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Denise Richards Looking Mint in Her Bikini

Here’s a couple photos of Denise Richards out on the beach in Maui. She’s trying to get some candids and media coverage rocking her sexy little swimsuit. This is one babe I really feel has gotten more beautiful as the years have come, and even more so that she is single. Her perfectly tight figure and orange glowing tan make me drool. Check out the hottest celeb pics, watch sex tapes and learn the latest Tinseltown scandals at Celeb Taboo.

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The Last Kiss

Although I could never pin-point the one “off thing” about Garden State, I still am in believe that it is one of the best films I have seen in the past few years. Zach Braff really showed his worth with that film, and being an off-fan of Scrubs as well, I looked forward to his next film. It has been two years, but finally we now have The Last Kiss, which was scripted by recent two-time Oscar winner Paul Haggis. I managed to win a double pass to see a sneak preview of the film, and after seeing it, I am very glad that I did.The Last Kiss centres around Michael (Braff). He is twenty-nine, and like anyone growing up, is conflicted about life. He has a wonderful girlfriend, Jenna (Jacinda Barrett), who just happens to be expecting their child, and life-long friends (the likes of which include Casey Affleck and Eric Christian Olsen). But as he is beginning to go through this crisis, he ends up meeting a young College student named Kim (Rachel Bilson), who becomes totally drawn to Michael after she lays eyes on him during a wedding.What follows is a somewhat poignant coming-of age story. It is a bit of a departure from the usual work Haggis does, but his work here is just as good as the rest. On one hand, it is nowhere near as good as Garden State, but on the other, it feels more realistic and more mature than it. These are real characters facing real problems, and the fact is that, almost anyone can identify with them. The film stays grounded in reality for its entirety, and rarely deviates off course (unlike some of the strange subplots in State).While it does focus on Braff’s character mainly, there is special attention brought down in many cases to Affleck’s character (as Olsen’s soul purpose seems to be most of the comedy and/or bang scenes). It is honest and for the most part, absolutely heart-breaking to watch the characters go through life’s challenges. But at it’s core, like State, it is a film that speaks to the current generation, and tries to make an attempt at letting them know that everyone feels these anxieties, and that they truly are not easy to deal with. I would be lying if I did not say that I saw a little bit of myself and my thoughts in these characters.The excellent performance here from Braff only continues to prove why he will soon become one of Hollywood’s most sought-after actors. While some of the things his character ends up doing over the course of the film may become slightly agitating, his performance does not. Although his facial expression barely changes throughout the film, you can see the genuine emotion he is conveying in his performance. His body language and demeanor is both touching and pitiful (in a good way) at the same time. You really do not know if you want to love or hate this guy through his anxiety-ridden phase, and as a result, Braff really strikes an emotion-chord that probably would never have been even nearly as well developed with any other actor.Barrett and Bilson really stand out as the women in Braff’s characters life. They play their characters so they distinctly different to the point of it being deliciously delightful all at once. The two contrast each other magnificently, from Barrett’s wholesomeness to Bilson’s devilish sexiness. The happiness and sadness they have to go through is excellent, and again, really gives a sense of realism to the film. They really grow throughout the film, and their chemistry with Braff is an absolute wonder to witness. Supporting turns from Affleck, as well as Blythe Danner and Tom Wilkinson as Jenna’s parents are all very well done (although slightly underplayed), and only complement the other three even more so.The only thing I can really find wrong with the film lies squarely with Haggis’ script (which was reportedly edited slightly by Braff). While the film is great, it really does not stay solid on what it is trying to be. Is it a comedy? Is it a drama? It is hard to tell, as scenes that should be purely whimsical are not all that funny, and devastatingly dramatic scenes have the audience laughing hysterically. This only happened in a few instances (the rest of the scenes are either funny or dramatic), but it was downright awkward in many cases. Braff managed to blend the two together quite well for Garden State, and we have seen how masterful Haggis’ work is, so why does it all not totally come together here? It really makes for quite the serious question, as the film could have easily slipped in as the best of the year so far, but must contend with being just one of the best.While the film has a chillingly bizarre problem with its tone, the performances and story more than make up for it. This is an excellent and poignant coming-of age film, and yet another vehicle to show off the work of Braff and Haggis. And with a superb supporting cast to boot, I am unsure of what more to ask for.

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Good Luck Chuck

Okay, I thought that this movie was going to be extremely crude from what my friends told me. Honestly, it wasn’t really that bad, I laughed and enjoyed it; it wasn’t Dumb and Dumber, but it was pretty good. I don’t know why Richard Roper said it was extremely crude and terrible, he’s stupid if you ask me. Now there was a lot more sex then I expected, but if you can handle that montage of sex scenes, then you will enjoy the rest of the movie. It was better than Superbad, I’ll tell you that much, I liked it and I hope that some people will give it a chance, rather than listen to Roper and not see it. This movie is for mature viewers, that I agree with, but it is not one of the worst videos of 2007.

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Stoned

You might think the life and lifestyle of rock star Brian Jones consisted of a little more than what we get in Stephen Woolley’s 2005 film entitled ‘Stoned’. But then again, it isn’t about his life as much as it is about his death; it isn’t really about Brian Jones as much as it is about a certain Frank Thorogood, and the things he did during a famous but fateful period of time. I read that there is no definitive answer regarding Jone’s death, a deathbed confession that supposedly never was; a tragic accident that was apparently very deliberate. The film is, in the end, a documenting of one side of the story a belief a certain director might have or a take on previously transpired events. It is a documentation that is brimming with style and emphasis on the visual as it flies through this person’s life up to the point he’ll meet the man that supposedly murdered him, before slowing down and making a meek study.The man in question is Brian Jones (Gregory), a member of a rock band named The Rolling Stones from which I’m pretty sure the title of the film comes; although he did rather like his drug use. The film begins with Jones’ euphoric rise to power with archive footage shoved in our faces as fast edits, bright colours and general build up hogs the screen. This is before Paddy Considine’s Frank Thorogood arrives, a builder who leads a very simple life with unspectacular but somewhat desired results. He is unimpressed by Jones at first, even under-rawed by his presence in comparison to flocks of screaming fans shown mere minutes ago. And so the slight study is established with an underwhelmed Thorogood initially meeting super-star Jones before time develops mindsets and attitudes eventually change.The study isn’t so much obsession with a famous, as explored in The King of Comedy, as much as it is eventual jealousy; a taste of the forbidden fruit and then a constant temptation to revert back to it. But it is Jones whose given the majority of the runtime, through a series of necessary flashbacks unfolded mostly through a visual filter of bright colours; bizarre camera angles shot on an array of different lens’; this down to the influence the ecstasy has on said people. We get all the necessary stuff: the scenes at the concerts; progression with the rest of the band members and how that spirals out of control; the progression of his relationship with girlfriends and the meeting of a certain Anna Wohlin (Novotny) backstage at Munich, although I’m not sure how she got through all that crowd control. She does, incidentally, pretty much exist to remove her clothes every now and again as well as act as the object of Thorogood’s gaze.Jones seems to have garnered all of what he had by accident. He’s portrayed as immature and not as a particularly clever individual at the best of times, but he inherits all this fame and attention which comes with the house, the cars and the women following shows across Europe. But rather than portray Jones in a negative light and force us into disliking him, I really just felt sorry for him; that this individual, who clearly loves what he does for a living, just doesn’t know how to use all this money and fame in a sensible manner with moderation seemingly ever-elusive. A lot of whatever kick you’re going to get out of the study the film makes, lies within Thorogood’s gaze. He, along with a few other builders, is hired to extend Jones’ huge manor house based out in the country as Jones himself faces exile from the band that made him famous.As a character, Frank is central to the film. He represents not only the audience, as a figure that is given permission to be allowed into this little world of allure and fame, but additionally as a representation of how easy it to fall into the ‘trap’ of this lifestyle; how someone quite feasibly on Brian Jones’ ‘level’ of sensibility and intellect can be lured into a life of women, hallucinogenic drugs and rock music. It also acts as a demonstration on Jones’ influence and how his way of life is able to influence. Frank is allowed glimpses of Anna when he does push-ups in front of her as well as Jones; he gets a flavour for the laid back lifestyle as Jones sits beside an empty pool and listens to rock music, Frank looking over him in eerie fashion given how it all ends; and the casual drug use soon follows before Frank begins to loose the trust and connection with his chap builders, much like Jones began to loose the respect and acknowledgement of his own group of co-workers, that being his band: The Rolling Stones.It’s all quite interesting, but progressive and feels somewhat obligatory. David Morrissey turns up now and again as Tom Keylock, Jones’ manager and chews the scenery as he spouts dialogue delivered in what sounds uncannily like a Michael Caine impression; but the supporting cast is disappointing on the whole. The other ‘Stones’ members are there purely for petty visualisation; the girls exist to get naked and daft cameos from people like David Walliams as an accountant just distract when it shouldn’t. Regardless, the film is worth seeing for its documentation of Jones’ last days and its look at the lifestyle it studies.

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