Party Girl

Seductive Sydney model, Madison Ashton, says she loves a light spanking, punishing bad boys, and working on her site: www.sydneypartygirls.com
PHOTOGRAPHY: RICK BENSON Continue reading “Web Special Babe, January 2010, Madison” »

SEXY SEND-OFF

We’re sorry to tell you that incredible Kobe Kaige, our 2007 Pet of the Year, is moving on from modelling to work as a make-up artist in the USA. Of course, we couldn’t let her go without getting her to do one more scorching shoot for us…

Continue reading “Kobe Kaige” »

PICTURE PERFECT

A keen photographer and a dancer at Kittens in Melbourne, sexy 21-year-old Charlie is a pin-up girl fantasy come to life.

Photography: AUTOMODELZ
Continue reading “Charlie” »

HANDY ANDIE
Casanovette, Andie Valentino, made waves in Penthouse in May ’97 as Pet of the Month. This year she’s back and sexier than ever in The Girls of Australian Penthouse. We don’t know what they feed their porn stars over there in California, but it leaves them smoldering from the inside out
Photography: MISHA
Continue reading “Andie Valentino” »

Ladies and gentlemen, please join us in welcoming back Sydney pole-dancing extraordinaire—and our 2008 Pet of the Year Runner-up—Miss Suzie Q!
PHOTOGRAPHY: BECK IMAGES Continue reading “Suzie Q” »

Sherlock Holmes
Director: Guy Ritchie
Stars: Robert Downey Jnr, Jude Law, Mark Strong, Rachel McAdams
Roadshow

Review: Suzan Ryan

I must admit that I had mixed feelings about this film; I wanted it to be good. Really good. But I feared that it could be very bad—another remake of Lock, Stock and Two Smoking Barrels (1998) by director Guy Ritchie, who has yet to stray from the proven fast-cut formula he employed so successfully in that film (which is somewhat understandable when you consider the abominable Swept Away (2002) as Ritchie’s only other attempt at diversity).

While I had no reservations that Downey Jnr would deliver an excellent and witty performance as Sherlock Holmes, when it came to picturing Jude Law as Dr Watson, I expected a bearable-yet-wooden performance. At best.

And what of the decision to cast Rachel McAdams as female lead, the sassy Irene Adler? From what I’ve seen of Ms McAdams’ work, she failed to impress as the spunky journalist in State of Play (2009), relying on dimpled smiles and harried gestures to define her character, and was given only limited range as the good girl targeted by the bad guy in Red Eye (2005).

However, casting Mark Strong as Holmes’ nemesis, the evil Lord Blackwood, is a welcome treat, following his riveting performance in Ridley Scott’s Body of Lies (2009), in which he played the genteel-yet-uncompromising boss of the Jordanian secret service, Hani Salaam—outshining the performances of both Russell Crow and Leonardo DiCaprio. No easy feat.

Sherlock Holmes begins with the capture of serial killer and black arts practitioner Lord Blackwood (Strong) by the cocky-yet-camera-shy Holmes (Downey Jnr) and his able assistant Dr. Watson (Law), in what is to be the pair’s final case before Watson marries fiance Mary (Kelly Rielly) and returns to working as a doctor.

But when Blackwood returns from the grave and resumes his killing spree, Holmes and a reluctant Watson agree to work with Scotland Yard to locate and apprehend the elusive killer.

Simultaneously sullen and oafish when forced to interact with Watson’s fiancée (and contemplate the end of a long and cherished relationship), Holmes hits the bottle, along with plenty of bodies, working out his anger in bare-knuckle boxing fights, where he uses his intellect to disable opponents as effectively as his hands.

And it’s in these fight scenes where Guy Ritchie most effectively flexes his directing muscles, providing his trademark slowed-motion-interspersed-with-live action scene-play and character voice-over to invigorate the movie and maintain pace.

There is chemistry between Downey Jnr and Law, providing depth to their characters’ banter while simultaneously offering respite from the film’s sinister undertones and interesting plot twists.

Sherlock Holmes is a solid, enjoyable, well-made and well written movie. It also marks a watershed moment in the career of Guy Ritchie, who at last—and to our great relief—has graduated and evolved as a director. Well done.

Sherlock Holmes opens in cinemas nationally on December 26.

Avatar
Director: James Cameron
Stars: Sam Worthington, Zoe Saldana, Sigourney Weaver, Giovanni Ribisi
20th Century Fox

Review: Dave Kozicki

If God is in the details, then consider me a convert to the Church of Cameron. When Hollywood’s hype machine begins bandying about words such as “revolutionary” or “groundbreaking”, reviewers get cynical, roll their eyes and prepare for catastrophe.

Following up one of the most successful films of all time, Titanic (1997) after a 12-year hiatus from commercial filmmaking would make even the most loyal James Cameron (Terminator 1 & 2, Aliens, True Lies) fan nervous about what the obscenely budgeted film—estimated to have cost between US $200 and $300 million to make—is hiding under its skirt.

Moviegoers can rest easy because Cameron delivers the ultimate cinema experience with Avatar; a film so grand in scale and visual innovation that it will leave you reaching for an oxygen tank. The cutting-edge graphics help to offset the predictable plot, which is cut seemingly from Dances With Wolves, with snippets of The Last Samurai, and a nod to the themes of technology-versus-nature as explored by Japanese filmmaker Hayao Miyazaki (Spirited Away) in Princess Mononoke.

Crippled Marine, Jake Sully (Sam Worthington) arrives on alien planet Pandora to fill the shoes of his recently departed sibling in the Avatar program. Instability and rampant poverty on Earth has lead to the privatisation of the Marine Corps—which serves more often as guns for hire to private corporations than constitutional defenders.

The corporation, in this instance, is lead by Parker Selfridge (Giovanni Ribisi), and in its discovery of rare mineral Unobtainium (really!) must relocate the ten-feet tall, blue-skinned indigenous population, the Na’vi, in order to mine the deposits via any means necessary.

To assist the mining giant, scientist Grace Augustine (Sigourney Weaver) created Avatars, a meld of Na’vi and human DNA that is remote controlled by the human subject it mirrors. Sully’s mission is to observe and make contact with the Na’vi, and then convince them to relocate.

Due to a series of unexpected events, Sully finds himself rescued by a fearless Na’vi hunter, Neytiri (Zoe Saldana) and so begins the by-the-numbers revelatory plot where man questions his beliefs/awakens feelings of romance via montage: boy meets blue-skinned girl, adopts her ways, becomes in tune with nature, tames wild beasts, conquers his fears, realises he’s playing for the wrong team, fights to preserve the Na’vi way of life, etc, leading to the film’s climax. No surprises here. But what is surprising—and legitimately awe-inspiring—is the sensory overload that moviegoers experience by via the incredible visuals and astounding use of 3D technology. This experience is what the 3D fuss was all about—you will have seen nothing like it.

Call it an eyegasm or an ocular orgy, James Cameron has delivered an overwhelming, groundbreaking and immersive new cinema experience. The planet of Pandora impresses with life, from the design of its unique-yet-somehow-familiar flora and fauna, to the most realistic and believable—yet entirely digital—representation of an alien race conceived on film to date. The Na’vi move naturally and they behave and emote with a spirit previously unseen in digital humanistic graphics: pupils dilate; muscles ripple, and the characters walk (or, more accurately, saunter) with almost sexual grace. No dead eyes here. The aliens act and react as you would expect to see from a live actor, and Zoe Saldana’s riveting performance is the uncontested standout.

To enjoy the Avatar journey to its fullest, watching the movie in 3D is essential. Gone are the days when objects are thrust towards the viewer’s eyes. This new realisation of 3D is subtle—droplets of rain cascade in lifelike proximity; ash flakes float outside your grasp, and trees rest slightly out of focus in your line of sight.

Kudos to the film’s special effects team for making the extraordinary seem ordinary, using nuance and subtlety throughout the film’s layers of effects in order to leave viewers wondering where reality ends and the digital world begins.

Not since I saw Star Wars (as a 7-year-old) has a film affected me so profoundly. And, like Star Wars, Avatar has set a new standard of expectation in movie-making. Its amalgamation of classic mythology with new technologies, will undoubtedly inspire a new generation of moviegoers. George Lucas: take note. This is how it’s done.

Avatar is screening in cinemas nationally now

Skyla the Scorcher

Hottie Skyla is a Sydney girl who’s about to head up north and make the Gold Coast her home. She enjoys sex in the great outdoors and in front of an open fire, so we’re set!
Photography: AUTOMODELZ Continue reading “Web Special, December 2009, Skyla” »

SILVER SERVICE

Jasmine, 26, enjoys fulfilling her customers’ needs at Twin Peeks, Sydney’s sexy lingerie restaurant. However, in bed, the 32D-24-34 babe prefers to lie back and be served…
Photography: Automodelz Continue reading “Web Special, November 2009, Jasmine” »

Above the Law

Sassy 26-year-old Sydneysider, Angelina, loves to be on top, and in charge…
Photography: Adam Watson

To see the most explicit shots of Angelina, buy Australian Penthouse MAX magazine now! Continue reading “Web Special, November 2009, Angelina” »