Swinging cheerleaders sex

That being said, it's in Hill's determination to demonize Ron that the movie makes its one big misstep. She moves a little like a dancer and she's always ready with a disgusted sneer or a conspiratorial can-you-believe-this? His go-to composition is the two-shot, and he knows a bunch of different ways to make one, from the usual over-the-shoulder angles to more statuesque pre-coital poses, or shots that smartly emphasize depth in the frame, like the one featuring Kate banging away at her typewriter on the left as Ron enters the frame from the back right that I'm going to insist was inspired by Citizen Kane. The uncompressed LPCM monaural audio track is less impressive, though not due to any glaring faults. The action culminates in that riotous, slapstick fistfight I mentioned earlier, where helmeted linemen tackle bad cops to the ground as Rainbeaux Smith bounces around in the background, yelling, "Fight, team, fight!

Swinging cheerleaders sex


The encounter is thus coded as rape, but the film goes out of its way to show Andrea as relatively unbothered by it. Cinematographer Alfred Taylor was no slouch, either, doing some genuinely intriguing things with colour and light on a breakneck schedule. I am very much fit to decide this as well, because I have watched hours and hours of Olympics this week, and American Football makes Judo feel like a film by Sam Fuller. For evidence, consider its relentlessly porny predecessor The Cheerleaders, a popular compendium of ass shots, filthy leers, nude scenes, and simulated sex set to groovy library cues that dispenses with such fripperies as narrative and performance. He made good on the promise of a sensational poster or title. That an essentially weightless sex comedy can build to a moment so arresting is only one example of how smart The Swinging Cheerleaders was on the page first. He additionally offers a succinct summary of the movie's enduring appeal: American Football is the single dullest sport ever conceived. They do it to us without a qualm. Rounding out the terrific cast are Colleen Camp as the Head Bitch of the cheerleading squad, an effervescent Rosanne Katon as the cheerleader who's having an affair with her professor whose wife steps out of her own blaxploitation movie happening offscreen to wield a knife and scare the young interloper to death and Rainbeaux Smith as the angelic virgin still looking for the right guy to pluck her flower. His go-to composition is the two-shot, and he knows a bunch of different ways to make one, from the usual over-the-shoulder angles to more statuesque pre-coital poses, or shots that smartly emphasize depth in the frame, like the one featuring Kate banging away at her typewriter on the left as Ron enters the frame from the back right that I'm going to insist was inspired by Citizen Kane. The smartest character in it is a staunch feminist, but her radical leftist boyfriend is a phony and while the football jocks are a little behind the curve, they're ultimately good guys who understand right from wrong. Yet it also treats them as the most interesting characters on screen by a country mile, and that's something. Why couldn't they have spent the money to get Eastman Kodak and get a good picture? Working under the feminine noms de plume Jane Witherspoon and Betty Conklin, Hill and co-writer David Kidd scripted the film in a hurry, but still made sure to frame it as a satire of contemporary politics, sexual and otherwise. File her next to Kelli Maroney and Joyce Hyser as one of those actresses who totally owned the screen in a major role in a memorable low-budget genre flick or two and then went away. The acting isn't great but some are much better than others. Jo Johnston, meanwhile, is some sort of natural. Interestingly, Hill doesn't take that lightly. Though most of the anecdotes are your usual mildly-interesting behind-the-scenes tidbits, Hill does occasionally come out of his shell to talk about stylishness on a low budget. She's definitely not trying too hard, and it's a good look on her. She moves a little like a dancer and she's always ready with a disgusted sneer or a conspiratorial can-you-believe-this? The Swinging Cheerleaders is about the dangers inherent in doing what you're told, in failing to question what you believe, and in underestimating the moral standing of your fellow man. And that's the mistake. Hill, whose mother was a music teacher and whose father was an art director, was a much more tasteful director than necessary to do right by a film called The Swinging Cheerleaders.

Swinging cheerleaders sex

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The Swinging Cheerleaders Jack Hill 1974





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