Good T&A, but no full frontal.

If you think you’re getting out of touch because you don’t recognize most of these current models and influencers, join the club. I think the pablumization of American culture, with ever-declining instances of beautiful nudity in mainstream sources, and even that infrequent nudity polluted by merkins and various forms of movie magic, has left the market for attractive nudity unfilled, so influencers have jumped right in to grab the money left on the table.

One of the dire omens that I’ve noticed is the proliferation of R-rated movies with no nudity or anything close to nudity. There are more films fitting this description than ever before. I haven’t done the research to provide exact numbers, but as a guy who takes a peek at all the R-rated releases to see if I need to cover them, I’ve concluded that this category, once relatively rare, has probably increased by a large multiple compared to earlier decades.

These sorts of things go in cycles. In reviewing the results of our previous end-of-year ballots, I saw that 2008 seemed like the end of the road. It was probably the worst nudity year since the 60s, but that trend was short-lived. 2014 was about as good as the best years of the the 80s and 90s, so whatever hopelessness I might have felt in 2008 proved ill-founded. So the cycle will probably spin again, and things will probably get better, but I really don’t like where we are right now.

Morgan Lolar became famous from reality TV show “Temptation Island” back in 2019. Now she is posting nudes.

I suppose she was topless in a very literal sense, but there’s nothing to see.

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Previous episodes of this show

How this show differs from its “inspiration,” a 1987 film titled Black Widow.

Ph: Simon Lekias

Johnny Moronic’s comments:

Today’s Australian movie is a release that seems to have had many lives. It seems that Red Rabbit Lodge was made around 2014 then finally got a release around 2019/2020 where it seems to have been released in two different versions, the original version and a version that is strangely dubbed into Italian,

It appeared briefly on Tubi then disappeared, but strangely it has been re-released this year, 12 years after it was originally made, and I’ve finally gotten around to seeing and capping it. Not sure if there’s anything different in the earlier versions of the movie but will continue to try to find them to see if there’s more to cap.

Johnny summarizes the film as follows:

Red Rabbit Lodge is a jokey horror movie where a woman Miss Victoria (Cate Feldmann) is forced to rent out her old house when she’s told by the bank that she could lose it. She lets in a bunch of young women in, under her strict direction of no boys, alcohol or parties, which the girls accept but are not happy with. Abigail (Rachel Myskiv) joins her sister Aspen (Melanie Ward) and is mostly mute until she comes out of her shell, while Gwen (Stephanie Kila) does Miss Victoria’s bidding and is curious about her. Of course, something is off with the house and it turns out that 20 years earlier, Miss Victoria’s daughter was raped, impregnated and decided to have the child but it drives her crazy and she kills herself. And the arrival of the girls have awoken a rapist/killer in a King Charles mask and he is about to start killing again. The movie is made on the cheap and looks it and it’s hard-to-tell if the movie wants to be jokey or a serious giallo adaptation. It gets pretty silly and at barely 80 minutes the movie still takes a while to get to the killing but once it does there’s no mucking around and the body count rises quickly. Not the greatest of movies but not terrible either as far as these types of movies go.

Stephanie Kila in a gratuitous shower scene and a nip slip during her death scene

Some posed nudity from nude model Nikolart over the end credits.

Johnny Moronic’s film clips are here

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This is a “meta” slasher film about making a slasher film. It is part slasher film, part genre parody, part psycho-sexual adventure.

A queer filmmaker is hired to direct a new installment of the long-running slasher franchise Camp Miasma. The director becomes fixated on the prospect of casting the reclusive actress who played the final girl in the original film. As the two women begin to work together, they descend into a frenzy of psychosexual mania.

IMDb: 7.1
Rotten Tomatoes: 98% (!! ??)

There are things I like about the film. I love the introduction. As often seen in Wes Anderson films, the auteur created an elaborate, intricate fictional universe with a back story too detailed to absorb without the pause button. In that universe, Camp Miasma is a legendary horror franchise that rivals Friday the 13th and Nightmare on Elm Street, with similar highs and lows in the history of the franchise. That fictional world is supported by faux newspaper articles, VHS/DVD boxes, reviews, billboards, video games, board games, etc.

I found the main body of the film unappealing. There is very little forward movement in the narrative, and I am an impatient person. The sex scene pictured below, featuring Hannah Einbinder and Gillian Anderson, is more than eight minutes long. Other sex scenes between them (without nudity) take up another four or five minutes. I rarely fast-forward during a sex scene, but I was so bored here that I made an exception.

These images and clips come from a mediocre cam.

Jack Haven is a biological female born as Brigette Lundy-Paine, but now identifying as non-binary with “they” pronouns.

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Here is the part of the film I liked: the ersatz history.

Glacially-paced Romanian drama.

Lucia, a wife and a mother, goes at the seaside in a Bulgarian village, together with her family and another couple. Their peaceful, holiday mood is troubled by the appearance of a stranger, Vladimir, a man who turns out to be not stranger to Lucia.

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Weird Brazilian fantasy film about a near-future dystopia. Original title: Corrida dos Bichos. Pop star Anitta is one of the principals.

IMDb: 4.6

Inspired by the illegal universe of the Brazilian animal lottery, a fearless young man must win a deadly race to save his sister in a dystopian future where each animal in the game is now represented by a runner vying for a prize. In a future version of Rio de Janeiro, a rigid class system has emerged following a major catastrophe. The only thing connecting rich and poor is their shared passion for the Beast Race. Runners wearing animal masks must put up loved ones as collateral and receive remote support from wealthy “players” in the upper class. Only the top two finishers can save their hostages from enslavement.

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