In September 1983, filmmaker Meir Zarchi came to Britain for an appearance on the Tyne Tees Television show Friday Live. He was there to debate critics of his notorious rape-revenge movie I Spit on Your Grave. Zarchi came face-to-face with Joan Austin, whose 18-year-old son Martin had been found guilty of raping two women. The boy was supposedly triggered by watching "video nasties", including I Spit on Your Grave. “I believe that videos like yours corrupted him and changed his behaviour,” said Austin to Zarchi. “He became addicted to them and they gave him urges that were never there before.” Zarchi responded, undercutting the argument against video nasties: “I'm a father myself and I have two teenage children. They see all kinds of pictures. It doesn't mean they would go and do something wrong. I sympathise with you... But can you turn the blame away from your son and put it on my shoulders? Emotionally you're right to feel what you do. Rationally I can't make any judgment without knowing your son's character.” At the time, Britain was in the grip of a moral panic over the so-called video nasties – exploitation films whose budgets were often as brutally low as their content was brutally violent. They slipped through the net, at first unregulated, with the emergence of home video. But soon enough, the films were outlawed or sliced up by censors. I Spit on Your Grave – written, directed, and edited by Meir Zarchi in 1978 – tells the story of Jennifer (Camille Keaton), a writer from New York who rents a summer house in rural Connecticut and arouses the attention of four local hicks. The gang attack and repeatedly rape her across a 25-minute ordeal. Jennifer exacts violent revenge on her attackers one-by-one: death by hanging, axe, boat propeller, and – in true exploitation style – castration with a butcher’s knife. “I loved it,” Camille Keaton says about those scenes. “It was great to do the revenge part. I always tell people – watch the last half of the film.”
The actor was nominated for a Golden Globe for her performance as Cruella de Vil in the 1996 film 101 Dalmatians
'What's not to love about chocolate? Well two million children working illegally on cocoa plantations,' says Elba
The award-winning film has come under fire for its portrayal of the sexualisation of children, but others argue it's an authentic look at the reality of life for young girls growing up.
The accusation frequently levelled at David Benioff and DB Weiss as Game of Thrones limped through its disastrous final seasons was that the show-running duo were skilled adaptors who had run out of road. With George RR Martin’s A Song of Ice and Fire saga unfinished, “D&D;” had been forced to cobble together their own conclusion to this epic tale of under-clothed, over-sexed kings, queens and dragons. And heavens, what a mess they made of it. In the end there seemed to be a flub at every turn. Red Weddings and heart-breaking beheadings were replaced by creaky dialogue and endless shots of Emilia Clarke trying to look as if she was going mad but totally not feeling it. Benioff and Weiss stood accused of being enthusiastic hacks out of their depth in trying to compete with Martin’s ferocious and fecund imagination. The other complaint that grew louder as Game of Thrones rumbled towards the finish line was that the pair were too fond of female nudity and gratuitous sex scenes, to the point of creepiness. What had felt daring and transgressive in 2011 had, by 2019, come to seem crass, exploitative – tasteless at best, sleazy at worst (there was a belated attempt to correct course with token quantities of full-frontal male nudity). Fourteen months on from the GoT finale, in their first collaboration with Netflix as part of a $200 million deal, Benioff and Weiss seem to have struck upon the perfect way of neutering their critics. Once again, it has been announced, they are to adapt a doorstopper fantastical saga with a cult readership and breathtaking set-pieces. The difference is that Liu Cixin’s the Three-Body Problem trilogy is very much done and dusted. This means Benioff and Weiss will be spared a repeat of the scenario in which they had to stay up all night brainstorming ways to have Jon Snow not become King of Westeros.
Antonio Banderas has shared an update on his coronavirus diagnosis, stating that he has now recovered from the virus.Earlier this month, Banderas revealed he had tested positive for Covid-19.
A new set of high-tech stamps celebrating Sherlock Holmes is being launched by the Royal Mail.The collection will feature images from the award-winning BBC TV series and other stories written by Sir Arthur Conan Doyle.
Sharon Stone has condemned “non-mask wearers”, stating that her sister Kelly is currently “fighting for her life” with coronavirus in hospital.On Sunday 16 August, Stone shared several photographs on Instagram of her sister’s hospital room.
The Simpson’s star says she feels “disrespected” for being compared to the Democratic vice presidential candidate.
Before Alan Partridge’s ill-fated James Bond marathon, his PA Lynn suggested that the Timothy Dalton films – the “Welsh ones” – were somehow the less important Bonds. Alan berated Lynn (quite rightly) but failed to reiterate just how important the first Dalton film, The Living Daylights, really is. Of course, if you asked safari suit-appreciator Alan, “Who’s the best Bond?” he’d shout “Roger! Roger!” until he turned purple, much like he did when Rodge no-showed Knowing Me, Knowing You. It’s the ultimate Bond question – and there’s no definitive answer. Sean Connery for the purists and readers of the Radio Times, who named the Scot their favourite Bond in a new poll. George Lazenby for the chin-strokers. Roger Moore for anyone who grew up watching repeats of The Spy Who Love Me on their nan’s living room floor. Daniel Craig for the newcomers. Dalton – the 007 who almost never was – has come to be the choice of the serious fan, which could be why he came second in the Radio Times survey. But the importance of The Living Daylights to the Bond canon isn’t about Dalton being the “best”. It’s the film that proved Bond could be reinvented; that Bond could not only survive the evil machinations of SPECTRE and metal-toothed goons, but also the ridiculousness of double taking pigeons from Moonraker and dressing up as a clown for Queen and Country in Octopussy.
Kristen Wiig has spoken about how “isolating” she found the experience of undergoing IVF before her twins were born via surrogacy.In January, Wiig and her fiancé, actor and writer Avi Rothman, became parents to twins via a surrogate.
A newly-released trailer for the film features interviews with doctors and the late actor's wife, Susan Schneider Williams.
Anyone who’s seen U-571 knows it was Matthew McConaughey and Jon Bon Jovi who captured the Enigma machine from the Nazis. In a daring mission, the heroes intercepted a damaged U-boat, disguised themselves as Germans, and boarded the sub – kicking off a gun and torpedo fight that saw Jon Bon Jovi die a hero's death, decapitated by a wayward slice of metal (but not, as his earlier work suggested, shot through the heart). McConaughey would steal the U-boat and its Enigma machine, blow up a Kriegsmarine destroyer, and win the war. None of that happened, of course. U-571 – directed by Jonathan Mostow and co-written by David Ayer – is a cynical Hollywood fantasy: the kind of crafty historical tinkering which has riled up Brits for years. U-571 is so outrageously fabricated that when it was released back in April 2000, Tony Blair said it was an “affront”. In truth, it was the British Royal Navy destroyer HMS Bulldog that captured the Enigma machine in May 1941 – seven months before the Americans officially entered the war. The real hero was a 20-year-old sub lieutenant named David Balme, who led a party of eight onto a damaged U-boat – the U-110 – and found the Enigma machine and codebooks. Dubbed Operation Primrose, it was one of several “pinches” that helped the code-breaker boffins at Bletchley Park crack the naval Enigma. It helped turn the tide in the Battle of the Atlantic and brought forward Operation Overlord – and ultimately the end of the war – several years.
The BBC show's creator, writer and star said she ran into ownership issues with the streaming service.
The film producer, who penned Kangaroo Jack, had a relationship with British model and actress Elizabeth Hurley in the early noughties.
The film version of Broadway’s smash hit “Hamilton” is heading exclusively to Disney+ — what the move means for the streaming wars as HBO Max preps its long-anticipated entrance.