Category: Actresses (Page 166 of 258)

Secret Diary of a Call Girl: Season One, Ep. 2

Belle’s got a special date tonight, but it’s more of a “where” than a “who.” A client, Alexander, is taking her to a chic private sex party – the sort of thing you need an invitation to get into, and something she’s always dreamed of attending. She’s vamped out in a little back dress, an elaborate choker, and a neat black wig – ready to enjoy a night of decadence. But such nights often don’t go as planned, and she ends up in the most unexpected of places as the dawn crowns a new London day.

Alexander (Aleksandar Mikic), like any of Belle’s clients, has expectations and demands. He is paying for a service that she is there to provide. He needed date for the party, but he also appears slightly geeky and inadequate. Belle isn’t just his ticket in; he also plans to own her and her every move for the night. At first things go as planned as they take in the ambience of the situation and visit one room after another. It is an elaborate setup, in a safe “Eyes Wide Shut” sort of way, although without nearly as much naked flesh on display. (The lighting, in fact, echoes the strands of lights that decorated Sydney Pollack’s party at the beginning of that movie.) Alexander tells her he doesn’t plan to have sex with her at the party. He’d prefer to wait, and have one man after another lust over her, and then after they leave when she just can’t take it anymore, he’ll ravage her at home. On cue, Belle looks at the camera in disbelief.

The pair is momentarily separated when Belle clumsily bumps into another man (Jamie Sives), spilling wine all over them both. They apologize and flirt and he goes on his way. She tells us she recognizes him, and that could be awkward. She must go through her mental Rolodex of all the men she’s slept with. “This could take a while,” she deadpans. She realizes that she doesn’t know him personally, but rather he happens to be one of her favorite authors, Jay Lorre, and she recognizes him from the backs of his books’ dust jackets. She tracks him down again, only this time he’s with someone – maybe his wife, maybe his girlfriend, maybe his date. In any case, the woman exhibits no jealousy as he and Belle talk each other up. Just as things begin to heat up, Alexander shows up to stake his claim. He drags Belle away from a far more interesting situation.

But Belle isn’t about to give up that easily. She hooks up Alexander with another woman by engaging them in some geekspeak and she once again heads off to find the writer. This time things get considerably more heated and they end up in one the back rooms where anything goes. There’s a fairly tasteful shot of a guy banging a woman in the background. You can’t see anything and yet you can see plenty. Belle and Jay get into the mood and fall back on a bed. Before she knows it, his partner is right alongside them, and Belle engages in a lengthy kiss with her. (Stop me when I begin sounding like a Harlequin romance novelist.) Things are definitely going in the right direction and it’s no doubt a very hot scene. Suddenly Belle realizes her professional duties. She tears herself away from them with the promise of more to come. She enlists the aid of a waiter and then finds Alexander. The waiter shows up and tells he she’s got an important call on the emergency line. There is no call, but Belle and the waiter exchange pleasantries as she buys some time. When she returns to her client, she tells him she must go “for personal reasons.” He’ll of course get a refund. The poor guy’s evening is a bust, but we don’t really feel sorry for him. After all, Belle’s got a far more exciting journey to go on – finishing the night off with the couple. Just as she’s ready to head off with them, she checks her phone only to find several messages from her family. “For personal reasons” she must now leave the couple as well.

Enter Hannah, as Belle removes the wig and choker, and she goes to the local hospital where her sister has just given birth to a son. Her family, as well as best friend Ben (Iddo Goldberg), are all there, and somewhat surprised by her dress, which she explains away as part of a work function. The sister in particular is snotty and seems annoyed that Belle is never around for anything important. Ben drives Hannah home in the morning and finds the black wig in her purse. He’s not sure what to think, but knows that she wasn’t doing anything that had to do with work. Hannah climbs into bed (but not before showing us a fantastic shot of Billie’s butt) with a Jay Lorre novel and rationalizes that at least she can be in bed with her favorite novelist, even if it isn’t quite the way she expected.

This was a nice episode, slickly shot and full of humor, that eventually further underscored the dual Belle/Hannah lifestyle. Belle was much easier to like here, especially in her attempts to ditch Alexander, a guy that’s very difficult to care about. Likewise, her dealings with the writer are an interesting setup that we wish would pay off. There’s a voyeuristic quality to the episode, more so than last time. I think this show is corrupting me and making me into a much dirtier person than I really am. (Yeah, right!) As far as the recent news items claiming Piper thinks her career may be over since she’s showing some skin, I don’t think she’s got much to worry about. (Further, I believe her comments have been somewhat taken out of context – I think she was half joking.) The first episode of this series scored Showtime its highest ratings ever for the premiere of a new series.

The Red Violin



Samuel L. Jackson
might be the top-billed actor in this award-winning, Oscar-nominated arthouse flick from 1998, but you’ll be sorely disappointed if you’re expecting him to point an AK at some poor schmo’s head and bellow words to the effect of “All I want from you, motherf**ker, is to give me the motherf**king red violin!” This isn’t that kind of a movie. Crafted with care by the team responsible for the musically inspired 1994 indie hit, “32 Short Films About Glenn Gould,” this Canadian production is filmed in five languages and follows the career of a very special instrument, starting with its creation in 17th century Italy, to Vienna at the height of the classical period, and then to England and the hands of a sex-crazed rock star of a romantic era composer (Jason Flemyng) and his entranced lover (Greta Scacchi). It then moves on to mid-20th century China during the Cultural Revolution, and finally to contemporary Montreal, where a high-end auction house retains an American expert (Jackson, uttering nary a curse word), who finds himself in possession of the perfectly crafted and now legendary instrument.

Each of the tales is visually sumptuous, engagingly melodramatic, extremely well-acted, and not too much more, though a story about a sickly Viennese child prodigy and his conflicted mentor threatens to become poignant. By the time the final tale of possible musical skulduggery is complete, the point is either ridiculously self-evident (“beautiful music and fine workmanship are very powerful and make people do things they otherwise might not”) or something so high-flown I couldn’t quite grasp it. Writer-director Francois Girard and cowriter Don McKeller, who also plays Jackson’s geeky cohort, are a highly talented team, but in this case their work says less about music or the joy and power of craft, than it does about a certain kind of safely entertaining style of tony film-making.

Click to buy “The Red Violin”

Come Drink With Me

The most popular and influential film from the most revered figure in early Hong Kong martial arts cinema, King Hu, there’s no doubting the influence of “Come Drink With Me.” In particular, fans of “Crouching Tiger, Hidden Dragon” are in for some major déjà vu. This fanciful, occasionally brutal, 1966 Shaw Brothers film stars Chang Pei-Pei (34 years later, the villainous Jade Fox from “Crouching Tiger”) as Golden Swallow, a virtuous super-warrior sent to rescue her brother, who is being held hostage by a vicious gang. Along the way, she meets up with a good-natured drunk (Yueh Hua) who turns out to have several hidden talents.

There is no doubting Hu’s way with imagery and the acting is first rate, but his film nevertheless requires an open mind to appreciate. The relatively crude and choppy fight scenes might disappoint viewers used to the fluid wire-work of later wu xia extravaganzas. Also, some might not appreciate a three-song musical comedy interlude in the middle of the film, though it’s as well pulled off as any scene from a classic Hollywood musical. Finally, the otherwise solid, extras-laden Dragon Dynasty DVD is hobbled by a miserable translation. Unintentional humor caused by poorly written subtitles can be part of the fun of watching old Hong Kong films, but here they make the simple story unnecessarily hard to follow. (An English language soundtrack is less confusing, but, as usual, horribly acted.) “Come Drink with Me” really might be as great a film as its most enthusiastic boosters claim, but until a better translation comes along, it’s kind of hard for a non-Mandarin-speaker to be sure.

Click to buy “Come Drink With Me”

Mutiplex Mayhem: When Comedies Collide, or “Kiss Kiss Pee-Pee Bang Bang”

This week’s battle is between two overtly silly comedies pitting comic cloak-and-dagger hi-jinks against sex and scatological jokes, PG-13 division. They also pit a sophomore comedy star whose also a pretty talented actor against a once hilarious sketch comic whose now a…once hilarious sketch comic. Sorry, but I think this one is pretty easy.

* As much as I loved the original series — or perhaps because I loved the original series — I had no interest in a new “Get Smart” movie until I heard that Steve Carrell had been cast. It’s just one of those instances where an actor in a role makes so much sense that it’s pretty hard to resist. I mean even if this — actually the second film about Secret Agent 86 (let’s not forget 1980’s all but forgotten “The Nude Bomb“) — isn’t the greatest comedy ever, how bad can it be? According to the critics, including good ol’ Dave Medsker, the consensus seems to be, not all that bad, if not all that good either. Still, the bar is set not all that high for this sort of movie and while a mean person could make the case that Carrell’s film career peaked when he was a suicidal gay virgin Proust scholar hanging out with Abigail Breslin, he’s certainly built up enough good will from “The Office” to compensate.

Also helping: a strong back-up cast, including another of Carrell’s “Little Miss Sunshine” cohorts, the great Alan Arkin, cast just as perfectly as the Chief — not that anyone could ever replace the great Edward Platt. Then, because it’s a high profile movie made in 2008, there’s Dwayne “no longer the Rock” Johnson as the formerly unknown Agent 23 and Anne Hathaway stepping into the adorable shoes of Barbara Feldon. Even if the movie makes the somewhat counterintuitive step of making Maxwell Smart fairly, er, smart and casting Terrence Stamp, whose played his share of very serious villains (though we all know that General Zod can be downright hilarious) as Siegfried, audiences aren’t going to mind as long as there are enough laughs to go around, and it sounds as if this one might meet the minimum daily requirement.

Personally, though, I’m curious about the catchphrases. One thing about the old series that outpaced most of today’s lowbrow comedy is the use of not the all too common, endlessly repeated single phrase (“Are you having a laugh?”) but multiple, repeated running gags repeated with such borsht-belt shamelessness that this frequently annoying comedy trope achieved a kind of genius. Certainly critics remember: I saw at least two not quite positive reviews complaining that “Get Smart” “missed it by that much.” All I’m hoping for is that, at some point, Stamp as Siegfried dares to utter the lines so perfectly enunciated by the great Bernie Kopell to poor Shtarker: “This is KAOS, we don’t ______ here.” Regardless, however much “Get Smart” makes, or fails to make (there’s some pretty stiff competition this week), it’s almost sure to do better than it’s close competitor….

*So far, “The Love Guru” is most notable for generating some controversy — though nothing compared to the reaction that “The Love Rabbi,” “The Love Imam,” or “The Love Pope,” might have enjoyed/suffered. Religions tend to take it badly when you put religious figues in a context heavy on jokes about urine, feces, and hilarious male genitalia. Still, a defense from star Mike Myers’ real-life guru pal (who’s also has a cameo role in the movie, so we know he’s impartial), Deepak Chopra, probably made no difference to anyone except some Malibu pilates instructors, though this is clearly no “Life of Brian.” While the Indian-American market is a growing and lucrative one, this film has a lot less to fear from outraged Hindus than from outraged members of the critical-American community, who have given the film a moderately abysmal 11% on the T-Meter of life.

In any case, judging by the horrible buzz and the worse trailer, this really does seem to be kind of flick where the critical putdowns it generates are funnier than anything onscreen. Unfortunately, they’re not all not funny either, though I rather liked:

Thus Myers marries his two passions (hockey and not being funny) into one noxious ball. (Walter Chaw)

and

If Mike Myers is obsessed with poop, pee and penises, that’s his problem; if audiences make him rich for playing that out on-screen, then it becomes ours. (James Rocchi)

I hate to say it, but, while I’ve often found Myers hilarious (come back Dieter from “Sprockets”!), I’m kind of rooting against this one because Myers has fallen into bad entertainment habits, possibly stemming from a lack of respect for his audience. Still, it’s hard to overestimate the eternal appetite for jokes about the three “P”s. Or not. If audiences think Myers’ shtick is as played out as a lot of us seem to and “The Incredible Hulk” shows some legs (sorry, Mr. Shaye) a #3 spot for “The Love Guru” seems more than likely, and #4 or even #5 more than justified.

Meanwhile in Indiewood….
Among the limited releases, the aciton epic “Mongol” is going wider this week, opening in an additional 89 theaters, says the Box Office Mojo theater count. Still, while the Mongolian-American community is rather small, Anglo-Indian-Americans miffed at, or too mature, for “The Love Guru” can check out the semi-well reviewed melodrama “Brick Lane” opening in seven theaters. Members of the little-girl American community can see the aforementioned Abigail Breslin in the similarly modestly well reviewed “Kit Kittidge: An American Girl” based on a series of very popular books I had no idea existed until thirty minutes ago, opening in five theaters. And for us indie flick fans, there’s that less modestly well-reviewed, squirmy not-quite-romantic, comedy about parking enforcement we’ve all been clamoring for: “Expired” with Samantha Morton and Jason Patric.

Secret Diary of a Call Girl: Season One, Ep. 1

As a “Doctor Who” fanatic, “Secret Diary of a Call Girl” was initially an easy sell. After watching Billie Piper as Rose Tyler for two seasons, I’ve since been game to watch her in just about anything. Sitting down and actually seeing Piper unveil her dual lives of Belle the prostitute and Hannah the typical London girl was a different matter entirely. There was something incredibly dirty about seeing her lube up her private parts, masturbate with a vibrator in front of a client, and ride another while he wears a saddle. It’s just so not Rose Tyler.

It’s also difficult to tell based on the first episode whether or not Belle is even a likable person. What’s easy to glean is that she’s very good at her job and takes pride in doing it right. Probably the one thing that keeps her someone whom we can at all understand is the continued breaking of the fourth wall (i.e. speaking to the camera, and thus to the viewers). Normally, this is the kind of thing that would drive me nuts; here it feels like a necessity. It would be very difficult to follow this woman around from day to day, or care about her escapades if not for this narrative device.

Within the episode, two very different clients are showcased. One is an easy to please, but shy businessman type. All he needs is the slightest bit of coaxing from Belle in order for her to figure out his desires. In this case, he’s got some kind of barnyard fixation (not bestiality, but rather a “down on the farm” kind of thing). Things go so well after their first meeting that he comes back for more – and that’s when the saddle enters the admittedly humorous picture. Her other client is a different matter entirely. No matter what she does, he just can’t get it up, and he rather ashamedly leaves, at which point Belle addresses the audience and says, “First time that’s happened.” Later on during a meeting with her business manager, Stephanie (Cherie Lunghi), Belle asks if she’s heard from the client. Yes she has and he’s asked for a different type of girl – the next-door type. Belle asks for another chance with the guy, and this time she loses her fancy hair, the overdone makeup, and her high-priced clothing. And this time it works only too well. Once the work is over and she and the gent are resting comfortably she accidentally mentions her real name. He likes her even more, and thus ends their business dealings (although it would be interesting to see this guy come back at a later date).

That’s sort of the key to the show, and why Piper is an excellent choice for the part. She’s an actress who can play the slut and the schoolgirl equally convincingly, which is necessary for a series that will over time demand that she show us two very different sides of one woman. We get a glimpse of Hannah here as well, when she goes out for an afternoon of fun with her best friend, Ben (Iddo Goldberg), a guy who knows nothing of her other life. (So much for best friends, eh?) It’s interesting that this series would choose to make Hannah’s best friend a guy, and I cannot begin to speculate on the implications of that.

It’s also worth noting that Piper doesn’t have to show immense amounts of skin in order for this series to work. She radiates so much raw sex appeal that just seeing her prance around in a bra and panties is plenty revealing. Since this was created for British TV, don’t expect it to get as explicit as some of the other Showtime series like “Californication” or “The L Word” – at least not in the first season. But when it comes back for the second season (which has already been greenlit), I wouldn’t be surprised if some alternate, more explicit scenes are shot specifically for the Showtime airings.

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