Dakota Fanning in The Sun Never Sets (2026)
Realistic romantic drama. USA.
A woman’s relationship with her older, divorced boyfriend hits a rough patch just as her ex reappears in her life, leading to complicated emotions and messy entanglements in the Alaskan wilderness.
I assume Dakota is never getting naked, so I guess we’ll look at what we can …
Some nudity from Samantha Allsop in Beauty From Surrender (2026)
Comments and collage by Johnny Moronic
This is the follow-up to a Passionflix movie, Beauty From Pain. It’s about an American country singer who meets an Australian entrepreneur who propositions her to have an 3 month ‘no strings attached’ fling only to fall in love. Now the country singer is back in Nashville without the entrepreneur who decides to take a chance on love. Like the first movie, there’s a few sexy scenes with brief hints of nudity from Samantha Allsop.
Johnny’s film clips are here
Rear nudity from Aneta Vignerova in episode three of Na Telo
The new series from Czech Television (“On the Body”) follows heroes approaching their fifties and a class reunion after 30 years. The nine-part series revolves around four former classmates who, after almost thirty years, still meet for a beer, even though they don’t seem to have much in common. The star-studded three-generational drama initially does everything it can to make us hate the characters.
Izabella Dudziak topless in Tell Me What You Feel (2026)
Polish drama. Original title: “Powiedz mi, co czujesz”
Tell Me What You Feel is a snapshot of Polish youth and their efforts to leave the past behind. Based closely on true events, Łukasz Ronduda’s film depicts and dissects the burgeoning relationship between socially isolated, volatile Patryk and the more level-headed, outwardly well-adjusted Maria (Izabella Dudziak), a pair of artists in their early 20s.
This intimate, frequently insufferable film establishes an intensely emotional tone early on with a meet-cute at Maria’s art installation-cum-charity initiative “Tear Dealer,” a space that invites people to cry in exchange for money, their tears subsequently bottled in tiny vials. How you feel about that project will likely determine your opinion of Tell Me What You Feel itself, as the film refuses to communicate its characters’ conflicts in anything but the most explicit way, making character and narrative both subordinate to the therapeutic function of art.
After an awkward first sexual encounter introduces some tension, Patryk and Maria face their most embarrassing feelings head-on, attempting to get over their hang-ups via an exhausting series of bonding exercises, including swapping clothes, adopting each other’s voices, and even wetting themselves together in public. In fairness, the characters do occasionally acknowledge that they’re little more than bundles of neuroses and pathologies, as well as recognizing the privilege their generation enjoys and their more damaged, emotionally distant parents don’t.
But even this self-awareness is eventually subsumed into their compulsive navel-gazing. While the central couple might serve as a relatable depiction of a certain contemporary preoccupation with mental health, and Salasinski and Dudziak are both likable enough as performers, watching the film ends up feeling a little too much like eavesdropping on someone else’s therapy session.
New story at Uncle Scoopy’s Ballpark
I wrote about a man who was perhaps the most unlikely “hero” in baseball history, an ordinary man who went beyond extraordinary, all the way to preternatural.
His last name rhymes with “feeble,” but for two hours and thirty nine minutes in 1940, he was anything but.