Not all that much nudity in this movie unfortunately, but it's still very sexy all the same. Carrie Ng as Princess putting a hit on a target. No nudity.

The gorgeous Chingmy Yau. Face shots (no, not that kind!) only. No nudity.

Kelly Yao is Baby. A little toplessness in this one. The action scenes in this movie are phenomenal, mindblowing to my HK virgin eyes. Hollywood fight scenes pale in comparison.

Nothing like a good assassination to make two lesbian hitladies horny. Carrie Ng (not nude but kissing boobs) and Kelly Yao (topless).

More pics of Chingmy Yau's luscious face.

Chingmy Yau sex scene. Most people don't realize that Amy Yip is evil. Evil? Yes. She started a precedent of making sex movies full of nudity where the viewer can't really see anything! Pure evil. Sex and Zen is the only movie (that I know of) where Amy let it all hang out. Whenever she appeared nude, someone's hand (guy, gal, robot, whatever) or a potted plant...something...would be covering her nipples or her pubes. Anyway, Chingmy tries to pull the same stunt here. She's all naked but you can't see anything.

Chingmy Yau slips a bit. Freeze frame nipple shots. Like most Hong Kong DVDs, this one was transferred to DVD and not digitally remastered so the freeze frames aren't as clear as we'd like. Chingmy's tits.

Carrie Ng and Kelly Yao making love. Once again, Carrie has her clothes on and Kelly's topless. Kind of dark.

Non-nude of Kelly and Carrie, just looking kind of cool sporting knife and sword.

Chingmy Yau non nude.

Chingmy Yau and Carrie Ng fooling around (no nudity).

A quickie scan I did of Chingmy from the DVD insert.

Here are a couple of collages from the big Hollywood movie The Corruptor. Not all that much nudity but it is a big, pretty, high quality, major studio DVD so I was compelled to make some caps. Alice Poon (wodda name!) all topless.

Marie Matiko non-nude. I just did this one because it's such a pleasure to work with high quality raw caps. She's cute, check it out if you have a cable modem, it won't cost you much time.

Years before it was a feature film, the famous beast-fucking-and-sucking scene was an 18 minute short called "The real-life history of the beast of Gevaudan". Borowczyk was never one to waste a good thing, so he wrote a plot for a feature length film, kind of a sexually oriented morality play, in which the original 18 minutes were a fantasy sequence. The truly perverted stuff is the original footage with Sirpa Lane. The first collage pretty much sums it all up.

Sirpa Lane Sirpa Lane Lisbeth Hummel Lisbeth Hummel Catherine Neilson Claire Skinner

Crystal Dawn Crystal Dawn Crystal Dawn Mavis Mavis Mavis Mavis Mavis Mavis Gershon

Members Bonuses- New Releases

Just released on a new DVD edition, with Oliver Stone's director's cut, plus six more scenes still not included, plus an alternate ending filmed but not used. Tons of commentary from Oliver Stone everywhere, and a "making of" documentary.

About the DVD - a must-see if you are interested in the movie. Here are some of the scenes still in the deleted list:

• A Dennis Leary rap about Mickey and Mallory.
• Ashley Judd's completely cut courtroom scene. She was one of the victims who was left alive - remember that Mickey and Mallory always left one to tell the tale - Mickey is acting as his own attorney - and he kills her brutally right while she's on the stand. Powerful scene.
• Two body-bullding brothers who are thankful to Mickey and Mallory for cutting off their legs, because it made them stronger.
• An alternate ending where the con who helped them escape from prison turns out to be even crazier than they are, and kills them!

Here is some of the footage brought back in for the DVD:

• The warden's dismembered head
• The reporter's hand wound when Mallory blows a hole through his hand.

Do I like the movie? Yes and no. I like the first 40 minutes very much - the section of Mick and Mallory on their murder spree, with the media obsessing on them, kids thinking they're cool, and the whole thing shot with that lyrical dream-vision quality. It is a perfect satire on the way the culture glorifies violence, and Stone may be the greatest technical virtuoso of any director in history, so it's like watching a brilliant laser and fireworks show. It seemed to be outrageously broad satire at the time, but the national obsession with and reaction to the OJ trial showed us that Stone was right. Maybe that's why we hate Stone so much. Because the ornery prick keeps saying stuff that makes us uncomfortable, and he's right about a lot of it. And he knows how to dramatize his points very effectively. Once M&M get into prison, though, I don't like it much. The lyrical feel disappears, and it becomes a grunge movie. The charcaters are too broadly sketched, and there's too much of those cartoon characters like the reporter (Downey), the warden (Tommie Lee) and the supercop (Tom Sizemore). Too much of the chaotic prison riot and violence for the sake of violence. The second half doesn't have enough of Harrelson and Lewis, who are not complete cartoons, but really manage to bring an indefinable almost poetic humanity to their monstrous characters. Those two performers really did well. They really were able to show both the monsters and the certain "it" quality that made them media stars. Oliver Stone loves fucking with our minds. He wants us to like M&M better than the lawful characters, so he can make us even more uncomfortable when we realize how he caught us in that trap. Stone is a genius at manipulating our emotions and bringing us into the moment. I can see why so many people hate him, but he is a great, great talent. My feelings about him are similar to my feelings for Ken Russell. Two guys with a hallucinogenic vision of the world, who use thousands of fast cuts, overlays, and tricky visual effects. Both of them geniuses, but both of them with their heads always in the gutter. It makes me think of those old monster movies where someone would always say of the mad doctor, "if only he had used his genius for good instead of evil". Will Oliver Stone ever do that? Will he ever grow up? Or will he just continue to be the National Gadfly? Juliette Lewis. A clear look at her breast as she leans forward over the Woodman. never seen this capped before. Juliette Lewis. Her breast is exposed, but he face is blurry in an action shot. Juliette Lewis. Just pokers and thighs she's the pro that has sex with supercop Jack Scagnetti Corinna Laszlo. She's the kidnap victim tied up in the hotel room.

A Zed and Two Noughts

I've written so often about Peter Greenaway. He once said in an interview that film has never developed as an independent medium but has simply been illustrated text. He has tried to make it an independent art form. Fiercely non-commercial, unrelentingly arty, and as odd as can be, he is what movies "might have been". Imagine if there had never been Gutenberg, but rather movies were invented as an extension of painting rather than as an extension of print. That's Greenaway. His visuals, in my opinion, are the best in the history of film. No one compares. Not Renoir, Malick, Welles, Kurosawa, Tarkowsky, Bergman - nobody. He is obsessed with artistic theory, the meaning and randomness of life and death, the history of art, symmetry, decay, numbers, and letters. He creates movie frames in the style of every great master painter from Vermeer to Mondrian to Dali and Rauschenberg, and many of his images are in perfect symmetry.

The impressionists were obsessed with light. I think it was Monet who painted the same cathedral several times in different light. Greenaway is so obsessed with light that he sometimes changes all the lighting effects several times in the same scene. Sometimes he has several lights blinking on and off like those timed lights on Christmas trees, thereby creating a myriad of lighting combinations. He's strange and screwy and a genius and a loony. Nobody produces more personal films, or more artistic visuals, or stranger concepts. (The plot is so odd as to defy a brief description). His only weakness, like most of the great visual directors, is that he loves his images so much he doesn't want them to be sacrificed for the sake of moving the film forward, so he lingers on his visuals long after the viewer has felt the need to move on. But that's OK. How many geniuses do we have? How many guys are out there doing something constantly original and personal and using film as a pure art form without any commercial considerations, and getting everybody naked along the way. Pretty much just Peter Greenaway, bless his crazy heart. I hate his movies because they can be boring and pretentious. I love his movies because they are beautiful and intellectually dazzling. He is one-of-a-kind.

I'm not even going to try to describe the plot. Let me just start. Two twin zoologists are waiting for their wives at the zoo. A giant swan escapes from the zoo and crashes into the wives' car, killing them. The brothers can't come to grips with the insanne and symbolic randomness of their loss. They become obsessed with their wives decaying, and resolve to study the effect of decay on living organisms. The want to hear every detail of their wives' last day from the driver, a woman who they both take to bed and impregnate in an effort to establish a form of contact with that last moment of their wives' life. Meanwhile, there are a zillion sub-plots involving unnecessary surgery, zoo animals, a zoo prostitute who wants to be a writer of dirty fables .... what can I say? In the USA, most of the zoos got rid of their designated prostitutes about the same time that the banks eliminated the pantomime horses. But in Peter Greenaway's England, they still have those beds behind the vulture cages.

Frances Barber as the Zoo Prostitute Frances Barber as the Zoo Prostitute Frances Barber as the Zoo Prostitute Frances Barber as the Zoo Prostitute Guusje van Tilborgh as a living character from a Vermeer painting. (Don't ask) Tilborgh Tilborgh

Cindy in the New "Elle"

The new pics of Cindy post-baby. Elya was pleased that I asked her to buy Elle. First time I've ever asked her to buy a magazine where she didn't have to wear her dark glasses at the sales counter, First time it's been a magazine without a shrink wrap. First time she wasn't embarassed to ask for it by name. Usually she has to go up to the guy and say something like "can you tell me where I can find the new issue of 'Dripping Estonian Tight-Cunted Sluts'?". I haven't scanned anything in months, and it shows, but they're OK until one of the Big Boys does them. Surely Zon or somebody will have versions for us soon.

Cindy. She's virtually topless in this one. Cindy Cindy