it stars Malin Akerman as Linda and Matt Dillon as Chuck.
* here I thought they were stuck at pre-prod stage with Muse Prod. putting most of their eggs in Spring Breakers basket.

Variety
Nowhere in the pic's whirlwind 93 minutes are the details of Lovelace's unhappy childhood in working-class Yonkers; her pair of serious car accidents, one of which required a blood transfusion that eventually led to her contraction of hepatitis; her pre-"Deep Throat" involvement in "Dogarama," a film featuring bestiality; her mid-'70s addiction to pot and painkillers; her late-'70s gravitation to Christianity; or her years of work in anti-porn feminist activism -- unless one counts a patronizing title card at the end.
For reasons best known to themselves, Epstein and Friedman depict the production of "Deep Throat" twice in succession -- first with a wide-eyed and blushing Lovelace acting more or less independently, and again in a version that, acknowledging the real woman's "Ordeal," includes images of a pistol-packing Traynor delivering abusive direction behind the scenes.
To its credit, the movie includes one extremely unpleasant scene of Lovelace being raped by Traynor (who in real life argued that the pair's rough sex was consensual), but it concludes on a note that could easily be read as upbeat.


Hollywood [dot] com
The underused and always amazing Debi Mazar plays a fellow porn star.There haven't been any actresses who started a successful career making porn, but it looks like Seyfried might be the first.
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NY Post 
Together with a friend (the ubiquitous Juno Temple, who plays a stripper in the comedy “Afternoon Delight”), she does some go-go dancing on a lark, attracting the attention of a strip-bar owner (Peter Sarsgaard) named Chuck Traynor. The film’s ending isn’t particularly strong and the heavy-handed musical score needs to be fixed, or perhaps scrapped, but “Lovelace” is still one of the finest dramas I’ve seen at Sundance this year.

Hitfix
When Stanley Kubrick's "Lolita" was released in 1962, it drummed up curiosity with the tagline "How did they ever make a movie of 'Lolita'?" I suspect a similar tactic could be used to generate initial interest in "Lovelace" before audiences discover the answer to the question "How did they ever make a movie about Linda Lovelace?" is "As blandly as possible."
One second, Linda is a nervous prude sunning in the backyard with her more adventurous bestie (Juno Temple, whose life destiny seems to starring in small movies and vanishing from bigger movies at the half-way point), the next minute she's meeting Peter Sarsgaard's Chuck Traynor, who teaches her everything she needs to know about oral sex, and then she's appearing in "Deep Throat" and becoming a sensation.
Most of the storytelling cleverness has been devoted to figuring out how to tackle the inevitable sexuality. 
The simple and most effective answer was: With humor, rather than eroticism. It helps that Sarsgaard and Seyfried have no real chemistry, even at the beginning of their courtship, so when he coaches her in fellatio with the advice "Don't forget to breathe," it has all of the heat of Mr. Miyagi urging Daniel to wax on and wax off. It becomes a point of comedic pride that every male character in the movie is agog at Lovelace's deep-throating aptitude, even though nothing can be shown. If you're laughing, you aren't being aroused and if you aren't being aroused, the MPAA probably isn't being offended and that's why "Lovelace" presumably won't have any trouble at all earning an R-rating. 
Looking gorgeous throughout, Seyfried is comfortable getting physically naked (or frequently topless, at least), but I wish the script had let her get more emotionally naked.

gregoryellwood ‏@HitFixGregory
#Lovelace has a rocky start, but a great performance by Amanda Seyfried and a very good 2nd and 3rd act. #Sundance


Amy Kaufman ‏@AmyKinLA
#Lovelace surprisingly unsexual. Not many racy scenes. Focus is on domestic violence between Linda and Chuck. #Sundance


ErikDavis ‏@ErikDavis 
Lovelace is all Seyfried and Sarsgaard. They're both great. Boogie Nights-lite, in a way. Needed something more. #Sundance

Amy Kaufman ‏@AmyKinLA
Seyfried undergoes a pretty big transformation in #Lovelace, though she still has her trademark doe-eyed innocence going on.


Rachel Dodes Wortman ‏@racheldodes
#Lovelace: not quite the “Citizen Kane” of porn biopics, but hats off to Amanda Seyfried for a courageous performance. #Sundance


Piya Sinha-Roy ‏@PiyaSRoy
#Lovelace left quite a few in tears, less about porn, more on domestic violence Linda experiences in her marriage to Chris. #Sundance


kateyrich ‏@kateyrich
Thanks to Lovelace, Juno Temple is 2-for-2 in "sex object only" roles at Sundance. Though she's not the one who goes into porn, so...


Piya Sinha-Roy ‏@PiyaSRoy
Impressive ensemble for #Lovelace, Peter Saarsgard is terrifying as Chris and Amanda Seyfried as you've never seen her before. #Sundance


Ken Adams ‏@TaybackX
Lovelace starts out slow, but becomes quite the thing in its third act. And Seyfried is terrific. #Sundance13


Hollywood Elsewhere ‏@wellshwood
I think we all knew before seeing “Lovelace” that porn industry is tacky. and cruel, pornographers are sleazeballs and some are misogynists.
 

Josh Dickey @Variety_JLD
LOVELACE will have no problem getting an R-rating. The sexybits range from tame to menacing, but little titillation. #Sundance

MTV
"The porn aspect, the violence, all that stuff didn't scare me at all. I wanted to jump right into that stuff because I think it's good work. I just hope nobody grabs onto the fact that there's a lot of boobs and stuff. I don't want that. I didn't notice them. And you know what's funny?... My friends had such incredible things to say just after the movie, and then my sister's like, 'There are just so many boobs! There's just too much of your boobs.' " — Amanda Seyfried, on nudity and her role as a pornstar in "Lovelace."

Amanda Seyfried says she had 'no hang ups' about 'Lovelace' sex scenes


'Violence was more of an issue'

video platformvideo managementvideo solutionsvideo player
PARK CITY - Amanda Seyfried was center stage Tuesday night at the world premiere of her new movie "Lovelace" at the 2013 Sundance Film Festival.  Seyfried, who an currently be seen in the Oscar nominated "Les Miserables," plays Linda Lovelace in the biopic about the infamous star of "Deep Throat."

"Lovelace" traces Linda's abusive relationship with one-time husband Chuck Traynor (Peter Sarsgard) and how he forced her to essentially become a porn star and hooker through violence.  While the re-enactments of "Deep Throat" are entertaining and mostly for comedic effect, the film has a serious dark side the was tough for Seyfried to take.

Speaking on the red carpet before the premiere Seyfried reveals she had three weeks after playing Lovelace to segue into, ironically, the happier role of Cosette in 'Les Miserables.' She says, "Thank god for that, because this was really intense."

One reason Seyfried took the role was because of her admiration for directors Rob Epstein and Jeffrey Friedman ("Howl," "The Celluloid Closet").

"They made me feel safe immediately," Seyfried says. "I was like, 'I have to do this movie with you guys.'  The script was perfect and they are so amazing."

And yes, there is nudity and sex scenes in "Lovelace," but working with Sarsgard made that almost a breeze.

"[Peter is] the easiest person to do anything with," Seyfried says. "You can be like, 'Drop you pants' and he's 'Alright.' We had no hang ups really, to be honest. If one of us hand hang ups it would be uncomfortable for the other one. We were just a team the whole time, we knew what we were doing and nothing was really sexual. It appears sexual on screen, but it's not. The violence is really more of an issue I think for him to get to and for me to react to. I had to go someplace else. It's not hard to pull yourself out of that sometimes. So, it was a tough shoot, but I enjoyed it for the whole experience."

Lovelace, whose real last name was Boreman, died in 2002 after a severe car accident. If she were alive today Seyfried admits she has no idea what she'd ask her.

"I would just want to know her," Seyfried says. "Just hug her and just sit and talk to her. It's weird. It's easier that she's not around I guess. Maybe not. I just wanted to give her a voice.

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Very Good Girls
Variety
Despite their glaringly obvious difference in age, leads Dakota Fanning and Elizabeth Olsen play the only virgins left in their high-school graduating class. For fun, Lily (Fanning) and Gerri (Olsen) enjoy silly stunts like rushing into the water at Brighton Beach stark naked.
Seduced by David's arty photographs (which he pastes, graffiti-like, around town), his fondness for Sylvia Plath poetry, and his six-pack abs, Lily loses her virginity to him on her garage floor. 
The faux-touching finale merely offers the girls another chance to strip.

Hollywood Reporter
Lilly (Fanning) and Gerri (Olsen) are first glimpsed taking a naked dip at Brighton Beach in broad daylight. Why?
Lilly offers up her virginity to him on the garage floor but keeps this news from Gerri. Out of guilt, she curtails their trysts after learning that Gerri’s family has suffered a tragedy, sending David over to console her.

NY Post 
At the outset, they strip naked on Brighton Beach in Brooklyn and run into the surf (no reason is given, but I suppose it makes for a lively opening).
At the end, things get wrapped up neatly and the girls (for some reason) celebrate by taking their clothes off in public again. 

Amy Kaufman ‏@AmyKinLA
Dakota Fanning is still a wee babe in my mind. It feels weird to see her character have sex in #VeryGoodGirls. #Sundance

* Couple of 'nude' scenes and a sex scene. Body double (including CGI-effects?).

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Magic Magic

UPDATE : 01/23/2013
* Major shocker! Juno show her breasts again. 
Film [dot] com
Her portrayal of a young woman on the brink of sanity is rich, intricate and enormously detailed. (I’m beginning to wonder if it’s in Temple’s contracts that she must show her breasts, as this is the third time in three movies that we’ve been given a glimpse.) Giving one’s self over to a role like this is nothing short of devastating, as it requires the total destruction of self, utterly without shame or self-consciousness and Temple is willing to do whatever it takes. 
Silva’s film recalls elements of Roman Polanski’s apartment trilogy, especially the fascination with sexuality and female body horror, the alienation of ourselves and the potential for destruction that lurks within the hearts of all mankind.

Fangoria 
The heir to the hysterical, frenzied, toweringly at wit’s end, woman-on-the-edge throne is apparent. In MAGIC MAGIC, Juno Temple has lost her mind. We are all the more uncomfortable for it.
While Browning and Agustín Silva provide fine support, Moreno and Cera are the true tormentors. Barbara is forever scowling Alicia’s way, never relinquishing a hostile environment. Cera, meanwhile, is off his rocker. Best known as a comedic force, the young actor is not unfunny here, but it is a grotesque humor. His words, actions, eyes and fashion sense leaving even the audience feeling like he’s always just too close.  
The term “scream queen” is an undeniably cheap one, thrown to whichever new actress simply faces down a masked villain. It seems though, that in a perfect world, it’d be reserved for the likes of Isabelle Adjani, Mia Farrow, Sheryl Lee, Catherine Deneuve; actresses who’ve put everything they had into someone with nothing to grasp onto, actresses whose screams mean something. Silva and his film do not always match, but throughout, Temple is irritating, painful, sad and stunning in MAGIC MAGIC. She is the new queen. Long live Juno Temple.

AVclub
Juno Temple has a schizophrenic episode amid some of the most self-centered and incapable people on earth. But giving each film breathing room turned out to be a wise decision, since Magic Magic is less the Smoke to Crystal Fairy’s Blue In The Face than its dark, warped mirror image. 

@JHoffman6: 
MAGIC MAGIC is intense. I am so uncomfortable right now. #sundance 

@GeneWillis: Magic Magic: 
The Shining feel. Descent into madness, isolation/new place plays tricks. Liked it. Juno Temple did the damn thing. #Sundance

@Ethan_Anderton: 
Juno Temple was intense on screen in MAGIC MAGIC, as was the overpowering soundtrack.

@dordotson: 
In all seriousness: liked Magic Magic. Love Sundance. Setting alarm now to go off in five hours and couldn't be happier. Great fest this year. 

@samdzimmerman: 
There's something that doesn't click, but MAGIC MAGIC gets frenzied and piercing and could be most horrifying thing I've seen at Sundance 

@ccbeau: 
michael cera, catalina moreno, juno temple and emily browning @ magic magic q+a. Quality film that delivers real horror based on human emotion

@russfischer: MAGIC MAGIC: 
Juno Temple often mesmerizing as she loses it. Best bits echo classic Polanski. Something doesn't quite work, tho. #sundance

@Ethan_Anderton: 
Some girl asked if the cast and crew did drugs. Sounds like she did enough to compensate for anyone who didn't.

@samdzimmerman: 
Am now certain Juno Temple has the potential for Isabelle Adjani levels of insane

* After the delight of Gabby Hoffman full-frontal, Sebastian Silva will earn my eternal respect if he managed to convince all three female leads : Juno, Emily and Catalina to do a lengthy all out nude scene.

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Ass Backwards

UPDATE : 01/24/2013
Craveonline
I already loved Casey Wilson but now I discovered her partner June Diane Raphael, who’s so on the same wavelength that it’s like there’s two of her! And the movie opens with a shot of both of their asses, and they’re great asses. They better not be doubles or I’ll be really disappointed. Chloe (Wilson) and Kate (Raphael) are BFFs in New York. Kate sells her eggs for fertility and Chloe stands in a glass box in a club. They get an invitation to return for the 50th anniversary of the child beauty pageant they lost and they think this is their big chance to win. A wacky road trip misadventure ensues. Kate and Chloe are so positive it’s contagious and endearing. There are plenty of set pieces for them to go wild, and it’s like a movie with two Pennys from “Happy Endings!” There are some awkward sped up car stunts and most of the set pieces feel a tad short, like they could have built a little further, but give ‘em more money for the sequel and you’ve got a comedy franchise here.

Variety
Indictingly titled "Ass Backwards" proves that no amount of comic talent can shine -- or raise a chuckle -- in the absence of even halfway decent material. This painfully unfunny vehicle for writer-stars June Diane Raphael and Casey Wilson is, depressingly, a comedy built on the amusement value of stupid people that is itself too stupid to be funny. Slick packaging and some cast names will make it viable for undiscriminating home-format buyers, but viewer beware.
Getting there is two-thirds of the non-fun. En route, they drive hours in the wrong direction, wreck their van, get sheltered by a commune of aging 1970s radical lesbian feminists (an offensively stereotypical sequence), hit a strip-club amateur night, and run into their favorite recovering meth/sex addict from reality TV (Brian Geraghty, whose scenes raise the bar a tad). Finally they reach the pageant, where lame physical comedy ensues.
The film is bookended by two squatting-to-pee-in-public sequences. These are highlights.
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Vulture
Casey Wilson Kind of Regrets Scripting Her Own Nude Scene.
"We wrote that the movie opens on a shot of our bare asses, and when we were on all fours in a van on the side of the road, with our makeup artist lovingly touching up our asses with ass makeup, I thought, Why did we write this? And I needed an ass double, but we didn't have the budget!" Are they happy with how the final result looks on the big screen? "I always say that June is a badass with a good ass. She's looking good. Me? Eh, it is what it is. I'm a Method actress, and I had to put my ass out there."

First Showing
Casey Wilson and June Diane Raphael prove they are great as a comedy duo and also as leading ladies, not to mention as fine screenwriters. Ass Backwards is a testament to the always growing presence of female comedians with wit and sharpness that rivals some of the male dominated laughs that end up on TV and film. 

Hollywood
These are the type of girls who sing along to a skipping CD recording of "Take on Me," swoon over the voice of their British GPS system, pay back the hospitality of a lesbian commune by handing out sexual favors, and get star struck when they meet a meth junkie from their favorite rehab reality show. Unbalanced, but relatable.


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Parade's End Trailer (HBO MiniSeries - 2013)



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'House of Cards' On Netflix: Inside Intel on Kevin Spacey's Dark Drama

House Of Cards Netflix

"House of Cards" represents a huge gamble for Netflix.

All 13 episodes of the first season of "House of Cards" will arrive on Netflix on Friday, Feb. 1, and a second season has already been commissioned. Big gambles like that don't come cheap: "House of Cards," an adaptation of a classic British miniseries, reportedly cost $100 million.

It looks it: I've seen the first two hours of the drama, which stars Kevin Spacey as a ruthless Washington, DC operative named Francis Underwood, and its production values resemble those of a pricey feature film. "House of Cards," which stars Robin Wright as Underwood's equally ambitious wife, has the muted, somber colors, ambiguous morality and chilly characters you find in the films of David Fincher, who is an executive producer and directed the first two episodes of the Netflix series.

Will Spacey's Francis Underwood be too dark a character for Netflix subscribers? That's the question that hangs over the series, which concerns Underwood's devious political maneuverings after the election of a new president. Beau Willimon -- the "Ides of March" screenwriter who served as executive producer and showrunner for "House of Cards" -- said told The Huffington Post that Underwood is a natural descendant of the characters of "The Wire" and "The Sopranos."

"You’ll hear time and time again in the television world about likability and I say, 'Fuck likability,'" Willimon said. "I do not give a shit whether my viewers like my characters. I do give a shit whether they’re attracted to them. And those are two fundamentally different things."

With a decided lack of interference from Netflix (which also has new episodes of "Arrested Development" on the way), Willimon and Fincher were able to make an intensely serialized drama that doesn't have to shy away from its characters uncharitable, or even evil, qualities. I'll have more to say about "House of Cards" just before it arrives on Netflix, but for now, here's my conversation with Willimon about the project's genesis, its differences from the British original, and the filmmakers' approach to storytelling on this platform.

This interview has been edited and slightly condensed. 

What about “House of Cards” takes advantage of Netflix as a platform and makes it a better fit than Showtime or HBO or a network like that?
Well, I started this process with David [Fincher] three years ago, and when we first began, we didn’t know where the home was going to be. But we always talked about it from the very beginning as a 13-hour movie for the first season. We wanted to take a cinematic approach. We wanted the storytelling to be something that really spoke to the sophistication of the narrative and the layers of the characters and not necessarily try to adhere to any [existing] TV model.
The partnership with Netflix was perfect because they guaranteed us two seasons up front. And what that allowed me to do in terms of the writing is -- it liberated me. I didn’t have to feel like the show had to sell itself for its own survival with artificial cliffhangers and things like that in the first few episodes, where [on TV networks,] you’re playing the ratings game. We knew that we could lay something in the first couple of episodes that we may not see until late in Season 2. So we just had a much grander scale to think about in terms of the storytelling.
[We also had] a huge degree of creative control. We didn’t have to jump through a lot of network hoops or get reams and reams of notes ... They said to us from the very beginning, “We place our faith in you. We believe in you and as artists, we want you to make the show you want to make.” And while we were always in communication with Netflix and always kept them in the loop, we never had anyone breathing down our neck.

Was it always the plan to deliver the whole season on one day?
Once we did team up with Netflix, that certainly was a consideration from the very beginning as a possibility, but it wasn’t set in stone. We thought about all sorts of models: Should we do a traditional [one episode per week]? Should we do it in chunks, like four episodes, then five episodes, then four episodes? And we eventually arrived at [offering] 13 all at once because that speaks to what Netflix has to offer that really no other network does. Its subscribers watch content when they want to watch it, how they want to watch it, in what chunks they want to watch it. And so it puts the decision in their hands.
And while all of our episodes certainly do have their own beginning and their own end, it really is meant to be watched serially. I guess, conceivably someone could watch it backwards. That would be a sort of avant-garde viewing experience and they have that choice, you know?

Even on a number of cable networks these days, there's a sort of push-pull quality to serialization -- you can sense that showrunners and executives are wondering at which point they might lose the more casual viewers. Did the partnership with Netflix liberate you to go as deep as you wanted to in terms of having a very tightly serialized story? It doesn't look like the kind of show where you can skip three episodes and then just dive back in.
That’s an interesting question, whether it’s like more serialized than say, “The Sopranos” or “The Wire.” “The Wire” is one of the greatest shows that was ever created, maybe the best to date. And I wonder, could you start in Season 3, Episode 5 and get into it? I don’t know. If you’re not really following the intricacies of the wiretap and who they’re going after, I think it diminishes your experiences, you know?
I don’t know if I’d say ["House of Cards"] is more serialized. I think the way it allowed us to go deeper [regarding] the chances we took both in subject matter, character development and -- I don’t know how to characterize it other than to say "the unexpected." Like the moments you’ll see like in the first two, you know, that are like texture.
[In the second episode, there is] purely a character moment [for Spacey's Underwood]. It doesn’t really necessarily contribute in any meaningful way to the plot, you know? And you could see a network exec saying, "Do we really want to do a whole setup and spend a third of a day shooting this? It doesn’t push the story forward." We just never had to even contemplate that possibility that someone was going to say no.
I mean, look, I don’t think the first 30 seconds of the series would make it past most network executives.

That does seems like that would be the first thing that they would ask you to cut.
Yeah, and when you have that sort of creative responsibility placed in your hands, you take it very seriously. If it ever goes bad, we have no one to blame but ourselves.

One thing I wanted to go back to was this idea of whether each episode has a beginning, middle and an end. Telling the story over 13 installments seems like it would be a very different creative journey than making a feature film.
Kevin’s done a few episodes of “Wiseguy,” but most of us are kind of entering this with no TV experience. But I have storytelling experience and we’re all veterans on that front. And a story is a story is a story. And you have your instincts in terms of its rhythm, its texture, its tone, how to keep those engaging. So whether you’re talking about 13 hours or 13 minutes, some of those sorts of tricks of the trade apply.
You want a certain degree of resolution for the hour that you just watched. But the way I look at, there are three tiers. There’s the singular episode that has its beginning, middle and an end. But then you might have storylines within that episode that are branching over the course of two or three or four episodes, a sort of mid-range arc. And then you might have uber-arcs that are season long. So you get to have your cake and eat it too. You have the beginning, middle, and end of that episode, but you have other storylines that are feeding into it or branching off of it that will stretch over numerous episodes.

One of the things that struck me is that Kevin Spacey’s character and his wife are dark, driven people. I certainly know and like that kind of show. But how do you sustain an audience’s interest in a character who’s just willing to do anything and be that ruthless and cruel?
I mean you could ask the same question of ["Sopranos" creator] David Chase, right? Was Tony Soprano not [dark]?

But he’s also a family man who cared about ducks. That’s the first thing we know about him.
Yeah, sure. Not to compare the two shows really but ... it’s far more interesting and engaging and entertaining to watch someone who doesn’t play by the rules than someone who does.
I mean, how often do you want to really sit down and watch a story about a goody two shoes, you know? So we definitely take an extreme approach to that but, you know, you will see things throughout the course of Season 1 that deal with a multifaceted, complex person who can’t be reduced to the moniker sociopath.
But, you know, it’s like you’ll hear time and time again in the television world about likability and I say, “Fuck likability.” I do not give a shit whether my viewers like my characters. I do give a shit whether they’re attracted to them. And those are two fundamentally different things.

Right, and I don’t require the people I watch to be likable. I require them to be worth my time to watch for whatever reason.
Yeah, well, that’s up to you. I mean, you may decide this is not a world that worth your time and then, you know, you won’t watch it.

I have no regrets about watching the two hours I watched and I look forward to seeing see more. I’m just sort of proposing a devil’s advocate argument. You know, will people get on board with 13 hours of material this dark? I guess I’m just curious about that.
We’ll see. I think it’s delicious material and its darkness makes it the forbidden fruit. There is a part of all of us that wishes we didn’t have to play by the rules; that wishes we could indulge in remorseless self-interest; that wishes we could throw caution and morals to the wind and purely pursue our wants and desires for our own sake. Is that a dark notion? Maybe, but it’s also an honest one. And I think that people, given the opportunity to vicariously tap into someone who engages in that sort of behavior and takes that world view, without having to take those own risks in their own life -- I think that’s attractive.
I think what people will see in Kevin Spacey is not just purely someone who is dark and ruthless, but there’s a great deal of charm and humor to him. And, you know, the tone of our show while at times is very dark -- it also veers into black comedy ... it can even be quite light. We wanted diversity of tone and style throughout Season 1 and I think you’ll see that expand on both ends as you make your way through the season.

[Note: What follows below is not a plot spoiler about "House of Cards." It's an element of the show, however, that viewers may want to discover on their own, hence this very mild spoiler warning.]

I thought it was an interesting approach to have Kevin Spacey's character address the camera directly because it makes the audience kind of his co-conspirators, if you will.
Exactly. The original BBC version did have direct address. We cherry-picked some things [from the BBC's "House of Cards"] and there are definitely a few similarities, particularly in the first couple of episodes with the BBC version. But, [generally] we kind of started over from scratch.
The one thing though we all definitely wanted to keep from the very earliest discussions was this direct address, because when you place it in the hands of a great actor like Spacey, it only amplifies the drama and it gives you access to this Machiavellian mind. That makes it more dangerous in some ways, but also more palatable. It’s just fun and entertaining and it does exactly as you say -- make you a co-conspirator. So, you find yourself rooting for him despite yourself, because everything that he morally stands for or doesn’t stand for is against [your beliefs], and yet, because he’s giving you this intimacy and this access, you find yourself rooting for him -- that’s where tension with the audience is really exciting.

All 13 episodes of "House of Cards" premiere on Netflix on Friday, February 1.

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New survey finds that file sharers buy 30% more music

8 out of 10 US citizens also think it's alright to share copyrighted content with family.
New survey finds that file sharers buy 30% more music
A new survey by the American Assembly - a research centre at Columbia University – via Ars Technica, has found that users of peer-to-peer file sharing software buy 30% more music than those who don't file share.

The survey, which was commissioned by Google, found that the average US citizen on a peer-to-peer network has 2,000 songs in their library, of which approximately 38% have been legitimately bought.

Digital music library owners not on a peer-to-peer network have an average collection of 1,300 songs and of these 45% were legally acquired, whilst others were ripped from CDs or copied.

So even though a larger percentage of music from the non-peer-to-peer users' collections was purchased legally, a greater amount of music overall is purchased by peer-to-peer users.

13% of US citizens use file sharing software. However, this increases to 20% when only looking at people under the age of 30.

The survey also found that 8 out of 10 US citizens think that it's alright to share copyrighted content with family. 6 in 10 think it's acceptable to share the same content with friends. However, only between four and 15% thought that it was reasonable to upload copyrighted content online.

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27-years old Australian model Nicole Trunfio went from a shy teen to full-blown exhibitionist (or edgy as fashionistas term it to differentiate it from glamor modeling) after few years in Europe. She also goes 180 with her choice of men. After years of dating surfer boys, Nicole is now into jungle fever mode loving it big, thick, long and all ebony.


More here

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Erotic Dance feat. Vadim Shantor - Beauty of Life

from  


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High-end call girl service busted

Police in—sit down for this—Gangnam have busted a 27-year-old woman woman for being a really, really high-end call girl. They’re looking for her employer and some other folk involved.

The woman in question was advertised as a step above your average prostitute as a graduate of a prestigious Seoul university and being with a entertainment management company. When she turned up at the police station for questioning, she had a luxury bag and drove to the station in a Mercedes Benz C300.

Tall, thin and surgically well-sculpted, she was charging 800,000 won for her services—three to four times the normal rate.

Moreover, the company she worked for only provided her services at one of seven luxury hotels in Gangnam.

Police, however, say that while they talked a lot about “class,” it was ultimately just a shabby ruse to avoid detection and save money.By reserving rooms one week in advance, they could save cash and provide service to multiple customers a day. And by regularly changing hotels, they could lessen the risk of detention.

Police are now looking for the head of the service, some 42-year-old dude who drew up fake profiles for his 23 employees and posted them on the Net along with racy photos. On the company’s website, young men also posted reviews, which strikes me as a bad idea. Police are looking for the johns, too.

A police official said that while the girls tried to market themselves as something else, they were no different from other prostitutes who commercialized their bodies and made easy money. In fact, it was all just a rip-off, he said.

That, folks, might have been the most bewildering police comment about a prostitution case I’ve read.

He also regretted the reality in which young, college-educated women end up selling themselves because they get hooked on luxury goods and plastic surgery.

Well, I can assure you they don’t feel nearly as bad as this guy.


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BEST F**KING F-BOMB NEWS BLOOPERS



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14 comments:

  1. I hope Dakota still managed to actually appear nude in vgg. I know it's been reported she has a rear body double but maybe she DID in fact go topless

    Please Dakota GET NAKED! We want to see you!

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    1. She wore a body suit. The rest is a body double. At least she does her first real and racy sex scene (nothing significant is shown). I'm hoping for something from "Effie". If they followed the book closely, there should be a pivotal non-sexual topless scene.

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  2. Wasn't she 16/17 when they filmed "Effie"?

    I mean it's still possible of course. I wanna know how she looks down below lol

    I hope we find out before she's 21 :p

    At least we have those sheer dress see-through pics....

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    Replies
    1. It was delayed because of the lawsuit. Anyway they filmed the drama in Italy and Switzerland(?) where age of consent for nudity is flexible. Hasten to remind here Emma Thompson script usually aims for PG-13 but I don't how she can circumvent the pivotal scene when John Ruskin is repulsed by the nude Effie in the bed.

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  3. I think "Night Moves" is a good possibility for Dakota nudity. She plays a rich (party?) girl who funds Eco-terrorists and she was definitely "of age" when they filmed it ;)

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    1. If only someone could get their hand on the script....

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    2. Even though she's underage, I hope we still get a Chloe Grace Moretz topless scene in the new "Carrie" movie. I kinda doubt with it being a mainstream Hollywood production and all (though Best Picture Oscar Winner "American Beauty" did feature a topless Thora Birch, who was underage at the time)

      Honestly, I think Chloe is the type that would mind taking off her top at 15 for a role. I just hope people let her *fingers crossed*

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    3. I meant to put that "Chloe WOULDN'T mind taking off her top"

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    4. I'm pretty sure Chloë won't be naked in Carrie. The horror flick will be rated-R. I was told the Carrie role was initially meant for someone aged above 18 and had brief nudity but Chloe impressed them so much with her intense audition she was hired within days. That's why there is a huge age discrepancies between Chloë and her female co-stars. Haven't had the opportunity to read the script but (still looking for second confirmation) it appears the famous locker room/shower scene will be included with nudity from extras and most likely topless nudity by Gabriella Wilde and Portia Doubleday making fun of Chloë.
      It's real touch and go at the moment if the movie will be a box office success. The producers are really worried with huge shadow of Sandy Hook tragedy hanging over the movie. The Halloween month release will help but will the viewers be ready for another 'blood bath in school' albeit on a big screen?

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  4. Any word on Samantha Weinstein possibly being nude in "Carrie"? I realize she, like Chloe, is underage (Ms. Weinstein becomes "legal" in March I believe) but she is so hot (I'm a sucker for redheads) that I'm hoping we'll at least see her boobs though an in-the-distance full frontal shot would be great, if only to find out if Samantha has a natural firecrotch ;)

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    1. Nope. Most likely a minor character. This version will focus more on Carrie relationship with her mother.
      http://io9.com/5952550/carrie-director-kimberly-peirce-tells-us-why-tampons-are-still-terrifying

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    2. Well I'm still hoping Weinstein or even Ms. Moretz give us a little something (side-boob? Split second topless?) lol

      I guess I can kinda deal with Doubleday. She's cute though Weinstein or Moretz nudity would be pure gold (if only they were older and/or Hollywood had more balls lol)

      There is still that tiny little chance though fingers crossed.... Lol

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  5. Any word on if Madeleine Martin (Becca on "Californication") is going to get naked this season. She's almost 20-years old now. She has no more excuses!!!!

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    1. The synopses this season suggest Madeleine will start to ape Hank's decadent behavior to his chagrin. Outside chance of nudity. Maybe butt nudity?

      I wish I could provide more concrete details but many of my informants are slowly freezing me out. One refused to help because I was posting porn content and pics. At least the individual concerned bothered to reply. Some goes from friendly to plain cold and ignoring my requests. The silent treatment. Maybe they're afraid the info they passed on turns out to be wrong and that I'll blame them. Nothing could be further from the truth. I will assume the sole responsibility if the details I've collected are false.

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