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Gambling City, also released as The Cheaters, is a 1975 Italian poliziottesco heist film directed by Sergio Martino. The Italian title is La città gioca d’azzardo.

This was one of several European heist films produced in response to the popular success of American films in the genre like The Sting (1973). Gambling City features many of the genre’s standard conventions, including a Byronic hero who acts as a social bandit by practicing confidence tricks, the hero’s forbidden love with a socially repressed damsel in distress (who may or may not exhibit facets of the femme fatale) and a morally corrupt dandy as villain and the hero’s foil.

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Drama from Spain

Iván, a young trans man working in a greenhouse in southern Spain, shoulders the burden of supporting his family through long, grueling shifts. His routine is disrupted by the arrival of Hadoum (Herminia Loh Moreno), a migrant worker of Moroccan descent who drifts from job to job in her battered van. Though they could not be more different, an undeniable chemistry sparks between them. As their relationship deepens, Iván is promoted and becomes Hadoum’s supervisor, throwing their attraction into a precarious and ethically charged path. Set against the working-class landscape of Almería, the film reveals the contradictions of inequality shaped by identity, labor, and social prejudice. Iván and Hadoum must navigate external expectations while confronting their own fears and desires. Against this backdrop, a tender, Romeo-and-Juliet–like romance unfolds, where love dares to bridge the divides that society has set between them.

Herminia Loh Moreno is also a singer who performs as “Restinga.”

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Florence Pugh at the East of Eden afterparty in New York.

After having worked as a child star in a film universally acknowledged to be one of the worst ever made (Santa Claus Conquers the Martians), Pia Zadora disappeared for a couple of decades. When she returned to Hollywood, she soon built a reputation as the ultimate 1980s bimbo. People said that she not only looked like a bim, but she couldn’t act worth beans, and she eventually ended up winning a special Razzie as “worst actress of the decade.” To be honest, it was amazing that people still remembered her when the decade was over. By the time of the election which summarized the decade for the Razzie folks, Pia had virtually disappeared from the public eye. She was able to achieve the notoriety of being the decade’s worst actress based on nothing more than two obscure stinkers made early in the decade: Butterfly (1982) and The Lonely Lady (1983).

Zadora’s appeal, if that is the correct word, was her uncanny facial resemblance to a very young teen, despite the fact that she was nearly thirty when she made those two films. You know how it is with guys and young girls. Moreover, Zadora combined her little girl face with a lost puppy neediness and a very impressive womanly body. Put her in a Catholic prep school uniform, and she would have become the richest woman in Japan. Blessed with a decent set of pipes, she also could have become a Broadway-style singer, but for some reason she chose to be an actress instead, and she just never seemed to have the chops for that profession, or so went the conventional wisdom. During and after those two films, she became one of Johnny Carson’s instant punch lines, and eventually her entire career seemed to consist of playing herself in skits and spoofs.

I agree with the contemporary reviewers that The Lonely Lady was a genuinely awful movie (my review), and Pia was awful in it. The verdict of history seems to concur. The Lonely Lady actually gives Santa Claus Conquers the Martian a good battle for the dishonor of being the all-time worst Pia Zadora movie in the IMDb ratings. That is an amazing achievement, considering that Santa is one of the worst of all time!

The Lonely Lady destroyed any hope Pia may have had to become a respected actress. The film was nominated for eleven Razzie awards and won six, including all the important ones. Pia, of course, won the “Worst Actress” trophy.

Butterfly also won her a Worst Actress Razzie, but that movie is a whole different kettle of crawdads. It also won her some legitimate positive awards. They loved her at Cannes, and Rex Reed praised Butterfly as if it were the second coming of Battleship Potemkin. Pia was not only nominated for the Golden Globe for Best New Star of the Year in a Motion Picture, but she won the award, and she didn’t beat a bunch of nobodies, either. She beat out one of the greatest film debuts in history – Kathleen Turner in Body Heat!! Think about that. The 1982 voters had to choose the hottest newcomer and took Pia Zadora in Butterfly over Kathleen Turner in Body Heat. Pia may have become a universal punch line by 1983, but it is obvious that not everyone thought she sucked in 1982. (In fairness, there have always been rumors that the Golden Globes election was fixed by Zadora’s rich husband.)

Butterfly is not a great movie, but Zadora’s limitations were at least partially offset by the fact that she was cast perfectly as a Lolita character. Stacy Keach plays a lonely hermit of a miner assigned to guard an abandoned mine out in the desert. Zadora shows up on his doorstep one day, claiming to be his long-lost daughter. She’s not exactly the pigtails-and-Barbies kind of daughter. She soon proceeds to show him her naughty bits every chance she gets, and does her best to seduce him. At one point Keach is actually bathing a naked Zadora, scrubbing her breasts, before he finally pulls back and declares, “This ain’t right.” You have to admire his resolve in that scene, since Keach had been without a woman for a long time, and ripe li’l Zadora was definitely offering the ol’ miner a chance to strike the daughterlode. A minor for a miner.

The atmosphere of the film can best be described as “sweat and saxophones” – pretty much what you’d expect from a script based on a steamy James M. Cain story. Unfortunately, Stacy Keach never seemed to get into the rhythm of the film and seemed oblivious to the script’s inherent potential for entertaining over-the-top sleaze. He approached the entire project as seriously and professionally as if he were performing Henry V at the Old Vic, or even Vic V and the Old Henry. The supporting cast, however, cheesed it up. Burl Ives couldn’t make his customary Southern Gothic appearance as the sweaty, fat authority figure in a Colonel Sanders suit, but Orson Welles filled in for him, and a host of B-list celebs dropped in from time to time, including Stewart Whitman, James Franciscus, “and me, I’m Ed McMahon.”

The last name is the key to Zadora’s infamy. It was McMahon’s presence in this film which eventually turned Pia into a standing joke. Carson loved to ride his sidekick, and this project provided ideal grist for Johnny’s joke mill. Without McMahon in the cast, Zadora might have simply faded into obscurity like so many other wannabes, but Ed’s presence in Butterfly guaranteed Johnny’s eternal vigilance, and Johnny did as much as anyone in the world to shape the public’s opinions about popular culture.

To tell you the truth, the entire movie is raunchy and melodramatic, but it is much better than the judgment of history and the IMDb voters. The plot is just your typical potboiler, but the film has a lot of positives. Cain is the guy who wrote Double Indemnity and The Postman Always Rings Twice, so his work had both the competence and the sleaziness to provide an ideal vehicle for Pia, and the premise of Butterfly seemed to fit her like a custom-tailored suit. The cinematography captures the isolation and stark beauty of the desert quite effectively, and the score was written by screen legend Ennio Morricone, who has written some of the greatest scores in screen history. (Once Upon a Time in America; The Good The Bad and the Ugly; Days of Heaven, Malena, Nuovo Cinema Paradiso, The Legend of 1900; and about 400 more! That’s a not a misprint. He has about 500 musical composition credits at IMDb.)

All that plus Ed McMahon! And Orson Welles! How can you not be interested? You may well find this film highly entertaining in an operatic kind of way. I do.

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Unfortunately, there is surprisingly little nudity for such a raunchy story. The one really good frame, the last one below, is totally out of focus.

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Old-fashioned trashy thriller, in the manner of Brian de Palma.

Adapted from Colleen Hoover’s best-selling novel, this seductive, psychological thriller follows renowned author Verity Crawford and Lowen Ashleigh (Dakota Johnson), a struggling writer who relocates to the remote Crawford estate to ghostwrite for Verity. After Lowen uncovers what appears to be Verity’s chilling autobiographical notes, she wrestles with the disturbing and twisted confessions about Verity’s husband Jeremy (Josh Hartnett), and finds it hard to separate fiction from reality, manipulation from attraction, and opportunity from obsession.

IMDb: 6.1
Tomato Meter: 41%

Lowen Ashleigh, hired to ghostwrite for Verity Crawford, uncovers what appears to be Verity’s autobiographical notes. She wrestles with the confessions about Verity’s husband and finds separating fiction from reality challenging

These captures come from a CAM

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Horror/romance from Brazil; Virtually unknown (64 votes at IMDb).

A young vampire rediscovers her humanity through her bond with a naive human.

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French fashion model Clemence Navarro in some more nude and sexy photoshoots, including full-frontals

Sophie Trayner showing off her fit body in a tiny bikini and wet barely there t-shirt for a sexy pictorial in the September 2026 issue of FHM magazine Australia!

She’s not really famous for anything, but I think her ass is very notable, and I also think that’s an ass that SHOULD be famous.

Found these two photos of Olivia Rodrigo showing a hint of nipple at Pitchfork’s Best New Artist Party earlier this year!

I know some of you will claim that we don’t actually see her nipple, and only areola, but this is the most of her nipples we’ve ever seen so call it whatever you want. Its still awesome!