The affair is secret and passionate according to screendaily.com.
There is a certain age difference between Winstone and Atwell, but she looks at him with such convincing affection that the film gets away with the romance sub-plot. Even the sex scenes are funny and oddly tender rather than embarrassing.
Dailyrecord.co.uk was scathing about the love scene : "And a sex scene between him – with his great, flopping belly – and a much younger woman is more amusing than alluring."
Ian Loring praised Hayley's bravery : "Hayley Atwell... I hope she got paid a lot for some of the stuff she has to do here but fair play, she makes a fucking baffling love interest plot somewhat work."
Ross MacLean : "Hayley Atwell is pleasingly given a role that lets her be just as hard as the men but, unfortunately, that’s balanced out by also making her inexplicably fall into bed (or, rather, a toilet cubicle) with Winstone at every opportunity."
Hayley talks about the love scene : http://www.entertainmentwise.com/news/86882/VIDEO-Hayley-Atwell-In-The-Sweeney-Ray-Winstones-Not-As-Brutal-As-He-Looks-In-Bed
Sex symbols don’t normally wear baggy, black underpants and offer the hint of a paunch — but then, Ray Winstone is not like other sex symbols.
Both his pants and protruding stomach make regular appearances in the new, £4 million movie version of classic TV cop show The Sweeney.
Yet Ray’s tough guy character Jack Regan also enjoys intimate scenes with alluring detective Nancy Lewis, played by 30-year-old Captain America star Hayley Atwell.
Hayley describes 55-year-old Ray as an ‘attractive, charismatic, alpha male’, and the makers of the movie clearly think he has the Sex-Factor too: why else would they pair him with an extremely captivating woman young enough to be his daughter?!
‘If people think I’m a sex symbol, then fine,’ says Ray, who is reprising the role first played by John Thaw in ITV’s original version of The Sweeney, almost 40 years ago. ‘In fact it’s more than that — it’s fantastic!
‘I’m a fat 55-year-old, so how do you expect me to feel at being cast as a bloke who has a girlfriend 25 years his junior? Importantly, though, I think it is plausible.
'It illustrates — quite rightly, in my opinion — that women don’t just go for young slim guys with six-packs.
‘I’m old fashioned enough to believe that what women find attractive is being treated well, and Jack Regan does treat the woman in his life well and looks after her.
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* the reviews are coming in for Rachel McAdams' Passion and so far they are discouraging.
Review: The devil wears La Perla in De Palma's disappointing 'Passion'
Art-trash master's return to the thriller form plays as sedated self-parody By Guy Lodge
* as I suspected De Palma chickens out and acquiesced to Rachel's demand for lame nude-less scenes (and likely use of body double) for her. A 'woman' film is how most critics are describing it.
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A special Toronto International Film Festival - TIFF.net edition. Guide to all the movies playing at the festival:
http://www.hollywoodreporter.com/sites/default/files/custom/Toronto_day1.pdf
* Sweet Jesus....Is that Agam Darshi topless (her first nudity on-screen?) in Crimes of Mike Recket?
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Fifty Shades of Grey Artwork
If you haven’t heard of it, Fifty Shades of Grey is a new best-seller that makes your naughty romance novel look like Sesame Street. The erotic novel served as inspiration for this collection of artwork, depicting the detailed accounts of bondage, role play and fetish desires. Scroll through the gallery below to see the 50 Shades of Grey collection, curated by Saatchi Online.
Kristen Stewart in On the Road : Is She the Only Celebrity Making Real Art?
In her next movie, Kristen Stewart goes to bed with two men at the same time, gives both of them simultaneous hand jobs in the front seat of a car and performs oral sex on one of them while he's driving said car. She also appears topless twice, once just minutes into the movie, and spends much of the rest of her time doing drugs and robbing people.
But wait. Before you scroll down to the comments to register your disgust at Stewart's latest attempt to lead the nation's youth into a ditch of vice and vulgarity, try to imagine any of her fellow Millennial über-celebrities giving a performance as brave, or as powerful, as the one Stewart delivers in "On the Road," a new adaptation of Jack Kerouac's famous novel, directed by Walter Salles ("The Motorcycle Diaries").
For Taylor Swift, edgy is writing a breakup song and encouraging her fans to figure out who she's talking about. For Miley Cyrus, it's letting her side boob hang out. For Kim Kardashian, it's dating Kanye West and daring the world to decide if the whole thing is one giant put-on.
Is Kristen Stewart the only major celebrity of her generation who also happens to be a true artist?
It's certainly telling that she chose to make her big post-scandal comeback at last night's North American premiere of "On the Road," which took place at the Toronto International Film Festival. It was her first outing since photos of her fooling around with director Rupert Sanders blew her fairytale romance with Robert Pattinson to bits. And while it's possible Stewart was contractually obliged to support the film, the decision to spend an hour communing with her fans and answering questions from the press had to be hers. Again and again, she told reporters that she would be just as happy to be there promoting "Twilight," but I wonder. I suspect it's important to her to remind the world that she's more than just a twinkling star in the celebrity-weekly firmament. She's a real actress.
Like her contemporary Shia LaBeouf, Stewart gets a lot of flak from people who can't stand her zillion-dollar franchise. I won't claim to be a "Twilight" fan, but I'm consistently impressed by Stewart's work in what you might call more "serious" films, and "On the Road" is no exception.
This is definitely an "On the Road" for our times, directed by a Brazilian Boomer for a global audience of Millennials. The film doesn't shy away from the destruction that Kerouac's speed-demon hero, Dean Moriarty (Garrett Hedlund), wreaked on those around him, and, as a result, the women register with far more impact than they do in the book. Kirsten Dunst plays Dean's second wife, Camille, as an arrogant princess whose dreams fall victim to her man's wanderlust, but it's Stewart who steals a sizeable portion of the film. Not in a showy way -- it's remarkable how much time this massive global superstar spends in the back seat, literally and figuratively. But hers is a bold, brave, indelible performance. When we first see her, she's topless on a bed, shaking off her sexual afterglow so she can roll a few joints for Dean's friends. "You're the only girl I've ever known who can roll tea like this," Sam Riley's Sam Paradise tells her, as smitten as the audience would be if their inner tabloid editors weren't reminding them that they're supposed to be mad at her for breaking RPattz's heart.
The toplessness itself is an extremely courageous choice for someone as famous as Stewart. There is no question that screen shots of those scenes will proliferate all across the Internet, in contexts that would make even Marylou blush. But Stewart has proven that she's the kind of actress who puts her commitment to the role above concerns like that. To some people, her self-seriousness comes off as pretentious, but I see it as her way of protecting herself from the madness that surrounds her.
Marylou's sexually competitive side makes her a great fit for Dean, but she doesn't capture his imagination the way Camille does, and Stewart does her best acting during the group's long trip from New Orleans to San Francisco. As they depart, Dean, who has more or less replaced sleep with Benzedrine, promises to spend half his time with Marylou even though he's returning to Camille, who has fathered his child, but Marylou knows that's not going to work. As the car barrels toward the coast, we watch the clouds slowly fill Stewart's face. This is acting of the highest order, and it's all the more impressive that it's being done by one of America's most notorious celebrities.
You know you're dealing with a real movie star when her off-screen travails enhance her performance, rather than detracting from it, and that's what happens here. Stewart's Marylou is pure Id: she steals what she needs and she screws who she wants, when she wants. And Stewart -- who, lest we forget, is only 22 -- is so convincing in the role that I can't help feeling glad that she now has the chance to stop playing house with Robert Pattinson and truly explore the world.
To my knowledge, Stewart did not address the scandal or her personal life on the red carpet last night. She kept the focus on the film -- and the real people whose stories inspired Kerouac -- and shrewdly did all her interviews in tandem with Garrett Hedlund. That protected her a bit by making it feel extra-inappropriate to shout out Robsten questions (not that she had much to fear from the polite Canadians bunched up against the rope line), but it also represented an admirable level of collegiality. Hedlund, after all, plays the lead in the film, not Stewart, and it was generous and right of her to share her spotlight with him.
Judging from the hundreds of fans and dozens of media outlets who crowded around her last night, Stewart has plenty of support to get her through what has been a tough time. She doesn't need any help from me. But I'm going to keep rooting for her anyway, if only because it would be a shame if we ceded our celebrity arena to shameless fame balls and reality-TV oversharers. I still remember when the biggest celebrities were people like Liz Taylor and Mick Jagger and Jack Nicholson. People who did great work and lived fascinating lives.
If we want interesting people to share their lives with us, we can't rip them to shreds every time they make a mistake -- or a courageous choice. And we should try to recognize real talent when it arises in our midst -- even when it comes attached to a corny franchise.
Kristen Stewart Gets Naked, Does Drugs in On the RoadSpoiler warning: You should stop reading now if you don't want to know too many of the movie's details.
Stewart first appears in the film on a bed topless. Then you see her rolling and smoking joints with Hedlund and Sam Riley, who plays the Kerouac-like Sal Paradise.
The sex scenes are numerous. In one, Stewart is sandwiched between Hedlund and Riley. Another has her banging a wall while moaning and groaning.
And then there's the much-talked-about bit where she appears to be sitting naked in the front seat of car and using her hands to pleasure Hedlund and Riley at the same time.
To be fair, Stewart is not the only one who is pushing the envelope in the movie. Hedlund also appears naked (the first shot of him is of his bare bum) and having sex and doing drugs—a lot. He shares a passionate kiss with Tom Sturridge, who plays Carlo Marx (aka poet Allen Ginsberg), and even has a sex scene with—get ready for it!—Boardwalk Empire star Steve Buscemi.
Even so, the sex, drugs and naughtiness are not gratuitous. Like Kerouac's semi-autobiographical novel, On the Road captures both the genius and the recklessness of the Beat Generation.
In other words, this film may not be suitable for Twi-hards of all ages.
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Looper
Joseph Gordon-Levitt and Bruce Willis star in 'the smartest movie of the year and the best action movie of the year.'
If I may speak freely, I f’ing loved Looper. This is the smartest movie of the year and the best action movie of the year. I liked Premium Rush, The Dark Knight Rises and The Avengers quite a bit, but man, Looper takes it to the next level. Full disclosure, this was the movie I’ve been waiting for all year, and it exceeded my expectations in every way.
In the year 2040, hit men called “Loopers” wait for the arrival of victims sent from the year 2070 by gangsters in the future. If they do something wrong in the future, they may be sent back to themselves in 2040, so the hitman can close a loop on himself. When Joe (Joseph Gordon-Levitt) is tasked to close his loop, Older Joe (Bruce Willis) arrives prepared and escapes, thus answering the question: Why don’t they remember killing their older selves? Joe does.
The genius of writer/director Rian Johnson’s script is how he answers every time travel question and avoids any unnecessary exposition. How did the Loopers set up the system with future killers before time travel is invented? It’s in there. How does the butterfly effect of changing Young Joe’s path affect old Joe’s memories? It’s in there and it resonates emotionally. The brutal way young Loopers can communicate with their older selves is awesome.
There’s fabulous future talk, under the guise of people who live with this technology don’t really want to talk about it. So they address details of memories and consequences and it’s not exposition. Man, the details are smart. A sequence about the 30 years in between Gordon-Levitt and Willis is amazing.
No surprise, Gordon-Levitt nails Bruce Willis. It’s not just the prosthetic nose and chin, he’s got the lips, the expressions and seems to know Willis better than Willis knows himself. They should put Gordon-Levitt in a Die Hard prequel about young John McClane’s untold story of stealing Hans Gruber’s high school girlfriend, thus answering the question that’s completely irrelevant.
This is the best role Bruce Willis has had since John McClane. I love Unbreakable and 12 Monkeys too, so that says a lot. He gets to be sophisticated, badass, witty and emotional. Brilliant supporting performances from Jeff Daniels, Emily Blunt, Garrett Dillahunt, Paul Dano and a Piper Perabo I didn’t even recognize. But you know, Bruce Willis and Joseph Gordon-Levitt, so I hope they can all share my love.
This is an action movie, and Johnson has a vision for cinematography that dramatically reveals every gunshot, every punch and every detail that causes a slip or a twist. His badass style and attitude makes action out of simple interactions. I like big stunts too but this is cool. Johnson allows quiet moments within action, and wouldn’t you know it, that’s way more effective than bombast.
The moral ambiguity of the story is not only refreshing, it creates downright conflicted feelings in a viewer. That is some power right there. You think Older Joe’s plan is simple, just make the future better. But what he’s willing to do is so out there and man, it goes there. The story keeps evolving, just when you think it’s all been explained.
The action is great, the story is great, the dialogue is great. Looper is riveting.
Seven Things About Looper You’re Going to Love
In the year 2040, hit men called “Loopers” wait for the arrival of victims sent from the year 2070 by gangsters in the future. If they do something wrong in the future, they may be sent back to themselves in 2040, so the hitman can close a loop on himself. When Joe (Joseph Gordon-Levitt) is tasked to close his loop, Older Joe (Bruce Willis) arrives prepared and escapes, thus answering the question: Why don’t they remember killing their older selves? Joe does.
The genius of writer/director Rian Johnson’s script is how he answers every time travel question and avoids any unnecessary exposition. How did the Loopers set up the system with future killers before time travel is invented? It’s in there. How does the butterfly effect of changing Young Joe’s path affect old Joe’s memories? It’s in there and it resonates emotionally. The brutal way young Loopers can communicate with their older selves is awesome.
There’s fabulous future talk, under the guise of people who live with this technology don’t really want to talk about it. So they address details of memories and consequences and it’s not exposition. Man, the details are smart. A sequence about the 30 years in between Gordon-Levitt and Willis is amazing.
No surprise, Gordon-Levitt nails Bruce Willis. It’s not just the prosthetic nose and chin, he’s got the lips, the expressions and seems to know Willis better than Willis knows himself. They should put Gordon-Levitt in a Die Hard prequel about young John McClane’s untold story of stealing Hans Gruber’s high school girlfriend, thus answering the question that’s completely irrelevant.
This is the best role Bruce Willis has had since John McClane. I love Unbreakable and 12 Monkeys too, so that says a lot. He gets to be sophisticated, badass, witty and emotional. Brilliant supporting performances from Jeff Daniels, Emily Blunt, Garrett Dillahunt, Paul Dano and a Piper Perabo I didn’t even recognize. But you know, Bruce Willis and Joseph Gordon-Levitt, so I hope they can all share my love.
This is an action movie, and Johnson has a vision for cinematography that dramatically reveals every gunshot, every punch and every detail that causes a slip or a twist. His badass style and attitude makes action out of simple interactions. I like big stunts too but this is cool. Johnson allows quiet moments within action, and wouldn’t you know it, that’s way more effective than bombast.
The moral ambiguity of the story is not only refreshing, it creates downright conflicted feelings in a viewer. That is some power right there. You think Older Joe’s plan is simple, just make the future better. But what he’s willing to do is so out there and man, it goes there. The story keeps evolving, just when you think it’s all been explained.
The action is great, the story is great, the dialogue is great. Looper is riveting.
Seven Things About Looper You’re Going to Love
Written by Laremy
*Don’t worry, I won’t be spoiling anything, because it’s my hope folks will see this one clean, ideally right after their family has staged an intervention.Hi there from beautiful Toronto, Canada, home of the B-Jays. I just got out of the morning’s first screening, Looper, which is also the official opening film of The Toronto International Film Festival. I want to save the real Filmdrunk review for Vince, because I like reading his reviews much more than I like writing my own, but in the interim I thought I’d take the opportunity to get you completely fluffed on Looper (provided you weren’t already).
The film doesn’t come out until September 28, facing off against Hotel Transylvania and Won’t Back Down, but that’s no reason you can’t recruit a few friends prior. Because really, if Looper doesn’t win that terrible weekend, it will be yet another reason why we can’t have nice things. Anyway, no more fooling around, let’s bloviate on Looper, for the kids.
This is Rian Johnson’s Memento
Remember those halcyon days when you were telling people this “Christopher Nolan guy is going to be somebody!” That’s Rian Johnson, right now, heralding a fandom that there’s still room on the ground floor of. His previous films, Brick and Brothers Bloom, were both very solid, but he’s taken it to another level here. A decade from now, circa 2023, you’re going to be sick and tired of hearing about Looper IV: Fully Looped. But until then, we should all ride this wave together.
The Mazda Miata Gets its Proper Due
No one has ever properly made fun of The Mazda Miata in cinema. It’s all accomplished with a measure of subtlety, but Rian Johnson lets us enjoy the awesomely terrible curves of a Miata, free of guilt.
Jeff Daniels, Emily Blunt, Paul Dano, and the Return of Piper Perabo!
Remember Coyote Ugly? That was, up until this point, 36-years old Piper Perabo’s claim to fame. That’s how she got meetings with people, she name-checked Coyote Ugly and then did the “Can’t Fight the Moonlight!” song until they granted her an audience. Now she has a new claim, a sturdier claim, a claim that still involves dancing, but also some real acting chops. Good for her!
Jeff Daniels is everything in Looper that we want him to be in Newsroom. He gives speeches, but they aren’t speeches about how blogs are bad, and new media is el diablo (YA THINK??!). Instead, they are speeches about him being a bad-ass mob boss. This is the Jeff Daniels we need, now more than ever.
Paul Dano is the kid from There Will Be Blood. He’s about a good a young character actor as we’ve got going, and he doesn’t disappoint here. Good on him.
Finally, respect must be paid to Emily Blunt. She’s now starred in two legitimate sci-fi films (If you count The Adjustment Bureau). Could it be that Emily knows how to pick a script? And is she now officially forgiven for being involved with Gnomeo and Juliet and Salmon Fishing in the Yemen? I vote yes, but I understand if you’re still holding a grudge.
The Makeup Works
The first images of Looper seemed to indicate that Joseph Gordon-Levitt would be wearing silly makeup the whole time. But this is why moving pictures are so important, in the film itself JGL is a delight, giving the best Bruce Willis impression you’ve ever seen. Oh, Moonlighting, I don’t know how to quit you.
Pierce Gagnon!
I don’t know what to tell you about his performance that doesn’t completely ruin the film. I will offer up that he looks about six years old and pwns Haley Joel Osment for “amazing performance by a youngster” in this film. The child is a beast child, and we should bestow upon him a Punky Brewster-level fame.
Sci-Fi is BACK, bitches!
Egh, okay, I don’t know that it ever really left. But it seems like the sort of thing you could bust out around co-workers. The simple folk will eat it up.
Looper Finishes Like a Freight Train
Again, don’t watch a trailer, and stay away from spoilery reviews. Take this one in fresh, enjoy yourself. We only get so many of these things a year, and then it’s back to chugging Brave and Bourne Legacy bombs.
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The Perks of Being a Wallflower, a teen movie with real depth (we hope)
The presence of Emma Watson (better known as Hermione Granger) ensures that The Perks of Being a Wallflower will appeal to the Harry Potter set, but will the film also appease the now-adult outsiders who embraced Stephen Chbosky’s YA novel back in 1999? The fact that Chbosky both wrote and directed the adaptation bodes well. Sure, the trailer contains a few stale teen movie tropes (the kind English teacher, the outcast sitting alone at a cafeteria table), but if Chbosky can replicate the insight, emotional depth and humour of the book, all will be forgiven. If not, the ’90s-era soundtrack should still make for a pleasant bout of nostalgia.
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The presence of Emma Watson (better known as Hermione Granger) ensures that The Perks of Being a Wallflower will appeal to the Harry Potter set, but will the film also appease the now-adult outsiders who embraced Stephen Chbosky’s YA novel back in 1999? The fact that Chbosky both wrote and directed the adaptation bodes well. Sure, the trailer contains a few stale teen movie tropes (the kind English teacher, the outcast sitting alone at a cafeteria table), but if Chbosky can replicate the insight, emotional depth and humour of the book, all will be forgiven. If not, the ’90s-era soundtrack should still make for a pleasant bout of nostalgia.
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'Anna Karenina' polished but hollow
‘Anna Karenina’ is a big, expensive bauble: pristine, polished and admirable, but structurally brittle and completely hollow.
Kiera Knightley pouts with intent as she pursues Taylor-Johnson’s man in uniform with lust-fuelled fury.
Their solitary sex scene is shot like a perfume advertisement – snappily edited glimpses of flesh on flesh, writhing in orgiastic ecstasy.
Alas, on-screen sexual chemistry is frozen by blasts of ill Arctic winds.
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| ABOVE THE SHEET: Top row, L-R, Sarah Sanford, Charlotte Ford and Lee Etzold of Bang; bottom row, L-R, Fatima Kargbo, Courtney Lapresi and Gunnar Montana of Rub. Both are among a number of shows at the festival with high-profile nudity. |
Theater in the raw
Molly Eichel THE LIVE ARTS Festival and Philly Fringe are getting naked this year. Sure, there are always elements of nudity during the city's premier arts festivals, but this year in particular puts naked performers at the forefront.
"There's an empowerment in performing scantily clad or nude. It felt a little bit on the edge, a little bit off center, a little bit extra loud," said choreographer Brian Sanders. "We see a nude painting, we don't consider it that cutting-edge. There's something about the live nude performance that gives it an extra level of potency."
But not all naughty bits are created equal. Some shows use nudity to shock and titillate, while other use it for the opposite purpose. The Daily News presents you with a complete guide to nudity at this year's Live Arts Fest and Philly Fringe.
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Show: "The Gate Reopened" by Brian Sanders' JUNK
Synopsis: Sanders reimagines an older piece ("The Gate") featuring dancers grappling, climbing and propelling themselves around a 20-foot-high cylindrical octagon, a/k/a "a playground for the insane."
Who's naked? The dancers
Why naked? "I would align the dance use of nudity with sculpture and painting," Sanders said. "We are a live sculpture, and what is more beautiful than the human body?" (See also "Private Places," choreographed by Jumatatu Poe.)
Discomfort factor: It's hard to pay attention to nudity when there's a 20-foot octagon to explore.
If you go: Pier 9, 121 N. Columbus Blvd., 10 p.m. Sept. 14-15 and 21-22; 8 p.m., Sept. 16 and 18-20; $28-35.
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Show: "UNTITLED FEMINIST SHOW" by Young Jean Lee's Theater Company
Synopsis: Explores the female identity in a wordless dance piece that, Lee emphasized, doesn't skimp on the laughs.
Who's naked? A group of performers with "female-coded bodies," who don't necessarily identify as women, Lee said. "I see a lot of nudity in New York, but when I see it, it's a specific type of body, it's an actor's body or a dancer's body. The performers don't all have that type of body. I feel like that's pretty rare, to see a female-coded body that's not super thin."
Why naked? "I wanted the performers to be as free with their identity as possible, Lee said. "If you put on clothes or makeup, people ascribe stuff to you. But when you're nude, there's less of it."
Discomfort factor: Audience members have told Lee that after about 10 minutes, the more shocking aspects of the nudity dissipated.
If you go: Philadelphia Theatre Company's Suzanne Roberts Theatre, 480 S. Broad St., 9 p.m. Sept. 19-21, $28-$35.
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Show: "Bang" by Charlotte Ford
Synopsis: "The starting point of the show was threefold: to see if we could be funny and sexy at the same time; to try and answer the question 'What do women want?'; and to find a new representation of female sexuality that was about desiring rather than being desired," said Ford.
Who's naked? Three of the city's best performers: Ford, Lee Etzold and Sarah Sanford.
Why naked? Performer and director Ford didn't start out to get naked, but it emerged organically from the piece. "If that sells tickets, that's awesome, but for me, this is a clown piece," Ford said.
Discomfort factor: Unlike "UNTITLED FEMINIST SHOW," the nudity isn't meant to de-gender the performers, but Ford sees similar effects in her piece. After enough nudity, the audience is no longer shocked and it becomes commonplace.
If you go: Christ Church Neighborhood House, 20 N. American St., 8 p.m. Friday and Monday-Wednesday; 3 and 8 p.m. Saturday; 6 p.m. Sunday; 8 p.m. Monday-Wednesday, $23-35.
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Show: "I Hate Monologues" and "The Alphabet Play" by the MacKnight Foundation
Synopsis: In "Monologues," an actor bemoans the serious nature of Shakespeare, while "Alphabet" is 26 short plays featuring each letter, like a warped "Sesame Street."
Who's naked? In "Monologues," it's a spanked actor. In "Alphabet," the letter X is X-rated.
Why naked? "In the 'X' portion of the dictionary, there are no verbs. They're having a strip game of cards. It's just a fun little piece," said Bill McKinlay of the MacKnight Foundation. "You say the letter X, you think nudity and X-rated. It's not a monumental mental exercise."
Discomfort factor: Brief nudity in larger performances is probably less than you see in a regular hour of premium cable.
If you go: Both at Shubin Theatre, 407 Bainbridge St. "I Hate Monologues": 8 p.m. Sept. 15; 7 p.m. Sept. 16; 7:30 p.m. Sept. 18 and 20; 4:30 p.m. Sept. 21-22, $15. "The Alphabet Plays": 3:30 p.m. Sept. 15; 2:30 p.m. Sept. 16; 7:30 p.m. Sept. 17 and 19; 8 p.m. Sept. 21; 7 p.m. Sept. 22, $15.
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Show: "Rub" by Gunnar Montana and Jasmine Zieroff
Synopsis: In a postapocalyptic future where humans have died out, femme-bots put on a show for no one to watch.
Who's naked? Pretty much everyone.
Why naked? "I wanted to take the woman and create this mechanical avant-garde creature and break her down until she's the essence of female. It's a contrast of the hard environment and the beautiful body," said Montana.
Discomfort factor: "It's a strip tease. It's supposed to be sensual and get you aroused," Montana said.
If you go: Latvian Society, 531 N. 7th St., 10 p.m. Friday and Sept. 13 and 16; midnight Saturday, Sunday, Thursday-Sept. 15, Sept. 21-22; 10 p.m. and midnight Sept. 20, $20.
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Show: "Food Court" by Back to Back Theatre
Synopsis: A dreamlike, near-death experience set in a mall, soundtracked to the music of the Necks, who change the score each performance.
Who's naked? A troupe of actors with perceived disabilities (in the parlance of the theater company).
Why naked? The vibe of the show is supposed to be surreal, and nudity becomes a function of that.
Discomfort factor: Everything about the show is meant to throw the audience for a loop. Nakedness is no exception.
If you go: Perelman Theater, Kimmel Center for the Performing Arts, 300 S. Broad St., 8 p.m. Sept. 20-22, $30.
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Show: The Big Nude Pinhole Shoot by R.A. Friedman
Synopsis: This is actually an art show ("Silver, Carbon and Brass: The Steampunk Photography of RA Friedman") in which the local photographer will discuss his work using an old-fashioned pinhole camera and recruit models for a photo shoot at the Rotunda on Sept. 17.
Who's naked? You!
Why naked? Friedman has a background in painting and has always worked with the nude figure. It's also pragmatic: "For the type of photography I'm doing, a broad expanse of skin photographs better than a draped figure."
If you go: Ven and Vaida Gallery, 18 S. 3rd St. Reception: 6-9 p.m. Friday. Artist talk: 7-10 p.m. Tuesday. Free. Exhibit runs through Sept. 30.
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Show: "Arguendo" by the Elevator Repair Service
Synopsis: An in-progress, staged re-enactment of the oral argument of Barnes v. Glen Theatre, a 1991 case on whether erotic dancing is protected under the First Amendment as freedom of expression. "Part of what's going on is all a little ridiculous because it's mostly older men sitting around deciding whether this stripper had artistic intentions," said director John Collins.
Who's naked? No one, but the show is an interesting look at American hang-ups about the naked body.
Why naked? No one is naked. Get your mind out of the gutter.
Discomfort factor: "I don't know at what point we'll get to a point where sex is not provocative," Collins said. "It's true we use all sorts of cultural relationships to sex, but we all have chemical relationships to sex. It gets at something more profound about what we are."
If you go: Arcadia Stage, Arden Theatre Company, 40 N. 2nd St., 1 p.m. Sept. 16, $18. Discussion follows at 2 p.m.
Cloud Atlas Official Trailer [HD]: Tom Hanks, Halle Berry and Hugo Weaving
Molly Eichel "There's an empowerment in performing scantily clad or nude. It felt a little bit on the edge, a little bit off center, a little bit extra loud," said choreographer Brian Sanders. "We see a nude painting, we don't consider it that cutting-edge. There's something about the live nude performance that gives it an extra level of potency."
But not all naughty bits are created equal. Some shows use nudity to shock and titillate, while other use it for the opposite purpose. The Daily News presents you with a complete guide to nudity at this year's Live Arts Fest and Philly Fringe.
.
.
Show: "The Gate Reopened" by Brian Sanders' JUNK
Who's naked? The dancers
Why naked? "I would align the dance use of nudity with sculpture and painting," Sanders said. "We are a live sculpture, and what is more beautiful than the human body?" (See also "Private Places," choreographed by Jumatatu Poe.)
Discomfort factor: It's hard to pay attention to nudity when there's a 20-foot octagon to explore.
If you go: Pier 9, 121 N. Columbus Blvd., 10 p.m. Sept. 14-15 and 21-22; 8 p.m., Sept. 16 and 18-20; $28-35.
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Show: "UNTITLED FEMINIST SHOW" by Young Jean Lee's Theater Company
Synopsis: Explores the female identity in a wordless dance piece that, Lee emphasized, doesn't skimp on the laughs.
Who's naked? A group of performers with "female-coded bodies," who don't necessarily identify as women, Lee said. "I see a lot of nudity in New York, but when I see it, it's a specific type of body, it's an actor's body or a dancer's body. The performers don't all have that type of body. I feel like that's pretty rare, to see a female-coded body that's not super thin."
Why naked? "I wanted the performers to be as free with their identity as possible, Lee said. "If you put on clothes or makeup, people ascribe stuff to you. But when you're nude, there's less of it."
Discomfort factor: Audience members have told Lee that after about 10 minutes, the more shocking aspects of the nudity dissipated.
If you go: Philadelphia Theatre Company's Suzanne Roberts Theatre, 480 S. Broad St., 9 p.m. Sept. 19-21, $28-$35.
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Show: "Bang" by Charlotte Ford
Who's naked? Three of the city's best performers: Ford, Lee Etzold and Sarah Sanford.
Why naked? Performer and director Ford didn't start out to get naked, but it emerged organically from the piece. "If that sells tickets, that's awesome, but for me, this is a clown piece," Ford said.
Discomfort factor: Unlike "UNTITLED FEMINIST SHOW," the nudity isn't meant to de-gender the performers, but Ford sees similar effects in her piece. After enough nudity, the audience is no longer shocked and it becomes commonplace.
If you go: Christ Church Neighborhood House, 20 N. American St., 8 p.m. Friday and Monday-Wednesday; 3 and 8 p.m. Saturday; 6 p.m. Sunday; 8 p.m. Monday-Wednesday, $23-35.
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Show: "I Hate Monologues" and "The Alphabet Play" by the MacKnight Foundation
Synopsis: In "Monologues," an actor bemoans the serious nature of Shakespeare, while "Alphabet" is 26 short plays featuring each letter, like a warped "Sesame Street."
Who's naked? In "Monologues," it's a spanked actor. In "Alphabet," the letter X is X-rated.
Why naked? "In the 'X' portion of the dictionary, there are no verbs. They're having a strip game of cards. It's just a fun little piece," said Bill McKinlay of the MacKnight Foundation. "You say the letter X, you think nudity and X-rated. It's not a monumental mental exercise."
Discomfort factor: Brief nudity in larger performances is probably less than you see in a regular hour of premium cable.
If you go: Both at Shubin Theatre, 407 Bainbridge St. "I Hate Monologues": 8 p.m. Sept. 15; 7 p.m. Sept. 16; 7:30 p.m. Sept. 18 and 20; 4:30 p.m. Sept. 21-22, $15. "The Alphabet Plays": 3:30 p.m. Sept. 15; 2:30 p.m. Sept. 16; 7:30 p.m. Sept. 17 and 19; 8 p.m. Sept. 21; 7 p.m. Sept. 22, $15.
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Show: "Rub" by Gunnar Montana and Jasmine Zieroff
Who's naked? Pretty much everyone.
Discomfort factor: "It's a strip tease. It's supposed to be sensual and get you aroused," Montana said.
If you go: Latvian Society, 531 N. 7th St., 10 p.m. Friday and Sept. 13 and 16; midnight Saturday, Sunday, Thursday-Sept. 15, Sept. 21-22; 10 p.m. and midnight Sept. 20, $20.
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Show: "Food Court" by Back to Back Theatre
Synopsis: A dreamlike, near-death experience set in a mall, soundtracked to the music of the Necks, who change the score each performance.
Who's naked? A troupe of actors with perceived disabilities (in the parlance of the theater company).
Why naked? The vibe of the show is supposed to be surreal, and nudity becomes a function of that.
Discomfort factor: Everything about the show is meant to throw the audience for a loop. Nakedness is no exception.
If you go: Perelman Theater, Kimmel Center for the Performing Arts, 300 S. Broad St., 8 p.m. Sept. 20-22, $30.
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Show: The Big Nude Pinhole Shoot by R.A. Friedman
Synopsis: This is actually an art show ("Silver, Carbon and Brass: The Steampunk Photography of RA Friedman") in which the local photographer will discuss his work using an old-fashioned pinhole camera and recruit models for a photo shoot at the Rotunda on Sept. 17.
Who's naked? You!
Why naked? Friedman has a background in painting and has always worked with the nude figure. It's also pragmatic: "For the type of photography I'm doing, a broad expanse of skin photographs better than a draped figure."
If you go: Ven and Vaida Gallery, 18 S. 3rd St. Reception: 6-9 p.m. Friday. Artist talk: 7-10 p.m. Tuesday. Free. Exhibit runs through Sept. 30.
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Show: "Arguendo" by the Elevator Repair Service
Synopsis: An in-progress, staged re-enactment of the oral argument of Barnes v. Glen Theatre, a 1991 case on whether erotic dancing is protected under the First Amendment as freedom of expression. "Part of what's going on is all a little ridiculous because it's mostly older men sitting around deciding whether this stripper had artistic intentions," said director John Collins.
Who's naked? No one, but the show is an interesting look at American hang-ups about the naked body.
Why naked? No one is naked. Get your mind out of the gutter.
Discomfort factor: "I don't know at what point we'll get to a point where sex is not provocative," Collins said. "It's true we use all sorts of cultural relationships to sex, but we all have chemical relationships to sex. It gets at something more profound about what we are."
If you go: Arcadia Stage, Arden Theatre Company, 40 N. 2nd St., 1 p.m. Sept. 16, $18. Discussion follows at 2 p.m.
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Cloud Atlas Official Trailer [HD]: Tom Hanks, Halle Berry and Hugo Weaving
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Katharine Isabelle And My Completely Normal and In No Way Unhealthy Interest
Posted by Spooky Sean
Very excited to see her in American Mary.Ever since I saw her on that one X-Files episode, Schizogeny, from the fifth season, I’ve had a… strong interest in seeing her in other roles. The episode was about…fuck, it was like a tree that ate people or something, I don’t really remember.
So, very technically, yes, I’ve had my eye on her since I was a teen.
Oh Jesus, that sounds horrible.
No, I haven’t been in the bushes or anything creepy like that. It’s more like,
“Oh, cool, that chick from The X-Files is in Ginger Snaps.”
And then…
“Sweet, that actress from The X-Files and Ginger Snaps is in Freddy Vs. Jason. And, also, she was in Bones.”
And now…
“Word, Katharine Isabelle, who I now actually learned the name of from IMDB, is going to be in a Soska sis film.”
See, I didn’t even know her name until Ginger Snaps, and even then I’m so bad with names, I forgot it a few times! Nope, I in no way have had a pseudo-crush on an actress who I’ve never met, and will probably never meet, since I was 14.
Not at all.
Here are a few screenshots from that X-Files episode. But, that’s just to show you what she looked like in it. I in no way already had them on my hard drive.
…
Well, I may have.
…
Okay, look, I wanted to rewatch the episode, to gear up for seeing her growth as an actress from then to now, from The X-Files, to American Mary. So, I saved some screenshots. It’s not weird; I’m a horror blogger, it was for a post, and just happened to have it, and some from Ginger Snaps, and Freddy Vs. Jason. That’s normal. It is normal for someone who writes about actors performances to have screenshots of them.…
And, I would in no way piss myself, and faint, and or collapse and mumble incoherently if I met her. I am a professional, damn it!
(Okay, so I probably would.)
So, in closing, I’m probably going to have to send the Soska sisters a huge thank you card, for giving such an awesome role to such a phenomenal, and earth-shatteringly beautiful actress who I may, or may not have developed a completely normal…interest in.
This was a joke post. Don’t worry everyone, I just like to play up the creeper thing. I’m not really obsessed.
Except with Gillian Anderson.
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29-years old actress Ari Graynor : see-thru Eidé Magazine [Fall issue] 2012
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30-years old (?) and 178 cm Swedish model Jerica Lamens. Had lots of potential but the Scandinavian gene from her father side took over and she became a bit more....curvier. Perfect for nudes though.for Terry Richardson :
photo shoot by Carlos Nunez :
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Terry Richardson nudity luck with models keeps getting better and better...........all taken in month of June 2012 for a mag shoot . The agencies continues to send new talents to him. Mostly to familiarize the models with blatant nudity without the usual glitzy shots. The pol-photos are taken after the pro-session.
[1] 22-years old New Zealand-East Indian model Ashika Pratt at his studio.
She was in New York with fellow Kiwi Stella Maxwell (pose nude for Terry) and gorgeous Emily Baker (likely posed topless but yet to come out) .
Read more here
Ashika topless (her first) :
[2] 19-years old Canadian model Clara Settje at his studio
Clara topless :
[3] 24-years old English model Jade McSorley (Britain's Next Top Model) at his studio
Jade topless :
[4] South African model Lauren Buys at his studio
Lauren nearly full-frontal (slight resemblance to another South African-born Jessica Marais) :
(you gotta admire these South African models/actresses. The moment they set fool on US soil - boom! Anything goes. Expect more frontal Lauren pictorials to emerge soon from Terry's vault)
More nude modeling for Terry here and here
* Rumors are Terry is producing another Kibosh-type of pictorials. I want to see above models getting jizzed or at least sucking on his cock. It would be incredible but not shocking considering the sexting/web-cam generation is coming of age. Going au naturel is not a taboo anymore. Pushing boundaries is a way to attract attention.
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Avoid these post-game sex follies this weekend
Shower sex sucks. Don’t let Joseph Gordon-Levitt and Zooey Deschanel trick you into thinking their “aw, shucks” shower sex scene in “500 Days of Summer” is really that fun in real life, because it’s not. Taking that special someone home, stripping them of their ZonaZoo gear and hopping under the shower head may seem like an awesome way to cool down and then steam things up. However, guys, it’s only when your calves are cramping, you’re trying to both please and not slip and break your ass, that you should have planned your approach a bit more. All that hot water is fun at first, but then it kinda becomes something like…
Pool sex. For those uninitiated into what’s arguably the grimiest of all rituals, pool sex is what happens when you take an urban myth (remember in high school when your friend banged a girl in a hot tub and said it was awesome?) and try to make it reality. When there’s a lot of water in a place that’s supposed to be wet for other reasons, all sensation is lost, and suddenly your little exploit turns into a submarine exploration for the g-spot. Also, pool water is disgusting, and nothing quite says “I love you” like a urinary tract infection — except when it doesn’t, which is always.
Now that we’ve covered the unpleasantness associated with Aquaman-style fornication, we can move on to a much drier, yet equally disappointing act. This is hard to put in reader-friendly way, so I’m going to refer to this as something a girl might do to enhance fellatio with the use of breast contact. For guys who enjoy boobs (a very high percentage, to be sure) it would seem as though this act would be fun and exciting. Even for girls, the idea at its best is at least something new and can add another dimension to a stale sexual relationship — or some eye-opening appeal to a brand new one. The reality is the act is not pleasurable for boys or girls — it can create an awkward moment, not to mention the friction and chafing involved. I can almost guarantee that if you try this once, you won’t want to try it again. The next time your drunk self feels like this is an awesome idea, you’re best advised to keep things simple. Save the unusual shit for those who get paid.
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My nudity question of the day : What are the chances of seeing Ashlee Simpson tits for the first time on-screen in Wayne Kramer's Pawn Shop Chronicles (2013)
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Elle Canada Photoshoot ft Alison Brie | FashionTV
Photographer Giuliano Bekor snapped away as the "Mad Men" hottie Alison Brie posed in an array of gorgeous outfits.
* stunning as usual. She sure can pose like a pro.
Elle Canada Photoshoot ft Alison Brie | FashionTV by Fashion_TV
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Patrick Ryan : 'Bachelorette' the raunchy, vulgar cousin of 'Bridesmaids'
Grade: C+
Before you even say it, “Bachelorette” is not the wannabe, comedic sister to last summer’s smash hit “Bridesmaids”. Instead, think of it as a raunchier, older cousin that gets polite acknowledgment at family reunions before it snorts some cocaine in the bathroom.
Where “Bridesmaids” found humor in flatulence and intoxicated plane rides, “Bachelorette” finds uncomfortable but often-hilarious comedy in drug binges, bulimia and semen-stained bridal gowns.
Adapted from the 2010 Off-Broadway play by Leslye Headland (who wrote and directed the film), the story follows three high-school friends (played by Kirsten Dunst, Isla Fisher and Lizzy Caplan) who come together years later as bridesmaids for their overweight friend, Becky (Rebel Wilson), who they consistently mocked as teenagers. On the eve of Becky’s wedding, the three self-proclaimed “B-Faces” find themselves overdosing on prescription drugs, hustling to fix a ripped wedding gown and making a variety of love connections.
The movie has a sharp and hilarious first half that introduces us to the slutty, wild and ever-catty women that are just as absorbed in their high-school mentalities as they were a decade earlier. Imagine a grown-up version of “Mean Girls,” but with a lot more champagne and no Tina Fey.
Dunst, fresh off her impeccable dramatic turn in last year’s “Melancholia”, is the strongest link in the cast. Her vicious attitude is as scorching as a hot poker, but you can instantly read past her constant eye-rolls and see somebody that is legitimately bitter for all the wrong reasons. Her role as confidant to Wilson’s character is oddly believable, and supplies some of the only heartfelt moments in the film that do not feel forced or unnatural.
As the ditzy Katie, Fisher strikes comedy gold in “Bachelorette” and is easily the most likable character. In a movie reeling with negative vibes, her Katie is so bubbly and erupting with energy that it’s impossible not to grin while she’s on-screen. Fisher effortlessly lays on the slapstick and delivers the film’s most unexpected lines of dialogue (While walking into a strip club high on cocaine and surrounded by naked women, she remarks how it’s just like “going to the Oscars.”)
[* strippers listed on Imdb includes June Diane Raphael and Melissa Stephens]
Unfortunately, the film begins to lose its charm midway through. Instead of pushing the envelope with what outrageous situations these characters could get themselves into next, Headland instead chooses to take the sentimental, romantic route. We discover that these women are so unruly and miserable because they don’t have the “necessary” component that constitutes a “fulfilling” life for a woman: a sturdy relationship with a man that eventually leads to marriage and children. Caplan’s character, in particular, is especially insufferable and her scenes with the usually terrific Adam Scott are where the movie drags most.
“Bachelorette” also falters when it tries so hard to be raunchy and vulgar that it simply forgets to be funny. “Bridesmaids” succeeded because, after all the toilet humor and awkward sex scenes were over and done, it was still very original and witty. Headland appears to use topics like oral sex as a constant crutch she can lean on as she winks at the audience, hinting, “This subject is funny because it’s being said by a woman.” In any dude or buddy comedy we see, though, such topics have been hammered to death and are hardly considered clever humor by any definition.
We are in an interesting era for female comedies. There is suddenly some new discovery that women can “actually” be funny outside the romantic-comedy genre, but it seems as if screenwriters are still hesitant about depicting women that are both comical and completely independent. I find that the funniest female characters can be seen on television, where individuals like Liz Lemon on “30 Rock” and Leslie Knope in “Parks and Recreation” may have various love interests, but do not let romance define them as people. “Bachelorette” scratches the surface at what’s possible for the future of female comedians in film, but in no way reinvents the wheel.
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MoviePass Review : Compliance
Mike Smith on September 5th, 2012
Since its premier at Sundance early this year, any positive buzz generated by Craig Zobel’s Compliance (and there’s been plenty) has been overshadowed by controversy. During the very first screening in Park City, many members of the audience walked out, while others stuck around just to yell at Zobel during the post-film Q-and-A. During a recent screening in San Francisco (I was not in attendance, but a few friends were), 33 of the approximately 180 audience members didn’t make it to the end credits, with one man shouting as he left, “why do you sit here and watch this ignorance?”As I sat in an almost-empty theatre late last night (there were five of us, no one left, though I think at one point or another we all wanted to), I understood why some couldn’t – or perhaps just weren’t willing to – make it to the end. Leaving was never a possibility for me; I’ve never walked out of a movie (no, not even Jack and Jill), for in doing so, I’d forfeit my right to an opinion. Not good for a critic. More importantly, though, while uncomfortable and frustrated, I was captivated. People don’t walk out of Compliance because it’s a bad movie; people storm away because it’s a damn effective one.
The story is at once devastatingly straightforward, yet impossible to fully fathom. The opening title-card informs that the film is based on an actual event. This isn’t a gimmick, but vital information; as the narrative progresses, the decisions of various characters become more and more difficult to accept. If not based in sickening reality, elements of the plot would stretch the limits of plausibility.
On a busy Friday evening, Sandra (Ann Dowd), manager of a rural ChickWich fast food franchise, receives a phone call from Officer Daniels (Pat Healy) of the local police department. Officer Daniels informs her that one of her young employees stole money from a customer’s purse. The victim’s description of the thief fits Becky (Dreama Walker), a pretty, blonde, nineteen-year-old cashier. Officer Daniels instructs Sandra to take Becky to a secure, secluded location in the back of the restaurant to search her pockets and belongings and to confiscate her cell phone. Sandra is hesitant at first, but Daniels insists that it’ll be easier on Becky to just get the admittedly difficult ordeal over with at the restaurant, rather than to take her all the way to the station. The embarrassment and trauma of a full police booking would be far worse. He says he has the ChickWich district manager – to whom he refers by name – on the other line and got approval for the search; already nervous about an incident involving an open freezer and spoiled food, Sandra agrees, hoping to earn her superior’s favor.
By this point, it’s clear to the audience that “Officer Daniels” is a fraud and Sandra has been fooled into playing his twisted game. Daniels’ requests become more and more audacious, involving additional employees and increasingly invasive searches of Becky’s body. Each demand, and the inevitable compliance, is harder to believe than the last. How could these people be so stupid? Why doesn’t Becky put up a fight? I’d never let this happen! Nobody would!
Except that these people did. And so did dozens of others in about 70 other similar cases in 30 different states throughout the country. What Zobel explores so artfully and effectively in Compliance is the psychology at play in these types of situations. As humans in modern, western civilization, we are raised with an inherent respect for and fear of authority. When the man on the other end of the phone calls himself a police officer, and does so with confidence, Sandra is convinced she has no choice but to listen. And though Becky knows she didn’t do anything and is being unjustly accused, she has been conditioned to do what she’s told. As the situation becomes more extreme, Sandra has no choice but to keep going; she’s in too deep now, and the possibility that she is wrong to follow the orders is far more frightening than anything she could be asked to do. Through her trials, Becky’s psyche is slowly eroded, and when it’s obvious to us that what is happening onscreen is unquestionably unethical and immoral, she’s already too broken to know the difference.
Zobel films in intense close-ups and with unconventionally long takes. Cinematically he creates a hypnotic, claustrophobic atmosphere which would be uncomfortable in any situation, but its amplification of this particular story becomes unbearably unsettling. I have a pretty thick skin when film is involved; I’m not rattled easily, but Compliance shook me. I squirmed in my seat, not because of extreme Hostel-style gore, but because Becky’s trauma felt so real. And while Sandra’s actions seemed so ridiculous on the surface, deep down, I knew this really wasn’t all that unbelievable. Even without the title-card disclaimer explaining that the events themselves were real, there’s a bleak honesty in Zobel’s dissection of the human spirit. As a viewer, I wanted so badly to do something, but it’s just a movie; there’s nothing I can do. Once one has experienced Compliance, the reason people walk out is obvious: it’s the only way to wash oneself of responsibility for Becky’s plight. By staying in my seat, I – in some small, weird way – condone what’s happening onscreen. I become as guilty as Sandra or the other employees who stand by and do nothing.
I stuck it out, though, and afterward I was mentally and physically exhausted. This is a powerful film, and though I’m sure it has happened, it’s hard to remember the last time I’ve had such a strong, visceral response to any work of art. While I definitely didn’t like what Compliance did to me, I’m in absolute awe of it’s ability to do so.
Rating: 5/5 Stars
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Airplane funniest film ever, research finds
Spoof disaster movie Airplane is the funniest film ever - generating three laughs a minute on average, according to new research.
Airplane - which features classic one liners such as 'I am serious and don't call me Shirley' - came out top in research conducted by a panel of members of movie subscription service Lovefilm.
They calculated the precise number of 'laughs a minute' for the top 10 comedies chosen by Lovefilm members.
The panel recorded the total number of times each film generated a laugh, before dividing it by the films' total length in minutes to calculate the precise 'laugh a minute' rating for each movie.
With a 'laugh A minute' score of three, Airplane beat nine rival comedies to top the list which has been created to mark The Hangover becoming available to stream on Lovefilm Instant.
The Las Vegas man-movie featuring the bachelor party to end all bachelor parties marked its arrival onto the Lovefilm Instant service by scoring a 'Laugh A Minute' rating of 2.4.
The Naked Gun: From the Files of Police Squad completed the top three with a 'laugh a minute' score of 2.3.
Foul-mouthed Superbad managed a 'laugh a minute' score of 1.9, followed closely by the outrageous and least politically correct movie ever made, Borat, with 1.7.
Modern classic Anchorman reported in at sixth place. This battle of the sexes in a newsroom has spawned a whole range of one liners and manages to make audiences laugh 1.6 times per minute on average.
Helen Cowley, editor of Lovefilm, said: "After many heated debates about whether The Hangover really is the funniest movie ever, we asked our members to vote for the 10 movies that make them laugh the most, and then conducted our own research into how many times those included in this list made us giggle.
"Interestingly, while Lovefilm members voted Life of Brian as the funniest film, our research shows that for laughs a minute the hilarious aircraft-based satire of Airplane beats the Monty Python epic hands-down."
Top 10 Films With The Highest 'Laugh A Minute' Scores:
1. Airplane - 3 Laughs A Minute
2. The Hangover - 2.4 Laughs A Minute
3. The Naked Gun: From the Files of Police Squad ! - 2.3 Laughs A Minute
4. Superbad - 1.9 Laughs A Minute
5. Borat - 1.7 Laughs A Minute
6. Anchorman: The Legend of Ron Burgundy - 1.6 Laughs A Minute
7. American Pie - 1.5 Laughs A Minute
8. Bridesmaids - 1.4 Laughs A Minute
9. Shaun of the Dead - 1.3 Laughs A Minute
10. Life of Brian - 1.2 Laughs A Minute
* Almost a perfect list except for over-rated Bridesmaids.
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'That will be my happy place': Lana Del Rey wants to quit music and make movies
It's on the cards, the melancholy songstress told Vogue Australia in a new interview.
"When I was starting, I had a vision of being a writer for film and that's what I am doing now. I'm so happy," Lana revealed, keeping the actual details of the script top-secret.
"Hopefully I will branch into film work and stay there. That will be my happy place. I'd like to stay in one place for a long time," she added.
Lana's video clips play like mini-movies anyway, so it shouldn't be too much of a stretch for the '60s minx-like bombshell.
* You can afford to be fickle if you're trust fund baby. Christ...the woman is career hopping like crazy. But the movie industry will fit her like a glove. Maybe Magic City producers can hire her for (being super optimistic here) the third season. She will give Jessica Marais a run for her money in nudity department.
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One of the momentous moment in porn this year : After more than 400-flicks to her credit, 25-years old Lexi Belle finally taking it up the ass for the first time on-cam. Lucky guy Deen. From Superstars (2012)
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