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Another girl perfectly aware that she is being watched and filmed, even smiling at the camera - in any case, despite her pretended annoyance and ignorant attitude she keeps her feet straight towards the camera, moving her soles and toes slowly, so that the observer might document their well-tended soft and lickable qualities in full and extensively -




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- while she indulges in the thought about how in future millions of men will closely scrutinise her very details, her soft skin, the shape of her arches and toes. She will have habitual fantasies about it, getting aroused and climaxing by imagining all the excitement and relief her soles and toes provoke among men around the world, desperately wanting to soak her. It will be her life-long pride and consolation.


Bikini Cavegirl (also known as Teenage Cavegirl) is a softcore pornographic film made by Fred Olen Ray under the pseudonyms "Nicholas Medina" and "Sherman Scott".[2] It has been described as "a sexy makeover", but not a remake, of Ray's earlier film Dinosaur Island.[3] It was released directly to video in 2004 under the title Teenage Cavegirl, and is shown on cable as Bikini Cavegirl.[4]


Under the title Teenage Cavegirl, the website Digitally Obsessed gives the film a middling review, commenting that its sex scenes are not explicit enough to be a good pornographic film, and yet there are too many of them to allow much plot development. The few amusing points of the film are said to include the title character's reaction to television commercials, and Jay Richardson's performance as an evil scientist. While noting that Fred Olen Ray is "one of the great genre directors", the review comments that his emphasis on non-explicit sex in this film hampers the possibility of enjoying the film as a "campy B-movie", "so one is left watching what is essentially porn without all the detail."[2]


The cult-film website eccentric-cinema.com gives Teenage Cavegirl a rating of five stars out of ten. The site points out that Fred Olen Ray's stylistic interest in his film work is mainly in the drive-in atmosphere of the 1950s through 1970s. According to the review, Teenage Cavegirl satisfies the requirements of a sexploitation film of that era and genre. The film's lead actresses are attractive and are given many chances to show off their physical attributes in the film. One of the funnier aspects of the film is said to be its references to B-films such as Roger Corman's Teenage Cave Man (1958) and Gordon Scott Tarzan films. However, the weakness of the film is stated as that it is, "really just a series of sex scenes (six, in fact) interspersed with minuscule bits of goofy, extremely flimsy plot." The sex scenes are judged to be well-done, and it is speculated that Ray could have a good career in straight pornography if his interests were not in the softcore drive-in genre. Technically, the image quality of the film is judged to be excellent considering the low budget with which it was filmed.[4]


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Disclaimer: We have zero tolerance policy against any illegal pornography. All links, videos and images are provided by 3rd parties. We have no control over the content of these sites. We take no responsibility for the content on any website which we link to, please use your own discretion while surfing the links.


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All models were 18 years of age or older at the time of depiction. kompoz.me has a zero-tolerance policy against illegal pornography. This site contains adult content and is intended for adults aged 18 or over.


In a 1995 article published in GLQ, anthropologist Kath Weston explores the role of urban spaces in the construction of a "sexual imaginary" through which queer subjects find comfort, community, and a sense of self in the context of a move from a rural, small-town, or suburban environment to a large urban centre. Weston notes that the narrative of gay migration to the city functions as "the odyssey of escape from the isolation of the countryside and the surveillance of small town life to the freedom and anonymity of the urban landscape," and as she suggests, the valorization of urban environments in opposition to rural and small-town settings is "embedded in the gay subject" (274). The claustrophobia of small towns and suburbs seems to be a typical, if not stereotypical, feature of narratives written for and about gay teenagers. Each of the four books reviewed here is set in a small town or an outlying suburb of a major city. In these four narratives, urban centres are seen as almost mythic spaces and as privileged sites of sexual and self-exploration, whereas small towns and suburbs are represented as restrictive sites of surveillance, bullying, and heteronormativity. Although the narrative of urban migration is a compelling one in queer culture and functions as an overwhelmingly dominant trope in queer literature, as Judith Halberstam reminds us, the conflation of urban spaces with acceptance and community and the depiction of rural and small-town spaces as sites of homophobic violence should be scrutinized for its reliance on fairly simplistic class-based assumptions and for its refusal to account for the existence of rural queers who elect to "stay home in order to preserve their difference" (27). Indeed, the books under review here all replicate, to some degree, a dualism between the gay urban metropolis and the homophobic rural/small-town/ suburban setting that becomes a backdrop against which their narratives of self-discovery are constructed. While none of these texts narrates a gay urban migration (all of the protagonists are teenagers still living at home with their parents), a migration to the city is on the horizon for most of these protagonists by the end of each novel. Perhaps predictably, characters who hail from cities tend to function as catalysts for the protagonists' growth and facilitate their personal and sexual development.


Sterritt ** This is a two-character drama about a journalist (Weaver) who agrees to help a New York City fire captain (LaPaglia) write eulogies for comrades who were killed in the Sept. 11 attacks, coming into more intimate contact with the tragedy than she ever expected. Based on Anne Nelson's play, Simpson's film is a soft-spoken memorial to the awful event and its human consequences, but it has little new to tell or teach us.


Sterritt *** Leaving jail after serving 23 years for a murder he committed as a teenager, a lonely man (Thornton) takes a job in a forlorn community center run by an enigmatic preacher (Freeman). He strikes up hesitant relationships with a troubled young woman (Dunst) and the sister of the man he killed. Solomon keeps the drama generally clear and interesting, though some touches make the film-noir plot seem too pretentious.


Sterritt ** Visiting his Australian hometown after his father's death, a man remembers a romance of his teenage years and develops an enigmatic relationship with a mysterious woman who can't remember her past. Petroni's directorial debut is too bittersweet and atmospheric for its own good, wrapping a potentially strong story in too many layers of misty emotion.


Sterritt * Longing to meet her father, an English aristocrat who sired her in romantic fling, a New York teenager (Bynes) flies to London and barges into his life. Bynes buffs may never have a better chance to bask in her perky presence. Others may draw some entertainment value from the high-profile supporting cast, but that's all this warmed-over comic trifle has to offer.


My 14-year-old sister was swooning with Twilightitis last year, and I couldn't see the appeal of such a badly written book. Yet recently I saw Interview with the Vampire, which was my generation's vampire schlock, and it all suddenly made sense. Vampire erotica of this sort presses very particular buttons for girls (and feminism, I would argue, has nothing to do with the buttons themselves); and Meyer is extremely good at locating them. Twilight is almost pornographic in the way it gives the reader exactly what she craves. 041b061a72


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