It’s no secret that the hottest thing in women’s sports right now is Anastasia Ashley or at least her bikini clad surfer ass… So it is no shock to anyone, or at least me, who as far as I’m concerned is everyone, since none of you exists, that her amazing bikini clad ass was featured in Sports Illustrated… I guess Sports Illustrated figured we’ve already seen her in a bikini 1000 times before, why not show off her fit as fuck body…by showing us her NIPPLES…I like their logic…because I like nipples… It’s like Sports Illustrated was some kind of soft core porn mag…yet people still advertise with them… Point of the story is that Anastasia has never looked better, except when she wakes up after a night of drinking, and is, as far as I’m concerned, the show stopper of the entire issue… I am surprised she hasn’t been in every one of their issues before, since she’s be surfing professionally for years, and I hope this gets her recognized by the masses so that she can continue to produce more show stopping surfing and more importantly more show stopping bikini pics… There are few people in the world who I can say I love. She’s one of them….Good job. Let’s cuddles. FINAL LIMONADA. TO SEE THE REST OF HER PICS CLICK HERE
So Brett Rossi is an ex pornstar who is working for Charlie Sheen…the coke and hooker loving actor with a lot of money, who has a lot of fun, and who miraculously isn’t dead yet. It is safe to say this is a union of love, because why else would some pornstar get married to a very fucking rich…and he’s just in for the jokes. It’s his fourth marriage it stereotypically “hot” girls with tons of fucking issues…so why the fuck not make a mockery of marriage and remind everyone that he’s allowed to get married for publicity stunting gold diggers…but two fags aren’t…LOGIC… If she’s smart, she’s be knocked up…if he’s smart, he’d have had a vastectomy….and either way, this is what her vagina looks like when it is turned into a toy… We also compiled her top 7 porn clips…which were more the first 7 porn clips I found of her. So if you want to see the kind of body, theatrics, etc, that Charlie Sheen is using as his full time hooker, while she uses him for publicity… HERE
So Brett Rossi is an ex pornstar who is working for Charlie Sheen…the coke and hooker loving actor with a lot of money, who has a lot of fun, and who miraculously isn’t dead yet. It is safe to say this is a union of love, because why else would some pornstar get married to a very fucking rich…and he’s just in for the jokes. It’s his fourth marriage it stereotypically “hot” girls with tons of fucking issues…so why the fuck not make a mockery of marriage and remind everyone that he’s allowed to get married for publicity stunting gold diggers…but two fags aren’t…LOGIC… If she’s smart, she’s be knocked up…if he’s smart, he’d have had a vastectomy….and either way, this is what her vagina looks like when it is turned into a toy… We also compiled her top 7 porn clips…which were more the first 7 porn clips I found of her. So if you want to see the kind of body, theatrics, etc, that Charlie Sheen is using as his full time hooker, while she uses him for publicity… HERE
Here at Skin Central we have a hard time understanding the logic of casting Scarlett Johansson as the lead in a movie, and then never once showing her gorgeous visage onscreen. But that’s exactly what happens in Spike Jonze ’s Her (2014), where Scarlett supplies just her voice and the only nudity is a few full frontal still photos of a pregnant May Lindstrom . You won’t get much from Jessica Biel in The Truth About Emanuel (2013) either- unless you’re into breastfeeding scenes- in which case you’re in luck because Jessica shows some sideboob while offering up a milk meal. Now on to the good stuff: the female vigilante flick Loves Her Gun (2014) has Josephine Decker , Trieste Kelly Dunn , and Jennymarie Jemison all busting out their double barrels! More after the jump!
Remember back in ’98 when Rose McGowan showed up to the MTV Video Music Awards wearing a dress made of loosely gathered sparkly strings? Most Skin Fans probably remember exactly what they were doing at the moment they saw it… but let’s not talk about that, that’s personal. Since then Rose ditched the weirdo she was dating and updated her face a little, but never gave us the full frontal view we were so sure was imminent. Today all that changes thanks to Apartamento , a magazine dedicated to apartment interiors. Why such a glorious publication would need to film Rose McGowan in the buff to sell magazines should be obvious, let’s not question the logic. Just enjoy the view of Rose’s blooms and bush as she dances around with a sheer sheet. Pics after the jump!
Why am I not excited about Pacific Rim ? I’m mostly a fan of Guillermo del Toro ‘s work, particularly the superb Pan’s Labyrinth , but the three teaser clips that have been released for the filmmaker’s hotly anticipated mechs-vs-monsters summer sci-fi film have all left me cold. Part of the problem is that they’re all virtually the same. The new international TV spot, for instance, is a condensed retread of the earlier trailers, and its brevity draws attention to what I think may be the film’s biggest weakness: a lame monster. Yes, the giant human-piloted Jaeger mechs are impressive — even if they defy science and physics — but their enemies, which are called Kaiju , Japanese for “strange beast,” don’t look the fearsome, formidable part they’re supposed to play in the picture. (If you’re okay with spoilers, this review of the Pacific Rim script indicates that the Kaiju overwhelm the Jaegers.) Clearly, del Toro is paying homage to the Japanese Toho Studios kaiju films of the 1950s, ’60s and beyond — the Godzilla franchise being the most well known of them. The problem is, the creature in the Pacific Rim looks like it came directly from the set of one of those hokey movies and didn’t stop by the visual effects department to get a rad new upgrade. Remember, Gamera , the amusing flying turtle (which was not a Toho creation)? If you took the body of that ’60s-era monster and grafted the head of Roland Emmerich’s 1998 Godzilla onto it — not a movie that any filmmaker should be referencing — then you’d get a creature similar to the one you see in the photo above and trailer below. Not-So-Scary Monster Perhaps del Toro is keeping more fearsome creatures under wraps. The Kaiju apparently hail from another universe — a kind of interstellar Monster Island — so conceptually there could be more than one species. I hope so. If the creature in the teasers is all we get, then Pacific Rim could suffer from a real tension deficit. One other thing: It’s time to give Idris Elba’s “Today, we are canceling the apocalypse!” speech a rest. It was rousing the first 10 times I heard it — in January. Three months later, it’s ripe to be satirized, and the movie isn’t out until July 12. What do you think? More on Pacific Rim : ‘Pacific Rim’ Vs. Real World Physics: Giant Robots, Galileo, And The Square Cube Law WATCH: Do The Jaeger Meisters In New ‘Pacific Rim’ Trailer Defy Logic? [ Insight: Movies ] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Here’s Nina Agdal, the runner up in the SI Swimsuit cover shit….who was robbed. Yesterday, we learned a very valuable lesson about Nina Agdal…and that is that she will never do porn…however, for Sports Illustrated, she will wear mesh, as long as the photoshop out her nipples, cuz nipples don’t sit well with Ted Turner, he’s more into Bison and making money…and the funny thing about her logic…is that she might as well be in porn…cuz motherfuckers are jerking off to her and her handicap lookin’ face….right now…
I’m an outlier among other insufferable snobs on the Internet: I actually want Khan to be the villain of Star Trek Into Darkness . This isn’t because I desperately want the films to touch every base that the original series did. After nearly 30 years on television and 10 movies of highly uneven quality, the Star Trek universe prior to JJ Abrams’ Star Trek was suffering horribly from internal rot, not to mention a growing reliance on awful time travel plots and constant nods to series continuity. A fresh start was desperately needed if it was going to remain relevant, even if it came at — sniff — the expense of Captains Picard and Sisko*. But if Star Trek was a successful fresh start (and it was), it also brought with it some terrible baggage from the previous continuity, specifically the fact that its plot was motivated by the same time-travel bullshit that caused the TV universe to finally collapse under the weight of its own pretentions. Thank the founders that Abrams movie focused squarely on the Holy Trinity of Kirk, Spock, and Bones, or we would have noticed how awful Nero really was. But as we’ve already learned with Iron Man 2 , a successul sequel needs to do more than coast on the chemistry of its leads. With Kirk and co. firmly established, STID needs a strong conflict with high stakes, and a memorable villain (or at least a prime mover) connected to that conflict. To pull that off, you can’t force the audience to consult a Trek lore guide. Superturbonerd Trek Fans like me might want to see Harcourt Mudd, Cyrano Jones, Gary Mitchell, The Horta, or that horrible psychic kid played by Ron Howard’s brother but frankly, that’s inside baseball. Ask the legions of moviegoers for whom for whom Star Trek is essentially Kirk bangs space hotties-Spock lectures him about the logic of using a condom-Bones grumpily administers penicillin ,”the only villain they’ll recite from memory is Ricardo Montalban’s Khan Noonien Singh. Is that a problem? Only if you think that the Joker’s appearing in The Dark Knight was a problem. Iconic characters linger in the public memory for a reason, and that makes it easy for a skilled storyteller to take them and make them over into something later audiences can appreciate anew. Do it right and you can get away with anything, even making a horribly lame villain like Bane look bad-ass. And for better or for worse, Khan is Kirk’s Joker. So milk that shit, I say. Use him well and firmly ground STID in its own past, and save less exploited territory for future sequels, when you’ve solidified the audience’s loyalty. But is Khan the villain of Star Trek Into Darkness ? Who the hell can tell? The new trailer certainly doesn’t want us to know for sure. But damned if it isn’t teasing the hell out of us. It’s already been confirmed that the villain will be canon. And now we know that whatever character is blessed with Benedict Cumberbatch’s crisp, Public School tones, he’s really angry and looking to exact some revenge – sorry, vengeance, which is way classier than mere revenge – on the people of Earth. That sounds like Khan to me! Unless Cyrano Jones is angry that the Klingons wiped out the Tribbles. There’s also the fact that the American trailer lacks one crucial scene present in the Japanese trailer (see it right before the end): a deliberate homage to the moment of Spock’s Death in Star Trek II: The Wrath Of Khan . Even if it’s just a dodge (something Abrams does very well,) the reference can’t be a coincidence. And if this means we get to see Cumberbatch doing is best Ricardo Montalban impression, that’s fine by me. Just so long as it doesn’t mean we have to endure another go at The Search For Spock . Some additional thoughts: -If you think it’s ridiculous that a lily-white Briton like Benedict Cumberbatch could even pretend to play an Indian, it’s worth noting that Gabrielle Anwar and Ben Kingsley both have Indian fathers. -Notice the ship rising out of the water? If it isn’t the SS botany Bay, I wonder if it’s the same starship we see crashing into the San Francisco Bay later in the trailer. -The interesting thing about the trailer is just how much of Earth we’re seeing in it. Star Trek was originally pitched as Wagon Train to the stars, but of course, the wagon train had to start somewhere. The original series and subsequent iterations barely feature earth as anything other than a reference. For all we know, the only thing people do back home is build more Enterprises. Also, whenever I watch a western, I always want a scene of what people are up to back in Boston or London. It’s interesting that in the space version, we’re getting exactly that. *Truth: Star Trek: Deep Space Nine is inarguably the best series. YEAHISAIDIT. Read More: ‘ Star Trek Into Darkness’ Explodes An Early Tease Star Trek 2 Gets A Title: Where Does It Rank In The Franchise? Ross Lincoln is a LA-based freelance writer from Oklahoma with an unhealthy obsession with comics, movies, video games, ancient history, Gore Vidal, and wine. Follow Ross A. Lincoln on Twitter. Follow Movieline on Twitter.
Jennifer Love Hewitt’s face has seen better days…in fact so has the rest of her….making me wonder what the logic was in wearing this see through shirt…showing off her bra in what may be the least erotic of see through shirts I have ever seen…I mean I guess when you are the small head…small body…hug tits in the late 90s…it’s really hard to stay relevant…especially when you’re boring in all that you do…especially in your emotional eating cuz you can’t land a man….who cares…here’s the pics anyway. To See All The Pics…. FOLLOW THIS LINK
People with a strong sartorial sense know the difference between what’s elegant and what’s merely elaborate. It’s not the same in the movie world, where big and overcomplicated is so often mistaken for better, when really it’s only…big and overcomplicated. Ridley Scott ’s Prometheus , designed as a sort-of prequel to the director’s 1979 terror-in-space aria Alien , is elaborate all right. But it’s imaginative only in a stiff, expensive way. Scott vests the movie with an admirable degree of integrity – it doesn’t feel like a cheap grab for our moviegoing dollars – but it doesn’t inspire anything so vital as wonder or fear, either. Prometheus has been one of the most anticipated pictures of the summer, but its lackluster payoff is summed up perfectly by one of its chief characters, a scientist who travels a long way from Earth in the hope of meeting the allegedly superior beings who created us humans: “This place isn’t what we thought it was.” [ Some spoilers follow. ] That character, Elizabeth Shaw ( Noomi Rapace ), is an archeologist who, in one of the movie’s early scenes, circa 2089, stands hand-in-hand with her partner and beau Charlie Holloway (the exquisitely, painfully dull Logan Marshall-Green ) as the two gaze in wonder upon an Earth cave drawing they’ve just discovered. The pictogram shows a couple of unearthly creatures standing tall and pointing at something-or-other. Are they gods who created us, or just random visitors? Shaw thinks they may be the former, and she’s eager for a meet-and-greet. “I think they want us to come and find them,” she says, voicing one of those really bad ideas that make the world of science fiction go ’round. Before long the two have joined a crew of 15 others, all headed to an undisclosed destination in space where they will freely and joyfully act upon yet more bad ideas, including packing a severed alien head into a space baggie and reaching out to touch a slimy tadpole-penis-head thing. But let’s not get ahead of ourselves. The others aboard the all-too-appropriately named Prometheus include a tall, icy businesswoman named Vickers ( Charlize Theron ), a representative of the corporate behemoth that’s funding the trip; the ship’s captain, Janek (played by the appealing, casual Idris Elba); David ( Michael Fassbender ), an android a la Ian Holm’s character in Alien , who has learned a healthy handful of ancient languages as a way of possibly communicating with whatever godlike forebears the crew may encounter; and a random Asian guy who wanders around idly in the background of a few shots until, inexplicably — mini-spoiler alert — he becomes one of the story’s heroes. (This disposable Asian is played by Benedict Wong, who also appeared in Duncan Jones’ 2011 Moon .) There are a bunch of others – including some dumb geologists/biologists (Rafe Spall and Sean Harris) and a doctory-scientist type (Kate Dickie) – but the cast of Prometheus suggests that 17 crew members on a movie space ship is about 10 too many. (The Nostromo , after all, carried 7, and Scott and writer Dan O’Bannon made it easy to distinguish one from another.) But Prometheus , both ship and movie, is overloaded in every way: Scott and screenwriters Jon Spaihts and Damon Lindelof have packed the picture full of noble themes, most of them having to do with the way our yearning to understand the unknown jostles uncomfortably against our desire to explain everything through science. “I just want answers, babe,” the logic-mongering Holloway tells the dreamier Shaw, though this is before – and here, take note of another mini-spoiler alert – a wriggly wormlike thing starts poking out of his eyeball. What do Shaw and the others discover on the mysterious planet to which they’ve trekked? They make their way into a cave where the air is actually breathable – they lift off their bubble helmets and take in deep gulps of the stuff, which seems inadvisable, but what the heck? Deep in the cave’s recesses they find a magnificent hallway replete with majestic murals and a large sculpture surrounded by a formation of conga drums covered with sweaty spores. Prometheus features a host of effects designed to make you say, “What the heck?” and yet none of it stirs real curiosity, awe or dread. The crew also encounters, of course, some variations on the magnificent spoodly pinky-gray creatures designed by H.R. Giger for the earlier Alien pictures. Perhaps these thingies are supposed to be bigger, more impressive and more realistic, whatever that might mean. Yet there’s a business-as-usual quality about them, and they herald their presence openly rather than lurk menacingly in the shadows, as if announcing cheerfully, “You expected to see us, and here we are!” That’s not to say there aren’t some lovely effects in Prometheus , including a sequence in which a group of hologram ghosts appear as shimmery dots and dashes of light – they rush toward and through our intrepid explorers, on their way to, or away from, something. But we never find out who they are or what they’re running toward or from. In fact, there are dozens of loose ends in Prometheus , hanging like so many squirmy, dangly tails. Fassbender’s android commits a significant, malicious act for reasons that are never made clear: We know he has no soul, and thus probably no conscience, but his actions seem like the result of some deeply human traits — Scott never bothers to explain. The geography of the ship is carelessly delineated: Creatures show up in one passageway or another – it’s never clear what room or area they’re coming from. One of these slimy, willfully malevolent wrigglers emerges at a significant climactic moment, and it’s unclear whether it’s a random critter or a larger version of a baby we’ve seen earlier – the lapse represents a missed opportunity, a possible means of fleshing out some of the movie’s ideas about the relationship between gods and the creatures they create (or destroy). Scott is trying to make sure Prometheus is about something, and his ideals may have distracted him from the more prosaic task of just getting on with the storytelling. When Brian De Palma presented, with Mission to Mars , a much more passionate, and more narratively sound, version of this sort of interplanetary spiritual idealism, it was treated as a “bad” science fiction movie. Prometheus , on the other hand, is tasteful even in the midst of all its squirm-inducing gross-outs, and that’s a liability: It’s impossible to have tasteful passion. The actors mostly seem lost here: Rapace comes off as a doll-like naïf, pretty but wholly lacking in charisma or even science-fueled ardor. Guy Pearce appears in heavy age makeup which, if you ask me, is a total waste of a perfectly good Guy Pearce. Theron and Fassbender have much more presence: Theron, at least, gets to suit up and fire a flamethrower – the vision of her big bubble-helmeted head perched upon a body that seems to consist mainly of two lily-stem legs is something to behold. And Scott gives Fassbender the quietest, most poetic sequence in the movie: Early in the picture, the robot David wanders the ship while the rest of the crew are still deep in their hypersleep dreams. He busies himself with assorted tasks, and then sits down before a massive wraparound screen, where he watches Lawrence of Arabia with rapturous admiration. David finds a physical, if not spiritual, twin in O’Toole’s T.E. Lawrence, a model for the man he’d like to be, if only he were a man at all. But Scott doesn’t, or can’t, sustain the eerie, resonant beauty of that sequence. Prometheus isn’t a piece of junk. It feels as if Scott has tried very hard to please us, his audience, in an honest if costly way. He surely knows how high the stakes are: With Alien , Scott gave us one of the great science-fiction films of all time, a picture that was at once glorious and austere; when I looked at it recently, I was struck by how wonderfully slow-moving it was, and yet every minute is taut. But Prometheus is a world apart, a far more unwieldy picture that tries hard to defy this new, noisier age of movies and doesn’t have the agility or the suppleness to do so. You can practically hear Prometheus groaning under the weight of its ambitions; it’s a far cry from the sound Scott was going for, the music of the celestial spheres. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
