We’ve got a couple of nude picks for you this week in theaters: First, Korean act-chest Doona Bae makes her leap into the Hollywood mainstream with a topless role in Cloud Atlas (2012)–Mr. Skin Hall-of-Famers Halle Berry and Susan Sarandon also star in multiple roles, but they don’t get naked, so whatever. Also nude in theaters this week, super skinny model type Agyness Deyn (above) makes her onscreen nude debut in the hyper-stylized English-language remake of Pusher (2012). Agyness plays a smack-addled pole dancer in the movie, but we’d still push it. Push it real good… More after the jump!
We’ve got a couple of nude picks for you this week in theaters: First, Korean act-chest Doona Bae makes her leap into the Hollywood mainstream with a topless role in Cloud Atlas (2012)–Mr. Skin Hall-of-Famers Halle Berry and Susan Sarandon also star in multiple roles, but they don’t get naked, so whatever. Also nude in theaters this week, super skinny model type Agyness Deyn (above) makes her onscreen nude debut in the hyper-stylized English-language remake of Pusher (2012). Agyness plays a smack-addled pole dancer in the movie, but we’d still push it. Push it real good… More after the jump!
The re-make of Maniac (1980) doesn’t hit theaters until 2013, but this weekend New Yorkers can see a sneak peek courtesy of the Film Society of Lincoln Center’s Scary Movies series! The masterminds behind this attempt to outdo William Lustig ‘s brilliantly twisted 1980 slasher classic (good luck with that, by the way) are Alexandre Aja and Gr
No matter how hard they try, it’s highly unlikely any actress/singer/starlet will ever come close to portraying famed Depression-era outlaw Bonnie Parker like Faye Dunaway did in Arthur Penn’s game-changing Bonnie and Clyde . But no matter! That won’t stop Miley Cyrus from being the latest to give the fantastically stylish bank robber a try , as she’s slated to do in the four-hour History Channel/Lifetime miniseries Bonnie & Clyde . Parker and her paramour Clyde Barrow have been depicted about a dozen times in TV and film dating back to 1958’s The Bonnie Parker Story , starring WB player Dorothy Provine. ( Her story, see what I did there?) Once Penn’s classic burst onto the cinescape and tommy gunned its way into film history — helped along in no small part by Dunaway, who was Oscar-nominated for her turn as Parker — no film or television property has successfully made a mark retelling the Parker-Barrow lore. But the reckless romanticism of their tale is too rich to ignore; hence, the many musical iterations of the Bonnie & Clyde mythos. Serge Gainsbourg and Brigitte Bardot channeled the duo for their 1968 collaboration album Bonnie and Clyde , headlined by the titular track featuring Bardot’s sensual cooing; in Parker’s signature beret, Bardot is the vision of Bonnie Parker’s sensual French reincarnate. Many others have paid homage to this homage in turn, including actress Scarlett Johansson, who whisper-crooned her way through a 2011 cover with Gainsbourg’s son Lulu. My favorite post-Gainsbourg musical riff on the duo? Jay-Z and Beyonce’s “’03 Bonnie and Clyde,” which itself uses a sample of Tupac’s 1996 track “Me and My Girlfriend,” a song inspired by Penn’s Bonnie and Clyde film. More recently, former tween idol Hilary Duff was set to play Parker until she was dropped due to pregnancy (infamously collecting $100,000 in her pay or play deal for doing next to nothing). I think we can all agree we dodged a bullet there, although the project was recast with True Blood ‘s Lindsay Pulsipher and apparently is still happening. So now comes Miley Cyrus to breathe good girl-gone-bad life into four hours of Bonnie and Clyde . I’m sure she, like all who’ve come before, feels a deep and soulful connection to the spirit of Bonnie Parker. The question is, how much peroxide and cigars will it take for her to be able to disappear into the role? (And is a Cyrus cover of that Gainsbourg classic inevitable/unavoidable?) [via Deadline ] Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
We love Judy McGuire . Not like we “love” Krispy Kremes or girls who wear cutoffs so short the pockets hang out the bottom, but like we love oxygen. Or water. Or unscented hand lotion (the scented kind is just weird). In other words, we need Judy McGuire in our lives. Judy is the fantastically funny (and filthy) author behind Soft Skull Press’s The Official Book of Sex, Drugs and Rock n’ Roll Lists , which compiles everything from Ozzy Osbourne’s cure for athlete’s foot (cocaine, obviously) to 8 bands named after man-milk (Pearl Jam, anyone?). It’s a perfect companion for the nightstand, the knapsack or next to the porcelain throne- anywhere where a quick fix of hilarity would be appreciated. Judy is also a noted sexpert who dishes out advice for the Seattle Weekly ‘s Dategirl column, hosts The Mike & Judy Show with fellow Skinterviewee Mike Edison , wrote the compendium of nightmare dates How Not to Date , and gives a killer faux photo-booth BJ, as demonstrated at left. We talked to Judy at her home in New York City, where she provided her (s)expert opinion on Animal House , making peace between wives and porn, and which list was just too filthy to make the cut (hint: lots of lube is involved). More after the jump!
Normally there’s only one kind of facial we’re interested in here at Skin Central, and it’s not the kind you get at your local day spa. But this fantastically full-frontal nude ad (WARNING: the guy also goes full frontal) from the UK cosmetics company REN has us seriously reconsidering our stance on exfoliation. If we knew that fancy skin care products led to banging Swedish models in picturesque fjords, we would have devoted a lot more time and money to our pores. See Ren’s softcore skincare ad after the jump!
We’d like to (sk)introduce you to some funny friends this week on DVD and Blu-ray- and not only are they hilarious, they also take their clothes off (or at least their body doubles do). Make room on the couch for Bianca Kajlich , who makes her nude debut in 30 Minutes or Less (2011), Chelan Simmons and Alexia Rasmussen , who both bare boobs in Tucker & Dale Vs. Evil (2009) and Our Idiot Brother (2011), and of course Mila Kunis’ (body double’s) shapely seat meat in Friends with Benefits (2011). Rounding out the guest list is the fantastically nude Showtime series Look , featuring Claudia Christian and Sharon Hinnendael nude. In other DVD nudes, travel through time with the junk in Miranda July ‘s trunk in The Future (2011) and the red-hot real-sex action of Now & Later (2009), nude on Blu-ray. More after the jump!
Usually her younger sister Kim is the one hogging the spotlight, but this morning on Fox and Friends Khloe Kardashian let her headlights shine with an astonishing 6 minutes of visible nipple through her see-through shirt! (HINT: it’s her rightie.) No one appeared to notice the “wardrobe malfunction” while the segment aired, and when told about the skincident by a fan Khloe excitedly tweeted: “Thank God! I fucking love nipples!!!” Us too, Khloe! It’s been less than 12 hours since Khloe’s knob made its daring escape attempt, but we’ve already got the clip on our brand-spanking-new Fox and Friends page! Would you sexpect anything less?
We’re halfway through the fantastically furry 1970s, and in 1975 The Watergate Seven were convicted, Gerald Ford was nearly assassinated- twice, heiress-turned-terrorist Patty Hearst was finally captured, and the Thrilla in Manila brought Joe Frazer to his knees. Meanwhile, high above the Earth, new frontiers were opening up as American and Russian astronauts shook hands in outer space. New frontiers were opening up on the nudity front too- namely Susan Blakely ‘s legs in Capone , the first time an open snatch was shown in a mainstream American film. Join us as we break the beaver barrier with some of Mr. Skin’s Favorite Nude Scenes of 1975 after the jump!
With their new film set to premiere at midnight, Bigger Than the Sound looks back at the Beasties’ authentic but odd history. By James Montgomery Danny McBride, Seth Rogen and Elijah Wood in the Beastie Boys’ “Fight For Your Right Revisted” video Photo: Capitol Back in the summer of 1992, I wasn’t really concerned with the Beastie Boys’ legacy. I wasn’t aware of the seismic shift they had undergone with Check Your Head or the to-the-brink-and-back journey they’d taken just to make the album. Instead, I was focused on getting my Dickies to sag just so and tracking down a pom-pom beanie like MCA wore on the album’s cover. So deep was my Beastie-mania that I was willing to wear a knit cap and khakis in July. In Florida. And I wasn’t alone (at least not in my high school). Because in 1992, everyone I knew lived and breathed the Beastie Boys, and their fantastically rattling comeback album Check Your Head. Of course, at the time, none of us really knew it was a comeback album; we just thought it was the coolest thing we’d ever heard — a fuzzy, funky think that sounded like nothing else on the radio — and, by proxy, the Beasties were the coolest guys on the planet (or, at least, the coolest guys in suburban Orlando). They dressed like skaters, they were obsessed with the ABA and creaky badasses like Richard Holmes and the Ohio Players, and they channeled the swagger of everyone from Columbo to Dolemite. They were, whether they knew it or not, the underground railroad of hip. If you wanted to know what was cool, and you wanted to know before anyone else, you went to the Beastie Boys. It’s only years later that I realize that prescient coolness is what has made the Beastie Boys what they are today: a band whose career rivals any other. They have been together in their current incarnation for nearly 30 years and have released a slew of albums, the overwhelming majority of which are very good (their latest, The Hot Sauce Committee Part Two, is due May 3), but it’s not their longevity or their back catalog that have earned them respect; it’s their unerring ability to continuously reinvent themselves, seemingly at will, and without ever getting snagged the way so many of their contemporaries have. In 1986, with License to Ill, they were party-hearty terrors. On 1989’s epochal Paul’s Boutique, they were stony sample-meisters. Check Your Head saw them zigging at a time when others were zagging; rather than join the debate over just how the ’90s would sound, they decided to head back to the ’70s ( Head remains a decidedly lo-fi thing to this day). Sure, 1994’s Ill Communication was in the same vein, but there also emerged a newfound consciousness, one they’d explore more fully with their series of Tibetan Freedom Concerts. In ’98, with Hello Nasty (and the accompanying “Intergalactic” video), they got a jump on the Kid Robot “designer toy” fetish that broke through to the mainstream late in the 2000s. And on 2004’s To the 5 Boroughs, they returned to their hip-hop roots and celebrated the city in which they live (though, to be honest, the less said about this album the better). In between all that, they released EPs that saw them dabble in hardcore punk and jazzy instrumentals (to name just a few), but never once did anyone bring up the question of authenticity. And there’s a reason for that — the same reason they’ve become the revered act they are today. No matter how they reimagined themselves, it always came from the same place: the heart. There is an unquestionable authenticity to everything the Beastie Boys do, because they’re not doing it to be contrary or successful; they’re doing it because it’s what they want to do. And it’s only now that people seem to realize just how influential that authenticity really is. At midnight Wednesday — on MTV2, mtvU, VH1 Classic and Palladia — they’ll premiere “Fight for Your Right Revisited,” a short film/ career retrospective that includes plenty of nods to their past — it tells the wholly imagined story of what happened after 1987’s legendary “(You Gotta) Fight for Your Right (To Party)” video — but also features cameos by a whole lot of “f— it, let’s do something funny” actors like Will Ferrell and Danny McBride, who were 19 and 11, respectively, when the original video premiered and probably couldn’t help but have been influenced by its sublimely stoopid sentiments, not to mention everything that came after. So, in a lot of ways, Ferrell and McBride are a lot like you or I. They were drawn to the Beastie Boys because they sensed in them something revelatory and real, and they stuck around because neither of those things ever changed. Of course, leave it to the Beasties to turn the convention of career retrospection on its ear. Rather than release some deluxe edition of License, they’ve instead made an incredibly insular short film that rewrites history with each frame. It’s deceptively brilliant, really. And the same can be said for the B-Boys themselves. Without really trying, they’ve fashioned the kind of anti-career that many aspire to, yet few ever attain. And no matter where they go from here, you’ll know it’ll be someplace else entirely. Even if they’re just doing it for themselves. Don’t miss “Fight for Your Right Revisisted” on Wednesday at midnight on MTV2, mtvU, VH1 Classic and Palladia.
