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She Matures Sex Movie

For those who may have missed the movie trailers, "Wedding Crashers" is about two rakes who, looking for fresh fields to plow, crash weddings where nubile bridesmaids, primed with romance and lubricated with champagne, offer easy pickin's.

she matures sex movie

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But American politics don't require much fodder to wage war in the frame game. McCain has handed a freebie to Democrats (as well as some embittered Republicans), who are delighting in portraying him as a hypocritical flip-flopper. It was McCain, after all, who once held hearings criticizing Hollywood for making R-rated movies aimed at children.

There was no avoiding the fact that while the pope's death commanded the television screens this weekend, "Sin City" commanded the movie screens, to the tune of $29 million and first place. I can't tell you the exact details of the R-rated adaptation of ... [Read More...]

Always more interested in making a difference than in making amovie, the Oscar-winning actress briefly returned to Hollywoodto narrate a film on depression (her mother committed suicidewhen Fonda was 12) to be shown at a fund-raising lunch this weekat the Beverly Hilton Hotel. At the lunch, other celebritiessuch as Mike Wallace and Liza Minnelli hope to start doing fordepression what Elizabeth Taylor did for AIDS.

Not only that, the movie was very 80s in the sensibility that there were tons of aerial shots of New York City, but they did it in such a way that it showed the city as a whole and not the absence of the towers in the foreground.

These swings trace an arc between two cultural and political viewpoints-- "better-safe-than sorry," which sees the world as a dangerous place and would rather risk harshly misjudging an adult than endangering a child, and "therapeutic empathy, "which is slow to judge, suspicious of "repressive" institutions like the criminal justice system, reflexively optimistic about people and their ability to change, and hesitant to label anyone. Two recent works, a book and a movie, represent the clash between these viewpoints.

Warmer, and much more naive, is a recent film shot from the liberal, empathic viewpoint: the much-discussed documentary Capturing the Friedmans , perhaps the most nuanced and sympathetic portrait of a child molester since Vladimir Nabokov penned Lolita . Made by Andrew Jarecki, the millionaire cofounder of MovieFone , it uses an archive of expertly edited home movies, along with current footage, to record the unraveling of a lovably neurotic Great Neck, New York, family after more than 100 counts of child sexual abuse are lodged against the father, Arnold Friedman (an award-winning high school teacher), and his teenaged son Jesse, a college student. In plea agreements in 1988, the two men admitted molesting and photographing 17 young boys who attended, over the course of four years, after-school computer classes in the basement of the family home. Arnold committed suicide in prison; Jesse, only 19 at the time of his sentencing, served 13 years.

This is a struggle that Jarecki himself didn't master. In his eagerness to make his viewers empathize with the Friedmans' humanity, he stacked the deck to conceal significant evidence of their guilt. He filmed one high school buddy vouching for Jesse. But he didn't mention--perhaps because it would have damaged the movie's dramatic uncertainty--19-year-old Ross Goldstein, a schoolmate of Jesse's who helped out at the computer class and admitted that he, too, had participated in sexually abusing some of the younger boys.

Many empathic liberals who've seen the movie, including an editorial writer for The New York Times , are ready to declare Jesse innocent. But as the Academy Awards approach and Capturing the Friedmans is more than likely nominated for best documentary, perhaps the cold, open eyes of "better safe than sorry" feminists like Salter have something to offer us, too. We have a long way to go before we integrate empathy and clarity well enough to effectively protect children without writing off their abusers as inhuman. In the meantime, it's worth considering that perhaps the prevailing emotion in Great Neck in 1988 was not hysteria, but outrage.

THE PEANUTS MOVIE Charlie Brown, Snoopy and friends are back, fighting familiar fights, including Charlie's sports-related futilities and Snoopy's duel with the Red Baron. Computer-animated family movie from a script co-written by the son and grandson of the original's creator, Charles Schulz. (G)

VICTOR FRANKENSTEIN The Frankenstein saga told from Igor's perspective, via some action-movie flavoring, with Daniel Radcliffe as Igor and James McAvoy as Dr. Frankenstein. (PG-13; gory images, violence)

OUT OF THE INFERNO On a sweltering day, a 125-story skyscraper catches fire, forcing a pair of firefighter brothers to find creative ways to rescue its inhabitants. Hong Kong disaster movie, in Chinese with English subtitles. (PG-13; some violence) 041b061a72


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