Conservative political commentator and television personality Tomi Lahren showing a nipple in a see through stars and stripes top on Instagram! Tomi Lahren has been active on conservative media since 2014 and she gained attention for her short video segments called “Final Thoughts”, in which she frequently criticized liberal politics. She is currently a co-host on Fox News’ The Big Weekend Show alongside Joey Jones.

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Teaser:

Sylvia Hoeks showing a hint of nipples and panties in a see through plastic dress at the premiere of new series Ride Or Die in New York!

Sample:

She looks great

Yes, 1978, when even PG movies contained nude scenes.

This is a stereotypical “Old Hollywood” film about Hollywood itself. Billy Wilder wrote and directed, and the cast included plenty of Old Hollywood royalty, like Bill Holden and Henry Fonda. Nobody represented Old Hollywood more clearly than Wilder, who was nominated for 23 Oscars, winning six.

Some of his familiar films:

The Apartment
Sabrina
Some Like It Hot
The Lost Weekend
Double Indemnity

The premise of Fedora:

When movie legend Fedora (Marthe Keller) commits suicide, the world grieves, and no one more so than writer and old flame Barry “Dutch” Detweiler (Bill Holden). Two weeks prior, he had visited the reclusive celebrity on a remote Mediterranean island where she confessed she was effectively being held captive by a mysterious Polish countess. Now, with too many lingering questions still on his mind, Barry resolves to find out what really happened to her.

Fedora is quite similar to another, better Wilder film, Sunset Boulevard, which also starred Holden. Wilder was in his mid-40s when he wrote and directed Sunset Boulevard, but was already past 70 when he created Fedora, his second-last film.

IMDb 6.8
Tomatometer 71%
Popcorn Meter 63%

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Spanish historical drama.

Based on the novel by Antonio Di Benedetto written in 1956, on Don Diego de Zama, a Spanish officer of the seventeenth century settled in Asunción, who awaits his transfer to Buenos Aires.

Stationed in a remote outpost in late 18th-century Argentina, magistrate Don Diego de Zama, an officer of the Spanish Crown, has left everything behind. But Zama has a dream. While leading a mundane, solitary life, Zama longs for a transfer in recognition of his dedication. However, as the months turn into years, patient Zama finds himself forced to endure humiliation and endless games of brinkmanship, slowly succumbing to lust and paranoia. Is all hope lost?

Aesthete’s videos are here.

French thriller. Original title: Original title: L’Ours en Peluche

Johnny Moronic’s comments:

Another 90s movie, this time the 1994 French drama/thriller L’Ours en Peluche (The Teddy Bear) starring the effortlessly cool Alain Delon as a doctor/professor who is being accused of murdering one of his temp nurses who he briefly had an affair with. Feels more Italian than French and is strangely made in Belgium, but is very much in that 90s genre of French movie where an older guy becomes obsessed with a younger girl. Delon totally owns this movie as he sashays around trying to find who’s after him. The final standoff with the accuser is something that wouldn’t have been out-of-place in Le Samouraï. Not perfect by any stretch (that sex scene is absolutely laughable) but never not interesting and made better by Delon’s presence.

Johnny Moronic’s videos can be found here.

French erotic dramedy. Original title: Les Rencontres d’après minuit (Literally: Encounters after midnight.)

Around midnight, a young couple and their transvestite maid prepare for an orgy. Their guests will be The Slut, The Star, The Stud and The Teen.

I haven’t seen it.

Hard pass.

Aesthete’s HD videos

Italian erotic thriller. Original title: Gli occhi degli altri

In the island owned by a wealthy Marquis, Elena’s arrival marks the beginning of a passionate love affair. Soon erotic play unfolds into obsession.

Jasmine was 44 here, and showing no sign of slowing down.

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We have seen her here before

Feast of Love is an unabashedly romantic look at the contribution of love to human existence. Set entirely in a beautifully photographed Portland, it’s an ensemble drama about the romantic interludes of connected lives – sort of a stateside version of Love Actually.

Acting as a character but also sometimes seeming omniscient, Morgan Freeman plays an elder statesman who dispenses wisdom tempered with grandfatherly love. He’s sort of a combination of the Oracle of Delphi, Socrates and Jesus: all knowing, all-loving, yet always speaking just indirectly enough and leaving just enough wiggle room in his perfectly modulated pronouncements that those who seek his counsel ultimately have to make up their own minds.

You know, the same role Freeman plays in every movie.

Greg Kinnear is a sweet-hearted schmuck who is clueless about women. His first wife leaves him for another woman. His second wife never even bothered to give up her boyfriend when she married Kinnear. Greg seems to miss the little clues. For example, when his first wife is in a bar after a softball game and the opposing shortstop rubs her thighs and tells her that the song on the jukebox is now “their song,” Greg takes no notice. When his second wife has to think before, “I do.” Greg doesn’t think it’s all that bad.

You know, the same role Kinnear plays in every movie.

Jane Alexander plays the meddling, yet compassionate, old busybody who discusses all the other characters with her wise husband.

You know, the same role Alexander plays in Tell Me You Love Me.

Well, one certainly has to offer a tip o’ the hat to the casting director.

The other key relationships involve the chemistry between Kinnear’s second wife (Radha Mitchell) and the guy she really loves behind Kinnear’s back, and a couple of idealistic youngsters who are desperate for money.

The attitude of the people who loved the movie can be summed up by Time’s capsule summary

Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.

The attitude of the people who hated this movie can be summed up by the Guardian’s one-star review, written by Peter Bradshaw.

Syrupy, drivelly, snivelly nonsense, which stars Morgan Freeman as a wise, humorous, rumbly-voiced wearer of reading glasses – great to see Morgan challenging himself as an actor, isn’t it? Squeaky-clean Greg Kinnear plays his friend, a lovelorn romantic guy who runs a coffee shop yuckily called Jitters,

It is a supposedly heartwarming emotional drama in what I call the life-affirming-laughter-and-tears genre – ie, the genre that makes me want to spray the nearest shopping mall with bullets before turning the gun on myself. Kinnear’s wife runs out on him with another woman, like an episode from TV’s The L Word, but this faintly interesting storyline is supplanted by others far more boring and unreal, reeking with phoney empathy and creepy lite-eroticism. If it’s a choice between cleaning out the shed and seeing this – opt for the shed.

Those two reviews, and all of their subtext, probably tell you everything you need to know about the film.

Bradshaw does have a point. You’ll have to keep your hankies nearby, because this is a classic chick-flick in the sub-division of weep-fest. Furthermore, there is nothing new here in terms of the characters, and the plot is so transparent that every single event in the film, without exception, is telegraphed about five scenes in advance. Don’t expect any surprises.

But Bradshaw’s point is not just about the movie. It’s also about him, and his own disdain for this kind of unhip film. Yes, it is so predictable and unhip that it seems Frank Capra must have returned from the grave to create it, but it is a competent film with a warm heart. The way I see it is that the film’s failures in depth and originality must be balanced against a generosity of spirit that will inspire you to feel better about the human race when you leave the theater.

And some people actually like a movie to cuddle up to.

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This was one of our top nude scenes of 2007