Tuesday


Twin Peaks

s3e14, 720p

Nae Yuki






Skinford
season one in 720p

Charlotte Best in episode 1



Lara Schwerdt in episode 2






Check Other Crap for updates in real time, or close to it.



"Game of Thrones"

wrapping up season six

s6e10, 1920x1080

Josephine Gillan

Mind Ripper

1995

Claire Stansfield film clip (sample below)

 



Smile

2009

Giorgia Massetti film clip (sample below)





30 Days to Die

2009

Tracy Marie Briare film clip (sample below)



Chloe Berman, Cheyann Dillon, Andrea Hunt, Taryn Piana, Sarah Agor and Nicolle Blair
in WTF (2017) in 720p

Chloe Berman

Cheyann Dillon

Andrea Hunt


Taryn Piana

Sarah Agor

Nicolle Blair

Kelly McCart in Locked Up (2017)



Bruna Cusi and Nuria Prims in Uncertain Glory (2017) in 720p

Bruna Cusi


Nuria Prims


Stephani Burkhard and Violetta Schurawlow in Die Holle (2016) in 1080hd

Burkhard

Schurawlow

Anna Hausburg and Margarita Ruhl in True Love Ways (2015) in 720p

Hausburg

Ruhl

Zoe Bell in The Baytown Outlaws (2012) in 1080hd

Lynda Carter in Bobbie Jo and the Outlaw (1976) in an enhanced 1080hd collection. This file is enormous - more than 600 meg - but if you have the interest and the bandwidth, it's a keeper.



Just before former Miss World USA Lynda Carter became famous as Wonder Woman, she was experiencing a lull in her career that led to her (frequently naked) participation in this cheapo exploitation flick from American International Pictures, the masters of quickie drive-in flicks. Although this film was made during her dry spell, it was not actually released until after she began the Wonder Woman series, much to the chagrin of ABC and Lynda herself.

AIP's B-movies, like porno films, skimmed off the fame of currently hot trends, then advertised sensationally. You already know how it works in porn, because no film, however serious and important, is immune from a porn spin-off. For every Saving Private Ryan, there is a Shaving Ryan's Privates. This is known on the internet as Rule 34 - "If it exists, there is a porn version of it – no exceptions." There's Snatch Adams, Schindler's Fist, For Your Thighs Only, Free MY Willy ... you get the picture.

AIP didn't rip off the titles of hot movies, at least not as blatantly as the porno producers, but you could be absolutely sure that any hot movie trend would soon engender several low-budget drive-in quickies. In the era of this particular film that meant good ol' boys in souped-up cars in the style of Burt Reynolds. Reynolds had first scored country paydirt as Gator McKlusky in White Lightning (1973), and was busy making a sequel to that film (Gator, 1976) while AIP was trying to create its own country outlaw in the form of preacher-turned-actor Marjoe Gortner.

AIP got the lead character's rebellious attitude right, but they kinda took the "outlaw" concept to an extreme level. While the bad boy characters of Burt Reynolds would occasionally screw up some police cars in high-speed chases, thus causing some bumbling deputies to end up with their arms in slings, Marjoe's character basically went on a robbery and murder spree that would culminate with his death in a hail of bullets. Bonnie and Clyde is not the only good film which receives a ... er ... homage ... here. If you enjoyed Deliverance (another Burt Reynolds movie), you won't want to miss this film's bloody recreation of the famous "squeal like a pig" sequence. Despite the intense violence, the script and Marjoe's laid-back performance continue to represent the lead character as a likeable fun-lovin' country boy outsmartin' the bumbling local sheriff, as if his homicides were just some more wacky pranks from the Duke boys.

Some elements of this film are almost surreal. Forget the "almost." They are surreal. Some examples:

Marjoe is stalking a sexy waitress (Carter) when he falls asleep in his stolen car while parked on her block. When he wakes, she's in the passenger seat, telling him to drive anywhere. They head out to the desert, where they are hiking through the ruins of an old Native American village when Carter suddenly produces a guitar and starts singing.

They are trapped inside a trailer when the cops find their stolen Mustang out by the mailbox. So how do they get away? Nothing to it. They make their escape in another car and a school bus which materialize from nowhere.

They plan to rob a local bank, but Marjoe says "we need more firepower." In the next scene, Marjoe and his sidekick are teaching Lynda and her sister how to shoot M-16s. In the next scene, they are holding up a gun shop. How did they get assault rifles before the robbery? And why did they need more guns if they already had high-powered automatic combat weapons? Maybe the editor got the sequencing of the scenes wrong, but I don't think so, because Lynda Carter used the combat rifle to provide cover for the gun shop robbery, so she must have had it before that robbery took place. The most likely explanation is that the production team was rewriting the film on the fly, filming scenes out of sequence, and getting confused on the details. My bet is that the editor had to piece footage together as coherently as possible. At any rate, there's no possible explanation for their having come up with M-16s between "we need more firepower" and the gun shop robbery, given that the script stresses how broke they were, and there's no justification for robbing the gun shop if they already had the weapons they needed to rob the bank!

The bumbling, sweaty local sheriff from Noplace, New Mexico keeps pursuing Lynda and Marjoe throughout Texas, with neither assistance nor interference from local law enforcement officers. The film makes this one small-town sheriff seem to be the only law west of the Pecos, like Judge Roy Bean.

While the outlaw gang is hiding out in the desert, one of them says something like, "We're gonna die unless we can high-tail it to Old Mexico before them pigs catch up with us." His girlfriend responds, "Yeah, I could sure use a taco right about now."

By the way, you might have noted the similarity in the titles "Smokey and the Bandit" and "Bobbie Jo and the Outlaw," but you'd be wrong to assume that AIP was ripping off the big studio film. Bobbie Jo actually came out a year before Smokey, so AIP was actually on the cutting edge of the trend which would soon rule big screens and small in the late 70s, when Reynolds would have a big hit with Smokey and the Bandit, and The Dukes of Hazzard would begin a long TV run. Of course, AIP didn't have a lot of money in their budgets, so this film is punctuated with exactly one country song which is repeated again and again. There is another musical number, but it's a lame pseudo-country ballad written especially for the film and sung by Wonder Woman, accompanied by her own strumming of some simple guitar chords. She's a good singer, but not country style. Her voice is more suited to cabaret torch reviews than to the Grand Ole Opry.

Apart from the budget problems, the repetitive score, the bizarre lack of continuity, and the fact that every character is a stereotype, the film also managed to haul out every imaginable cliché in the 1970s film playbook: a grizzled Native American takes the outlaw gang on an acid trip in the desert; the outlaws stay at a New Mexico commune in the hand-built home of a hippie friend; the cops rough up and insult the hippie; the outlaws hide out and rest in the barn of an old farm couple and insist on paying them ...

Enough.

You get the idea.

It's the drive-in era at its pinnacle!