Cleaning Out the DVR Yet Again #11: 400 Days (dir by Matt Osterman)

Posted on November 22, 2016 by Lisa Marie Bowman

(Lisa recently discovered that she only has about 8 hours of space left on her DVR! It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet. So, once again, Lisa is cleaning out her DVR! She is going to try to watch and review 52 movies by Wednesday, November 30th! Will she make it? Keep checking the site to find out!)

I recorded 400 Days off of the SyFy channel on November 6th. Apparently, it got a very brief theatrical run earlier in the year. Yeah, I don’t remember it either…

I will never talk about this again #400days

— Tony (@TonySolo) November 6, 2016

400 Days stars Dane Cook as an astronaut!? Oh my God, that sounds like a formula for intergalactic, kinda-edgy-but-not-really wackiness! Oh, and this film features Dane and three other astronauts locked in a simulator for 400 Days!? Wow, I bet Dane will be driving them crazy with all sorts of wacky frat boy antics!

Well, no, not quite. 400 Days is actually an extremely serious film, one that doesn’t seem to have much use for what the rest of us would call humor. In anticipation of future exploration of space, NASA arranges for four astronauts to be put into an underground bunker for 400 days. The idea is that they’ll be able to study the effects of complete isolation and confinement but, naturally, things soon start to get weird.

For instance, Dvorack (that would be Dane Cook’s role) is this alpha male who is kind of a jerk and he’s always throwing his weight around and giving orders and looking down on his more scientifically inclined colleagues. At one point, Dvorack stares at himself in a mirror and imagines his face falling apart. AGCK!

And then there’s Bug (Ben Feldman), who is an emotionally unstable scientist who is still struggling to deal with being separated from his son. (His son may be dead. There’s a scene in a hospital but I’m not sure if it was a flashback or a hallucination or what.) Bug is soon locking himself away in his room and drawing a maze on the wall. Maybe he’s mad because everyone keeps calling him Bug. It’s not a flattering nickname.

Let us never mention that again. #400Days

Last half hour of #Aliens – Ripley just met Mama.

— Doug 😷🌍✌️ (@dougclose) November 6, 2016

And then there’s Captain Cooper (Brandon Routh) and Dr. McTier (Caity Lotz). Cooper and McTier used to go out but then they broke up two weeks before the start of the experiment. Wow, that sounds like a formula for awkward relationship comedy! Just wait until Dane Cook starts flirting with McTier and snarkily challenging Cooper’s authority…

Oh wait — sorry. This is a serious movie. A very serious movie.

https://twitter.com/ItsMeKarenMarie/status/795099528160575488

Anyway, after about two weeks in the bunker, the four astronauts hear a loud explosion above them. Has something happened on the outside!? Or is it just a part of the experiment?

And then, 300+ days later, an emaciated man emerges from an air vent! Finally convinced that something has happened on the outside, the four astronauts leave the bunker and discover that the Earth is a now a dark and windy place that is covered with dust. There’s a dilapidated town nearby. It’s apparently run by a mysterious man named Zell (Tom Cavanagh as the most unlikely war lord since Hugh Grant showed up in Cloud Atlas).

But again — is this real or is this just a part of the experiment?

well that was a goddamn waste of time. #400Days

— Paul Muad'Dibs on that pizza (@cloneposter) November 6, 2016

It’s an intriguing question but I’m going to warn you not to expect an answer. While I don’t want to spoil the film for anyone, I do feel like I have an obligation to let you know that this film ends on a note of very deliberate ambiguity. It’s the exact type of ending that tends to get on people’s nerves. As I watched 400 Days off of my DVR, I did a twitter search to find out what some of my friends thought about this film when it originally aired.

#400Days @Syfy
That was bullshit.

— Snake Doctor🐍👨‍⚕️ (@TimBuntley) November 6, 2016

I have no words #400Days

— Myrn (@LeMyrn) November 6, 2016

https://twitter.com/ggfletcher/status/795099413098229761

With all that in mind, I will now cautiously admit that I didn’t hate 400 Days. While I thought the execution left a lot to be desired, I kind of liked the idea behind the film. The problem with the film’s ending was not that it was ambiguous as much as it hadn’t really earned the right to be ambiguous. If you’re going to go with an open ending, you have to provide enough clues and details that the audience can still have an opinion about what actually happened after the end credits rolled. As oppose to something like Inception or Upstream Color, 400 Days didn’t really didn’t build up to its enigmatic conclusion. Unearned ambiguity just feels like narrative laziness.

That said, I liked the design of the bunker and, as I said before, I liked the idea of watching these four characters trying to figure out what’s real and what’s a hallucination. Dane Cook did okay with his role, though ultimately he was still just Dane Cook trying to be serious. However, Brandon Routh and Caity Lotz did well, despite both being saddled with rather underdeveloped roles.

400 Days wasn’t that terrible…

That was in my top five WORST MOVIES EVER. #400Days

— Scott Braveboy 🦖 (@TScottBrave) November 6, 2016

Outside the (Hat) Box: PHANTOM LADY (Universal 1944)

Posted on November 22, 2016 by gary loggins

cracked rear viewer

Interested in a Hitchcockian 40’s thriller full of suspense and noir style? Then PHANTOM LADY is the film for you, a small gem based on a Cornell Woolrich novel and directed by the talented Robert Siodmak. I wouldn’t go so far as to call this film noir like many do, but it certainly contains many of the stylistic elements of the genre in its gripping murder mystery story. Pretty damn close, though!

The Hitchcock influence clearly comes from Joan Harrison , former secretary and screenwriter for The Master of Suspense, who became one of only three female producers working during Hollywood’s Golden Age. There’s Hitchcock’s famed McGuffin to be found in the form of a “crazy hat” worn by the mysterious woman of the title that’s crucial to the film’s plot. Add the tension ratcheted up by screenwriter Bernard Schoenfeld and you’ve got a Hitchcock movie without Hitchcock.

The noir elements…

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Cleaning Out The DVR Yet Again #10: The World’s Greatest Sinner (dir by Timothy Carey)

Posted on November 22, 2016 by Lisa Marie Bowman

As I continued to clean out my DVR, I decided to take a break from watching Lifetime films and, instead, I watched a movie that I recorded off of TCM on October 30th.

Filmed in 1962 but apparently never given an official theatrical release, The World’s Greatest Sinner is a genuine oddity and one that everyone should see at least once. The infamously eccentric character actor Timothy Carey wrote, directed, and starred as Clarence Hilliard, a small-town insurance salesman who, one day, decides to quit his job and … well, your guess is as good as mine as to what he’s doing or why he’s doing it. Here’s what I can tell you for sure: after stumbling across a concert and seeing how excited everyone is over rock and roll music, Clarence decides to become a street preacher. While standing on bags of fertilizer, Clarence preaches that everyone is God and that everyone can live forever.

At first, Clarence faces persecution for his beliefs but soon, he has a loyal cult following. He funds his new church by seducing elderly widows and he even becomes a rock star himself. At first, he’s held back by his lack of facial hair but then he starts to wear a fake goatee. He even changes his name to God Hilliard and, while he may have alienated his family, he is now loved by young people everywhere. In fact, in a remarkably icky scene, we find out that the 40-something God now has a 14 year-old girlfriend.

God Hilliard is so popular that he’s approached by a shadowy figure who suggests that maybe he should run for President. As the candidate for the Eternal Man Party, God gives ranting speeches that are listening to by his rabid fans, the majority of whom are now wearing arm bands with the letter “F” on them. (F for Faust, perhaps? Or F for Fake, as Orson Welles might argue.) At first, the press ignores God but God runs as an outsider, giving speeches in which he promises to do away with the establishment and return the government to the people and … well, let’s just say that this film, which was obviously designed to be an over the top satire, now feels more than a little prophetic.

It looks like God Hilliard is about to become the most powerful man in the free world but the other God — the one who is vengeful and jealous and capable of throwing lightning bolts and all that — might have other plans….

(Incidentally, this entire story is told in 77 minutes, which should give you some clue of just how frantically paced The World’s Greatest Sinner is.)

Oh my God (not, not you Clarence), this is a weird film. It’s shocking today so I can only imagine how it must have looked to audiences in 1962. (Or, I should say, how it would have looked if it had actually been given a theatrical release.) Admittedly, The World’s Greatest Sinner is a ragged film, full of haphazard editing and occasionally inconsistent sound. Made for just $90,000, its low budget is obvious in almost every scene. And yet, all of this works to the film’s advantage. The World’s Greater Sinner literally feels like a cinematic dream, with its inconsistencies contributing to its otherworldly feel. This is one of those films that you need to see at least once because you’ll probably never see another one like it.

The entire film is a Timothy Carey production. He wrote, produced, directed, and starred, creating an indie film at a time when being independent was something more than just a trendy buzzword. If you’re into classic films — and particularly if you’re a fan of Stanley Kubrick’s early work — you might recognize Carey. He was one of those legendary character actors who was always called upon whenever a movie needed a memorable crazy or an intimidating henchman. From what I’ve read, Carey was reportedly as eccentric as the characters that he played. His performance in The World’s Great Sinner swings back and forth between being histrionic and being surprisingly subtle, often in the same scene. The same can be said of his direction. For every uneven or poorly lit scene, there’s another that’s artfully composed and full of surprising detail.

The World’s Greatest Sinner is simply something that has to be seen to believed.

Cleaning Out The DVR Yet Again #9: Inspired To Kill (dir by Michael Feifer)

Posted on November 22, 2016 by Lisa Marie Bowman

Wow, it’s Antonio Sabato, Jr. again!

That’s right, Inspired To Kill co-stars Antonio Sabato, Jr. Interestingly enough, the previous movie that I watched in my effort to clean out the DVR, Remote Paradise, also co-starred Antonio Sabato, Jr. Also interestingly enough, both Inspired to Kill and Remote Paradise feature Sabato playing an enigmatic, older man who has an affair with a lonely and insecure woman. In both films, it turns out that Sabato is not exactly who he first appears to be. (If you want, feel free to insert your own joke about Sabato endorsing Donald Trump here because I’m too lazy to come up with one.) Perhaps not coincidentally, both films were directed by Michael Feifer and both films premiered on the Lifetime Movie Network.

(For the record, I recorded Inspired To Kill off of LMN on November 13th.)

Inspired To Kill tells the story of Kara (Karissa Lee Staples), a self-described aspiring writer who is recovering from a personal trauma. (Her boyfriend was murdered, which is definitely one way to get out of a relationship.) Having fled the painful memories of her former life in New York City, Kara is now living in Los Angeles and everything should be perfect….

Except, it’s not!

Yes, Kara may be living in L.A. but everyone knows that, if you want to be a real writer, you have to live in NYC.

Yes, Kara has been accepted into a prestigious creative writing program but her professor (Jay Pickett) is a total sleaze who keeps trying to hit on her.

Yes, Kara has managed to land a job as a barista but her boss (Daniel Booko) is a demanding jerk. He even gets upset when she misses work for several days in a row.

Yes, Kara has met the cute and charming Jason (Matthew Atkinson) but Jason sometimes seems oddly hesitant about pursuing a relationship with her. (Plus, Jason wants to be a lawyer, which means that, when the revolution does come, he might be on the wrong side.)

Yes, Kara is renting a room from the fun-loving Charlie (Olivia d’Abo) but Charlie is also a heavy drinker and can be a bit self-absorbed. Charlie’s solution to every problem is to go out, get drunk, and pick up a college student … actually, Charlie might have the right idea…

And yes, Kara has finally managed to meet her idol, the true crime writer P.K. Reese (Antonio Sabato, Jr) but there seems to be something a little bit off about him. He’s supportive of her as a writer but, at the same time, he gets upset if anyone other than him reads her work. He says that he wants to meet her friends and yet, he goes out of his way to avoid them. And when more and more people in her life start to suddenly die, Kara finds herself wondering if maybe her new lover was somehow involved…

You’re probably thinking that you’ve got Inspired To Kill all figured out but there’s a big twist that occurs towards the end of the film. Now, I have to admit that I figured out the twist, largely because I’ve seen so many Lifetime films that it is now basically impossible to fool me. But, even with that in mind, the twist was still pretty clever and actually, a lot of fun in its wonderfully implausible way. I mean, if you’re expecting the twist to actually make any sense than you have no business watching a Lifetime movie in the first place. Don’t worry about logic. Just sit back and enjoy the film.

Anyway, I rather liked Inspired To Kill. It’s an enjoyable and well-acted little thriller, one that will keep you entertained. It’s the type of unapologetically crazed and lurid melodrama that reminds me why I fell in love with the Lifetime Movie Network in the first place. Inspired To Kill is a lot of fun. Keep an eye out for it!

Artwork of the Day: Ms. 45

Posted on November 22, 2016 by Lisa Marie Bowman

I don’t know who designed the poster for the classic 1981 film, Ms. 45, but it is truly brilliant.

Directed by Abel Ferrara, Ms. 45 tells the story of a mute seamstress named Thana (played by Zoe Tamerlis) who, after being raped twice in one day, uses a 45 caliber pistol to take revenge on almost every man in New York City. The film’s tagline announces, “She was used and abused — and it will never happen again!” and Ms. 45 is a feminist masterpiece, one that exposed and attacked the same type of men who, undoubtedly expecting to see a typically low-budget, nudity-filled revenge flick, probably flocked down to 42nd Street to see the film when it was originally released.

Like the film itself, the poster is a work of transgressive brilliance, promising sex and violence while, at the same time, announcing that Thana was never again going to be a victim of an exploitive and patriarchal society. One can only imagine how many men were lured into the theater by the legs on this poster, just to then by left in a state of shock as they literally watched themselves being blown away and punished for their misogyny on screen. (Reportedly, even the most hardened of grindhouse audiences were left stunned by Ms. 45‘s intense final scene.)

The poster for Ms. 45 is definitely one of the best in grindhouse history and it’s also our latest artwork of the day!

(If you want to read more about my feelings about Ms. 45 and grindhouse cinema in general, please be sure to read my rightfully acclaimed essay on the subject, Too Sordid To Ever Be Corrupted.)

Music Video of the Day: Rockit by Herbie Hancock (1983, dir. Godley & Creme)

Posted on November 22, 2016 by Valerie Troutman

I don’t have much to say about this music video that I assume everyone has seen at this point. MTV & VH1 used to bring it up all the time whenever they would look at their early history and for good reason. Not only is it amazing, but it also won five VMAs at the first Video Music Awards in 1984. That’s particularly notable since it was the year people generally agree is when the color barrier at MTV basically disappeared.

In the time since I wrote about Rapture by Blondie, I went and read the article on Wikipedia about the color barrier at MTV. There seems to be only three things that people agree on.

MTV started off deciding to go with the radio format known as Album-oriented Rock, or AOR for short, before moving to a Top 40 model in 1984.
They had really bad research about their audience that they ran with to one degree or another.
Billie Jean broke the color barrier.

Even that third one is in dispute and isn’t entirely accurate. Some people believe that Pass The Dutchie by Musical Youth broke the color barrier. Also, while Billie Jean certainly put a big crack in the barrier, it really didn’t fully come down till the summer of 1983 with other music videos by black artists, which I imagine included this one.

The fact that there was even a barrier in the sense that people think of when they hear the word “barrier” is disputable. Rapture by Blondie aired as the 48th music video on the very first day of MTV, and it is basically Debbie Harry advertising rap music along with numerous black artists featured in the music video and some names included in the song. It seems like there was an almost day to day set of decisions about which videos would fly with their audience. I really would love to know the details about when Eddy Grant’s music video Electric Avenue aired. It must have been a confusing time for all the parties involved at MTV, the record companies, and the artists because they all had to know they were leaving a bunch of money on the table.

I put up that this music video came out in 1983 because while IMVDb says 1984, both mvdbase and the music video itself say 1983. I would love to know for sure if we got such an experimental music video with minimal insertions of Hancock because of the color barrier. An article on How We Get To Next seems to indicate so with a link to the book I Want My MTV (the pages were locked so I couldn’t view them). The other thing that hints that he was relegated to the TV is because it is smashed at the end. Regardless, I love that Hancock only shows up on short shots of the TV. It’s as if he isn’t just performing the song, but is a person behind the scenes controlling both the robots and the video itself through his song. In the process, it also places a heavy emphasis on the music and its visual representation.

It is a great example of an early MTV music video that really showcased the potential for the medium. The song itself helped to popularize scratching and turntablism, which was done by Grand Mixer DXT.

Roo Aiken was the Editor.

Jim Whiting and Roger Deacon were art directors.

Lexi Godfrey and John Gayden/Gaydon were producers.

Hancock still gets around today. He is slated to appear in an upcoming Luc Besson sci-fi movie and even made a cameo appearance on Girl Meets World.

Enjoy!

Guilty Pleasure No. 32: It’s So Cold In The D by T-Baby (a.k.a. My Excuse For Not Getting More Accomplished Today)

Posted on November 21, 2016 by Lisa Marie Bowman

I’m supposed to be writing right now but I can’t get this damn song out of my head…

Oh well — I’m going to try to get something of value written and posted tonight, even if I do have an 8 year-old meme stuck in my head…

WISH ME LUCK!

Previous Guilty Pleasures

A Few Thoughts on …. The Walking Dead 7.5 “Go Getters” (dir by Darnell Martin)

Posted on November 21, 2016 by Lisa Marie Bowman

So far, season 7 of The Walking Dead has been pretty inconsistent.

Often times, I have felt like a lone voice in the wilderness, vainly defending the season premiere and continuing to hope that, at some point, Jeffrey Dean Morgan’s portrayal of Negan is going to become something more than a one-dimensional caricature.

Like a lot of people, I kind of enjoyed the second episode but, in retrospect, that was mostly because of the weirdness of King Ezekiel and the majesty of Shiva. The episode itself was extremely slow and featured one of those overly sentimental musical montages, the type of thing that never holds up particularly well on repeat viewing.

The Cell … oh, I tried to enjoy The Cell but basically, it was just an hour of Daryl not speaking and Negan doing his Negan thing.

And then there was last week’s episode, which appears to be going down in the history books as the consensus pick for the worst episode of The Walking Dead ever.

So, with all that in mind, I am going to cautiously state that I think that the latest installment, Go Getters, was a definite improvement over the last few episodes. It was hardly a classic. It certainly wasn’t The Walking Dead at its absolute best. But, at the very least, it held my attention for 60 minutes, it seemed to actually move the story forward (as opposed to just being a stagnant portrayal of doom and gloom), and it left me looking forward to seeing what would happen next week. Coming nearly halfway through an uneven season, Go Getters provided just a little bit of hope for the show’s future, telling us, “The Walking Dead‘s not dead and growling in Herschel’s barn just yet!”

Of course, it helped that Go Getters was centered on Maggie, the only one of the main characters who has not left me pissed off or disappointed this season. Following the deaths of Glenn and Abraham, Maggie and Sasha are hiding out at Hilltop Colony. Gregory wants to kick them out, Jesus wants to protect them. Eventually, the Saviors show up and we get to know Simon (Steven Ogg, investing the role with such menace that it’s hard not to wonder how different the season would be if he had been cast as Negan), who is one of Negan’s liuetenants. Simon collects his tribute, humiliates Gregory, and leaves. Meanwhile, Carl and Enid show up at Hilltop, having run away from Alexandria. One-eyed Carl has decided to take revenge on Negan and who can blame him? At this point, he has to know that his red-eyed, sniveling, neutered father isn’t going to do anything…

(Which brings up an interesting issue: we’re supposed to look down on Gregory for being so weak and subservient to the Saviors but really, he didn’t do anything different from what Rick did last week. We’re supposed to give Rick a pass but not Gregory, which doesn’t seem quite right. Gregory may be an ass but, as we should all know by now, nice guys don’t survive the apocalypse.)

So far, each episode this season has featured a different community being harassed by Negan. I’m assuming that these communities are eventually going to come together to take out the Saviors. If that’s the case, I can understand and even respect the deliberate build-up. At the same time, this season is moving so slowly (and has been so repetitive) that it’s hard not to get frustrated when you’re watching on a weekly schedule. One gets the feeling that Season 7 will be better when binge-watched but, for now, I find myself wishing the show would pick up the pace.

But, with all that in mind, I liked Go Getters. I love the fact that Maggie refuses to surrender. Despite all of the terrible things that have happened to her and the people that she loved, Maggie has not given up. She hasn’t turned into a weak shell, like Rick or Daryl. Nor has she retreated to a world of fantasy, like Carol. Instead, Maggie lives, Maggie fights, and Maggie endures. Glenn may be dead but Maggie the Cat is alive.

GO MAGGIE!

Artwork of the Day: Disco Dilemma

Posted on November 21, 2016 by Lisa Marie Bowman

By Mort Kunstler

Do a google search for “Disco Painting” and this is one of the first images to come up. Entitled Disco Dilemma, it was painted by Mort Kunstler and, according to what I read online, it was used as the cover for the January, 1968 edition of a magazine called For Men Only.

(As my friend, Mark the Australian hippy, once pointed out, Kunstler is German for artist.)

A part of me wonders if that date is correct. Did they have discos in 1968? To me, this seems more appropriate for 1978 than 1968. Just check out that ascot on the bearded man over on the far left side of the picture. (The bearded man, incidentally, bears a vague resemblance to Charlton Heston. Heston famously wore a similar ascot all through Soylent Green.) According to Wikipedia, For Men Only published from “at least the 1950s to the 1970s,” which is pretty damn vague for the internet’s go-to source for information. Wikipedia also states that it started out as a “men’s adventure” magazine before going pornographic in 1970. Personally, I just think it’s amusing that there actually used to be a magazine called For Men Only. Is that a threat or a dare? If I found an old copy of For Men Only and I opened it, would it lead to some sort of Ark of the Covenant-style divine retribution?

(“CLOSE YOUR EYES! DON’T LOOK AT IT!”)

Well, regardless of when this was actually painted or if I would even be allowed to be in the same room as the actual magazine, here’s Disco Dilemma!

(Speaking of disco, be sure to check out my reviews of Skatetown USA, Sgt. Pepper’s Lonely Hearts Club Band, Saturday Night Fever, Prom Night, Staying Alive, and Thank God It’s Friday!)

(And remember…if I can’t have you, I don’t want nobody, baby….)

(…’Cause we’re living in a world of fools. Breaking us down when they all should let us be. We belong to you and me…)

Music Video of the Day: Touch Me (I Want Your Body) by Samantha Fox (1986, dir. ???)

Posted on November 21, 2016 by Valerie Troutman

After doing those six music videos from 2016, I thought I would get one point across that I really couldn’t when I was only talking about Starving by Hailee Steinfeld. I do know that Steinfeld has done at least a couple of other music videos where she did a thinly disguised child version of Cyndi Lauper’s She Bop, a couple of MTV Unplugged looking music videos, and one for Rock Bottom that was more appropriate for her talents. My point below stands regardless.

Hailee Steinfeld:
-19 years old
-A song that is of a sexual nature.
-A music video that asked her to express her sexuality onscreen.
-A low-budget looking music video.

Samantha Fox:
-19 years old
-A song that is of a sexual nature.
-A music video that asked her to express her sexuality onscreen.
-A low-budget looking music video.

There is one big difference though.

As much as Steinfeld tried to look sexy in Starving, it still felt like a 19 year-old acting. That made it an uncomfortable experience to watch compared to something like Rock Bottom. Samantha Fox on the other hand was fully capable of expressing her sexuality. There’s a very good reason for this difference.

When Steinfeld was 16, she was just coming off a hiatus after True Grit (2010) to make an appearance in a few movies. When Fox was 16, she was posing topless for the British tabloid The Sun. She continued doing that until 1986 when she started a career in music with this song. That makes a big difference when you are asking a 19 year-old to get in front of a camera as themselves in a sexual manner.

I would have picked out Naughty Girls Need Love Too, but that was made two years later–even if it is a better song with a better music video. It has Fox appearing in a more revealing version of an outfit Tiffany wore in I Think We’re Alone Now. It also had her pushing a man’s head downward toward her crotch while saying “we can get busy my way” after putting his head against her breasts while wearing a Debbie Gibson hat. There’s plenty more in there including her being nude that implies she is in the middle of sex near the end of the music video.

However, it’s not like this music video doesn’t have its fair share of sexual stuff going on. The song is about searching for a man. The title comes right out and says she is looking for a guy, not for love, but to feel his body. There’s the moaning. There’s the drum that has white stuff springing off of it. There’s the guitar that is played like it is a penis. There’s the crowd of people all trying to get a piece of her. There’s the photographs as a reference to her modeling career. There’s the line: “Like a tramp in the night, I was begging for you, to treat my body like you wanted to.” The water flung by the fan into the body of one of the band members to cool him off that she does by accident. There’s the guy she pulls from the audience.

The point is that throughout the music video I believe this is all in Fox’s wheelhouse. It wasn’t fair to Steinfeld to ask her to try to do this stuff in Starving. If you must take her in this direction, then have Steinfeld cut her teeth doing sex-lite music videos along the lines of Belinda Carlisle’s Heaven Is A Place On Earth before dumping her into Samantha Fox territory.

Fox hopes to re-release this song soon and return to modeling by posing in Playboy according to The Mirror. I don’t watch reality television, but she was on the British show Celebrity Big Brother this year.

Enjoy!