Category: Movies


Harvey Weinstein gets in trouble with the starlets. George Bush gets in trouble with his “David Cop-a-Feel” routine. But Howard Stern, the King of All Sexual Harassment, never seems to get in trouble.

Stern has been copping feels and scandalizing women for as long as I can remember. The difference between Howard and Harvey and George? Somehow, the “shock jock” persuades his female guests that a little bare-bottomed humiliation is their idea.

And their husbands and boyfriends are just as game and/or gullible, offering up their ladies to Howard’s altar of ass.

Stern’s 1992 video Butt Bongo Fiesta is a monument to bad taste, with cringe-worthy racism, misogyny, and homophobia all competing for attention. Not to mention scatological humor. Much of the video is, well, unwatchable. But I do like the parts presented below.

(The quality isn’t great on these clips, but hey, they are lifted from an ancient, hard-to-find VHS tape, and so ….)





Marie told Howard that she is a housewife and a real estate developer. She and her spouse “represent your more middle-of-the-road American couple,” she claimed, but Howard was skeptical. “I bet you do,” he said.

The kinky housewife revealed that she and hubby sometimes enjoy spanking sessions. For this video, Howard got to join the fun.




In these screen captures, Howard nearly tongues a piece of ass. Hubby doesn’t mind. Wifey seems not to notice.





The cameraman zooms in so that viewers can enjoy a close-up of Marie’s bare — and quite red — cheeks:



We’re not sure if Marie had an orgasm during her spanking session. It seems like a possibility. Here is the video:





Stacy was a 21-year-old blonde whose long-haired boyfriend wanted to bongo her butt for Howard.

Below, Howard takes a peek at Stacy’s blonde bush and persuades her to remove her g-string:




Howard examined Stacy’s bare backside and quipped, “My goodness — anybody want a roast-beef sandwich?”



Stacy’s video:






Jessica Hahn achieved infamy when her sex scandal with televangelist Jim Bakker made headlines in 1987. The former church secretary then prolonged her 15 minutes of fame by debasing herself for Howard and by posing, naturally, for Playboy magazine (below).




In the video below, Ms. Hahn spreads her limbs for a sketch in Butt Bongo Fiesta:



And here she is in a segment about the vagina. Notice how the cameraman cannot resist zooming in on hers.



If you’d like to watch the entire video – not exactly recommended – it can be found here or here on YouTube.



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The Survivalist


Like the similar-themed apocalyptic thriller The Road, The Survivalist is relentlessly grim. A bearded hermit lives in the woods, planting seeds and arranging tin cans as a primitive alarm system to warn him of potential marauders. Nothing much happens in his Robinson Crusoe existence until one fateful day when two women appear at his cabin. This is a well-made film, well-directed and well-acted, and despite an unhurried pace it’s generally absorbing. But that sluggish pace and the pervasive gloom of the story, while realistic, also produce a movie that at times feels like an endurance test. Release: 2016 Grade: B




El Bar


Unlike The Survivalist, The Bar is fast-paced, infused with humor, and over the top. After two men are inexplicably mowed down outside the door of a humble Madrid café, a small group of customers find themselves trapped inside. Is there a sniper in a nearby building? Are there more targets in their midst? And why have the two corpses been dragged away? It’s a fun premise, and Alex de la Iglesia directs the action with gusto. But by the time star Blanca Suarez gets stuck in a drainage hole because her boobs are too big to slide through the opening (below), The Bar becomes downright silly. Release: 2017 Grade: B-



                                                          How not to slip through a drainage hole




Life Life


Life won’t win any awards for originality, but hey, if you’re going to copy, at least this movie copies from the best. We get bits of Gravity, bits of Predator, and a whole lot of Alien. If you like those science-fiction/horror classics, you will likely enjoy Life, which borrows and expands on several of its predecessors’ best ideas. The plot: Jake Gyllenhaal and a small group of fellow astronauts must destroy a hostile alien organism before it makes its way to Earth – with or without the astronauts. Sound familiar? I will say this: For a movie that steals so blatantly from the classics, Life’s twist ending is both original and clever. Release: 2017 Grade: B


© 2010-2018 (text only)




We don’t know if these daring dads and their darling daughters are A) artistically uninhibited; B) sexually perverted; or C) some combination of the above, but we do know that it’s not every day that papa films his progeny in the buff — and then shares the lust-provoking results with the world.


Katrine Boorman & director John Boorman



“A lot of people ask me, well, ‘How did you feel about directing your daughter being raped?’ Well, she wasn’t being raped of course. It was just a scene. She didn’t mind, and nor did I.” – John Boorman on Excalibur’s director’s commentary



“I’ve always said that once you’ve been raped by Gabriel Byrne and Corin Redgrave in armor, watched by your father, you’ll never look back.” – Katrine Boorman in The Independent



“So I was doing the scene with John Boorman’s daughter Katrine, who was playing my wife, and I was supposed to make love to her in quite a violent fashion. Anyway, I made love to Katrine in the wide shot, doing my grunting and groaning and all those medieval sexual shenanigans. Then they came in for the close shot.”– Gabriel Byrne. 

Byrne’s turn humping Katrine was apparently left on the cutting-room floor; in the shots reproduced here, that’s Redgrave having his way with Boorman’s daughter.





Katrine didn’t just bare her breasts for daddy when she was 23; she went topless again at age 39 in 1997’s Le Bonheur est un mensonge (above left). In 2012, Katrine got behind the camera to make a documentary about her famous family called Me and Me Dad. Below, the infamous pumping scene from Excalibur:


Asia Argento & director Dario Argento



“Argento began performing for her father when she was a teenager, appearing in the nude as a 16-year-old in Trauma. She was also a rape victim in another of his films, The Stendhal Syndrome. Not surprisingly, these roles and their father-daughter relationship scandalized Italy. Argento has said that they are viewed in her native country like a real-life Addams Family – ghoulish and weird.” – New York Daily News

Now 41, Asia apparently still has a thing for older men. It was recently reported that she’s dating TV personality Anthony Bourdain, 61.


 “How’s this, dad?” Sixteeen-year-old Asia in Trauma.


“I never acted out of ambition; I acted to gain my father’s attention. It took a long time for him to notice me – I started when I was nine, and he only cast me when I was 16. And he only became my father when he was my director.” – Asia Argento in Filmmaker Magazine


Above and below, Asia in Dracula 3D




 In Dario’s The Phantom of the Opera, above and below, Asia gets taken doggie-style.



Alexis Vogel & photographer Ron Vogel



From Playboy’s February 1979 pictorial “Father Knows Best”:

“Photographer Ron Vogel has been snapping pictures of his daughter ever since she was a baby. At 21, she’s still his favorite model.”



“Over the years, Ron took ‘hundreds of pictures of Lexi in various states of undress. She has youth and vitality greater than most of the models I’ve worked with and her coloring is extraordinary; she has earthy tones and dark penetrating eyes.’”

Click on the thumbnail shots below for full-sized views of Ron’s full-frontal shots of Alexis.




“Lexi: ‘I was a ham. I’d try to get my dad’s attention away from the models … I never had any problems posing that way for my father.’”




“‘Posing nude for me throughout the years has made Lexi very free about herself,’ says Ron.”




© 2010-2018 (text only)


Split Split


Yes, James McAvoy is impressive playing a psycho with multiple personalities in M. Night Shyamalan’s latest “comeback” picture, the thriller Split. Problem is, McAvoy’s disturbing characters often seem like the only reason to keep watching the movie. The plot, in which McAvoy’s crazy man abducts three teenage girls and confines them in a basement, takes a decent premise and goes from clichéd to ridiculous to boring. Sorry, but this is hardly a return to form for Shyamalan.  Release: 2017 Grade: C




The Edge of Seventeen Edge


After enduring the first 20 minutes of this coming-of-age comedy-drama, I wasn’t sure if I could continue watching. Writer-director Kelly Fremon Craig’s script employed done-to-death voiceover narration, a la The Wonder Years, and worse, the protagonist was an incredibly bratty and vulgar teen. Eww. But then a funny thing happened on the way to study hall: The more our heroine was assailed by life’s slings and arrows, the more I grew to like her. By the end, I was cheering for her. Unlike so many teen-oriented movies, this one is smart, poignant, and boasts a winning performance from star Hailee Steinfeld. Release: 2016 Grade: B+




The Big Sick


The Big Sick has a lot going for it: It has heart, and it has endearing performances from writer-star Kumail Nanjiani and the supporting cast. Nanjiani plays a stand-up comedian of Pakistani descent who has to deal with his Muslim-traditional family and, after his WASP girlfriend lapses into a coma, her bickering parents.

Unfortunately, The Big Sick also has a Big Flaw. As the ailing girlfriend, Zoe Kazan is clearly intended to be spunky and lovable. But whenever her entitled, annoying character appeared on screen, I began to feel ill. Release: 2017 Grade: B-


© 2010-2018 (text only)


Toni Erdmann Erdmann


A bohemian music teacher attempts to reconnect with his uptight, unhappy, businesswoman daughter in Bucharest, and havoc ensues. The two leads (Sandra Huller and Peter Simonischek) have great chemistry, and there are some truly memorable scenes — including a (nude) birthday party to end all birthday parties. But writer-director Maren Ade’s otherwise impressive film has a near-fatal flaw: At 162 minutes, it’s much, much too long. Release: 2016 Grade: B




Hell or High Water Hell High Water


Part Bonnie and Clyde, part old-time Western, Hell or High Water aims for realism, but in its quest to be taken seriously and hammer home some social commentary, it’s not as much fun as it could have been. That is, with the notable exception of crusty (of course) Jeff Bridges, who as a retiring lawman on the hunt for two bank robbers provides the movie’s only source of levity and wit. Release: 2016 Grade: B




Get Out Get Out


A black photographer (Daniel Kaluuya) goes home with his white girlfriend (Allison Williams) to meet her parents, and he’s in for quite a weekend. For an hour or so, Get Out cleverly skewers upper-class white folk who feign empathy and understanding of race relations, but then writer-director Jordan Peele’s story sinks into horror-movie clichés. It’s a sharp and suspenseful ride – until that last act. Release: 2017 Grade: B


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Elle Elle


Elle begins with a brutal rape, but in its aftermath the victim does not go to the police, nor does she inform close friends. In fact, middle-aged Michele appears to be borderline blasé about the attack. When her rapist continues to stalk her, she almost seems to welcome it. But why? The answer unfolds gradually, and while it does Elle is a tantalizing mystery with a commanding performance by Isabelle Huppert. But once we learn the reason for her strange behavior – not to mention the identity of the rapist – the suspense of the film begins to lose its power. Release: 2016 Grade: B




Passengers Passengers


Considered a critical and box-office failure, it’s true that Passengers is no science-fiction classic, but if you enjoy big-budget spaceship movies that look cool and keep the plot simple, as I do, you could do a lot worse. Jennifer Lawrence and Chris Pratt play space tourists who get a much longer trip than they bargained for in this essentially simple, old-fashioned romance. Release: 2016 Grade: B




Her Her


At first, I was disinclined to like this drama about technology and our evolving connection to it. Protagonist Theodore (Joaquin Phoenix) and his privileged pals seemed to embody every negative stereotype about West Coast liberals: living lives of economic ease, self-absorbed, and endlessly seeking emotional safe spaces. But Theodore’s growing relationship with his computer operating system, a husky-voiced charmer dubbed “Samantha,” tapped into some disturbing truths about the modern world. The result is a film that achieves something rare. It makes you think and it makes you feel. Release: 2013 Grade: A-


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Becoming Cary Grant Grant


“Everyone wants to be Cary Grant. Even I want to be Cary Grant.” – Cary Grant


Well, maybe not everyone. Possibly not viewers of Becoming Cary Grant, a mostly cheerless yet spellbinding documentary about the demons haunting Hollywood’s most famous leading man.

The filmmakers use Grant’s own home movies, a melancholy musical score, and excerpts from the actor’s unpublished autobiography to tell the story of a 9-year-old Bristol boy who lost his mother (she was committed to an asylum), then as an adult went through a series of failed marriages, and who gradually invented the persona of “Cary Grant,” the enigmatic, charismatic star we all know from the movies.

It’s a sad — if incomplete — portrait of the man everyone wanted to be. Release: 2017  Grade: B+


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Manchester by the Sea Manchester


Hollywood bad boy Casey Affleck won a well-deserved Oscar for his performance as a traumatized janitor in this drama about tragedy overwhelming a working-class family in Massachusetts, but man … if there’s a better actress working in film today than Michelle Williams, who in one five-minute scene delivers an emotional knockout punch, I’m not sure who it might be. Release: 2016 Grade: A-


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If Arrival is supposed to be the 2001: A Space Odyssey for today’s generation, I feel sorry for today’s generation. The film plays mind games with us and yearns to be profound, but I found it pretentious and nonsensical. It’s like those time-travel movies that expect to be taken seriously, even though time travel is considered impossible – at least by today’s science.

When aliens land on Earth, star Amy Adams’s linguist is recruited to decipher their message. The “universal truths” she decodes are meant to be hopeful, but I’m thinking most of us would go mad at worst, or be psychologically paralyzed at best, were they our actual reality.

And dare I point out that Arrival’s clichéd plot is sexist? Once again we have a situation in which all the boys want to do is make war, and only a female is intuitive enough to break through to the aliens.  Release: 2016  Grade: C+




Room Room


Room is structured as two movies in one, and both halves are superb. The first half is a harrowing thriller, apparently inspired by the Ariel Castro kidnappings in Cleveland, in which a young woman and her son are imprisoned for years in a small shed. The second half is a gut-wrenching drama about the fallout when the victims (Brie Larson and Jacob Tremblay) finally escape and must reintegrate into the real world. Release: 2015  Grade: A




The Love Witch Samantha Robinson


I’m not sure if this colorful but clunky film is intended as parody or homage to 1960s supernatural thrillers (think Hammer Films), but either way it feels forced and flat. Comely Samantha Robinson (above) plays a modern-day witch who uses potions and sex appeal to seduce one hapless male after another, but alas, none of them are up to her retro-feminist standards. If you want to chuckle at genre fare like this, I suggest you check out the real deal. Say, The Brides of Dracula? Release: 2016  Grade: C




The Witch Witch


A Puritan family in 1600s New England, banished to the wilderness for transgressing against village mores, finds life in the wild an unholy nightmare when someone – or something – begins to bedevil them. Mostly, this is an ultra-realistic, atmospheric study of the struggle to survive at that time and place, with religion serving as both a source of comfort and terror to the family as it confronts something wicked in the woods. Release: 2015  Grade:  B+


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Barney Fife in a haunted-house movie – who wouldn’t hand over their last (and only) bullet to see that?

OK, maybe you wouldn’t. But I have a great deal of affection for The Ghost and Mr. Chicken, the 1966 Don Knotts vehicle that might have been the first motion picture I saw all by myself, unfettered by parents or older siblings, in an honest-to-goodness movie house.

I recently re-watched Mr. Chicken, and I am happy to report that I still find it enjoyable. Silly and featherweight, sure, but fun. Is it remotely scary? Not unless you’re about the same age I was when I first saw it 50 years ago. But it’s suitably creepy in that old-dark-house mode that Hollywood does so well.


 A Barney and Otis reunion


The plot:

Luther Heggs (Knotts) is a lowly typesetter at the Rachel (Kansas) Courier Express. Luther dreams of becoming a big-time journalist and of winning the prettiest girl in town, Alma (Joan Staley). Unfortunately for Luther, he is Luther: timid, bumbling, tongue-tied and inept. But opportunity knocks when Luther is tasked with spending the night in the Simmons Mansion, or “murder house,” to commemorate the 20th anniversary of a murder-suicide that might or might not be unsolved.


The “murder house”


What I Like:

1.  Nostalgia, if you were a 1960s kid. The jazzy opening theme reminds me of early James Bond soundtracks. The spooky mansion is straight out of The Munsters (reportedly, some of the same Universal Studios sets were used in both Munsters and Mr. Chicken). The locale is a small town in the Midwest; I was raised in a small town in the Midwest.


Reta Shaw demonstrates small-town flirtation with Dick Sargent


2.  The Don Knotts in this film is the Don Knotts we knew from The Andy Griffith Show. I was never a fan of Knotts’s other famous TV character, Mr. Furley from Three’s Company. Mr. Furley was too lascivious. I preferred naive Barney Fife. Regardless, very few actors did fear and false bravado as well as Knotts.


Don Knotts does his thing


3.  The plot is your basic haunted-house story, nothing you haven’t already seen with Abbott and Costello, Martin and Lewis, or Bob Hope. But the screenplay is peppered with delightfully quirky throwaway scenes: The elevator that won’t stay put. The picnic speech. The oddball townie who, out of nowhere and seemingly everywhere, keeps hollering “Attaboy Luther!”


 The intrepid reporter


4.  That organ music.


The infamous organ


5.  Joan Staley. Who is Joan Staley? This is Joan Staley (NSFW).


Alma matters to Luther


6.  And finally, for anyone who appreciates vintage 1960s cinema and sitcoms, this movie features the finest collection of comic actors from that era – although if you blink you might miss some of them. Take a look at the rogues gallery of familiar faces who appear in Mr. Chicken in the sidebar at the end of this review.  Grade: B+


 Our hero


Director: Alan Rafkin  Cast: Don Knotts, Joan Staley, Liam Redmond, Dick Sargent, Skip Homeier, Reta Shaw, Lurene Tuttle, Philip Ober, Harry Hickox, Charles Lane  Release: 1966



Watch the Trailer (click here)


Remember These Faces?



                             Hal Smith                               Reta Shaw                           Dick Sargent


                             Burt Mustin                           Lurene Tuttle                       Eddie Quillan


                            Charles Lane                         Harry Hines                         Ellen Corby


                            Herbie Faye                            Jesslyn Fax                        James Millhollin


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