El Kabong
Estella Warren

Cori Nadine

Kiana Thom (1, 2)

While it is pretty much my job to make fun of everything, EL Kabong offers his two cents about Synchronized Swimming: "I would remind you that this stupid sport did introduce us to the lovely Estella Warren, seen here looking too sexy on the cover of GQ."

Well said. Also, here are Kiana and Cori from a swimsuit issue of Muscular Development Magazine.

WhyScan's Page Three Report
If Page Three is unfamiliar to you, this link describes the Page Three tradition.
Today's Page 3 girl....Jakki, 22, Staffordshire (1, 2, 3, 4)

WhyScans Page Three Report appears here exclusively, and daily. All his earlier posts are archived in the subscription area. Click here to sign up or get info.
Amanda Ooms (1, 2, 3, 4, 5) Running around naked, and occasionally as a wolf from the movie "Wilderness".
Faith Hill (1, 2, 3) From FHM if I am not mistaken.
and ...
Sherilyn Fenn Another amazing collage by ZonononZor from "Two Moon Junction".
Kristy McNichol Also from "Two Moon Junction" by ZonononZor
Courtney Cox I'm not sure if there is nudity in these 'caps or not. There is a love scene 'capped here, with a lot of breast exposure, so I guess it's pretty close. Regardless, I must say that Hugo has done a great job with this collage from "The Runner".
Sophia Shinas Vidcaps from "The Hunger".
Uma Thurman Uma rising as Venus from "The Adventures of Baron Munchausen".

Members Bonuses


"Possession", from Tuna

Tuna's comments: Possession was directed by Andrzej Zulawski and shot on location in Berlin in 1981. It was done in English because the producer was hoping it would do well in the US. While it was well received in France, and won Adjani a best actress award at Cannes, it was cut from it's original 123 minutes to 81 for a US release. Most people who have seen both versions say the shortened one made no sense. I viewed the full-length directors cut, and it still made no sense.

It is a story of a failing marriage, and a wife who abandons her family and her lover to have a relationship with a mutating monster of her own creation. The monster starts off looking like a tree trunk with a mouth, becomes sort of octopus like, then resembles her husband at the end. I won't even try to relate more of the plot which is mostly incomprehensible. In the feature length commentary, Zulawski says the film is autobiographical, so we must assume that his wife left him for an octopus.

For me, this film had nothing going for it other than Adjani's breasts. She screened the movie for the first time and attempted suicide. For me, it was horribly over-acted, shot in the drab greys of Berlin, and was impossible to follow. Some reviewers saw a lot I didn't. They call it the most frightening piece of horror ever filmed. They point to a scene where Adjani either gives birth to the monster or has a miscarriage or both in a subway station as horrifying and almost ballet-like. Looked more to me like a grande mal seizure followed by a loss of bowel and bladder control. The films supporters also say that the director purposely leaves holes and ambiguities so the viewer can have the fun of making sense of the whole thing. His idea of fun and mine are very different, I suppose. I was very grateful when it ended.

I agree completely. If you now respect the French film industry, don't watch this, because they awarded Adjani for a performance that would have stood out as an embarrassment in an elementary school Easter pageant, even if Keanu Reeves played Christ. By the way, it wasn't literally autobiographical. He changed some details. For example, Zulawski's real wife left him for a squid, not an octopus.


Isabel Adjani (1, 2, 3, 4, 5, 6, 7, 8)


"Romeo and Juliet", from Johnny Web

OK, it isn't as good as "Slave Girls from Beyond Infinity", but it will have to do.

Seriously, what more can I say? Shakespeare is the greatest wordsmith in the history of the language. Zefferelli is almost as much a master of the visual arts as Shakespeare was of the written and spoken word. Olivia Hussey was a great beauty, very young, with an enormous natural chest. Milo O'Shea is arguably the greatest character actor in history. "Romeo and Juliet" is probably the most familiar creative work in the history of the human race. Approach this movie with awe and wonderment. It has flaws (some of the acting is just adequate), but the words and pictures and music are not among them.

Hussey had another Katharine Ross career, but worse still, she always seemed to be an unhappy woman, never able to enjoy the life that her great beauty and talent should have afforded her. The critical and financial disaster Lost Horizon soured her career, and four years after Romeo she was in movies like "Silent Night, Evil Night", and migrated from there to Norma Bates in Psycho 4. I always thought it must be dificult for those like Albert Brooks and Katharine Ross, whose careers peaked in their early 20's, but what about Hussey, whose career peaked at 17?

Olivia Hussey (1, 2, 3, 4)


"Darkroom", from Johnny Web

1988 Grade B horror/gore film ala Friday the 13th with an insane killer, a family in an isolated location, and a few half-hearted red herrings to distract you from the killer's identity. Beautiful, creative opening credits, then a deadbeat movie with some obviously amateur actors. Skip it.

By the way, despite the entry in the IMDb, Helen Hunt is not in this movie.

Jill Pierce (1, 2, 3)


Other new releases

There is no nudity in "Snow Falling on Cedars" or "Miss Julie", which came out yesterday on DVD. I watched both.

"Miss Julie" is a stagy adaptation of Strindberg's Miss Julie, starring Saffrom Burrows. If you aren't familiar with Strindberg, he was a depressing symbolist intellectual whose literary stock in trade was the struggle for power in human relationships. He wrote almost no dialogue, no action, and no plot. His characters speak in lengthy speeches, directed more from the playwright to the audience than from character to character. Miss Julie is a haughty aristocrat who toys with her servant, but loses the control role in the relationship when she allows herself to fall in love with him. When he gets control, he takes some sadistic delight in giving her back what she gave out.

Avoid it unless you are already familiar with what is entailed in a Strindberg play.

Snow Falling on Cedars is one helluva movie. Superwuss Ethan Hawke plays a reporter covering the trial of the man who married Hawke's childhood sweetheart and one true love. The man on trial and the wife are Japanese-Americans who were interned in WW2. Hawke has to find the courage to expose the truth, even if it leads down a path that will send the accused back to his wife, thereby losing her to Hawke forever. Complex story with eerie Pacific Northwest photography. Brilliant secondary performance by Max von Sydow as an immigrant lawyer who challenges Americans on the jury to be worthy of the country that he struggled to enter. The movie doesn't preach about the internment camps, but their existence is a palpable presence in the film.

(For those of you unaware of what I'm talking about, here's the deal. In a shameful stain on the pages of American history, Japanese Americans on the West Coast were herded into detention camps in WW2, often losing all their property, except what they could carry with them. It would have been unthinkable to do this with Italian-Americans or German-Americans, but the Japanese were the misunderstood outsiders in a Eurocentric society. Although the American parallel fell far short of the National Socialist extremes, European-Americans often failed to see the obvious parallels between this and the German treatment of misunderstood minorities.)

Anyway, if you're a film buff, this is a must-have for your collection.

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