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The buxom lass in Time Barbarians, Sheila Young (Monday's Funhouse), appeared in more than 100 movies in the 1980's. She is pornstar Victoria Paris.

TheGimp
 

A History of Violence (2005)

 I thought that there was no possibility for any other film to rival Sin City as the "best comic book adaptation of 2005," but this one gives Rodriguez a run for his money. A History of Violence is David Cronenberg's newest, best-reviewed and most accessible movie.

It centers around a modest small-town diner owner who somehow manages to overpower two murderous armed robbers, in the process saving the lives of many people and becoming a national media figure. It's not always good to have your face broadcast nationally, especially if you have something to hide, and this man just may. Three mobsters watch the TV coverage of the incident and become convinced that Tom the diner owner is actually Joan Cusack. Oh, the horror! No, wait. He isn't manly enough to be Joan. Make that Joey Cusack, a notorious Philadelphia hit man who disappeared two decades earlier.

The Philly mobsters show up in Podunk inconspicuously enough in their enormous black sedan with tinted windows. I guess they didn't want to attract any attention. Of course, that miscalculation was minor compared to the truly enormous error they made. If they really thought this guy was Joey Cusack, and planned to threaten his family, they should have showed up with a lot more mobsters. Within a short time they are all lying stone cold in the Podunk morgue.

By this time the local sheriff and the diner owner's wife are starting to figure out that something doesn't quite add up.  Although they have known humble, aw-shucks Tom for twenty years, and had been reluctant to believe him to be anything other than the the lovable churchgoin' family man has always seemed to be, they are a bit suspicious that he moves like a ninja and has been able to dispose of five professional killers smoother than Charles Bronson on his best day. They reason that the only possible explanation is that he really is Joey Cusack.

Is he? You'll need to watch the film to determine that.

This is an excellent and suspenseful mystery, as well as an audience-satisfying revenge thriller in the Charles Bronson mode, but I don't believe I would have guessed the identity of the director if I had not already known it. It's like Cronenberg has been watching some Sam Peckinpah films and decided to make one of his own. You just know Warren Oates would have played one of the desperadoes if he were still alive.

I'm not sure why the critics have felt a need to justify their positive response to the film by assigning it alleged layers of depth and artistic merit. Frankly, that's reading way too much into it. It's a terrific film, but it's not deep or realistic or nuanced or artistic. It's a comic book adaptation, fer chrissakes! It is a helluva bloodlust film, though. It glorifies the use of violence at appropriate times, then it makes us enjoy the violence against the characters we hate, and then it rubs our noses into our own bloodlust and tells us to be ashamed of the pleasure we just felt. The reaction of the critics, the need to make the film more than that, proves a point in itself. We like to see violence used against bullies. We root for the bullies to get hurt badly, even killed, but we do not like to admit it. Not many critics are willing to admit that they simply enjoyed the skillful way the film satisfied their bloodlust, so they need to sublimate that barbaric reaction into something which seems to reflect the brighter angels of their nature.

Well, I liked the violence, dammit. I'm not a violent person, but I got a rush during this film when the diner owner's wimpy son stood up to the high school bully, and I actually enjoyed seeing the wise-ass get his face pounded to a bloody pulp. You know what? I was disappointed when he stopped! I enjoyed watching some of the film's other baddies meet their fates as well. And then I hated myself for feeling that way. That is the great achievement in Cronenberg's direction of this film - that he manages to make us love the extreme violence, thus proving that each of us, no matter how much he pretends to be Tom the diner owner, has a Joey Cusack inside of him.

Oh, well, while I'm at it, two more tries at Maria. Not really much better or worse than yesterday's.

Caps and comments by Tom

Today I received the uncut version of Immoral Tales and have made some additional captures you don´t have yet. Some clumsy edits make it look as if this film were once even more explicit, but I don't know if that's true, or how to get the real, original version.

 

The most explicit scene is the "bead scene".
From Florence Bellamy there is not much more to see in the uncut version
Various

The next batch consists of captures from the film The Love School of Josefine Mutzenbacher, directed by Hans Billian.

I think there is also a hardcore version, but these are the most erotic and explicit captures from the 87 minute softcore version.

Scoop's note - quoted from the Vienna Guide

"Josefine Mutzenbacher was a Viennese prostitute in the second half of the 19th century who most succesfully made her way up by love and lust. Her 'memoirs' were written in the old Cafe Griensteidl by Felix Salten (author of world-famous "Bambi") and are still on the list of bestsellers in the field of erotic literature."
 

Stacey Donovan
Desiree Bernardy
both of the above

Today we take a look at 3-Way

First up is Roxana Zal with nice topless titties.
Then Joy Bryant with lovemaking toplessness.
Ali Larter is getting it from behind, but you will have to use your imagination as nothing is really seen.
Wrapping it up with a leg show from Gina Gershon and then Gina becomes a "Babe in Bondage" with duct tape and  - Damn! -her clothes still left on.

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