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Sick and twisted for the sake of being sick and twisted, Kuso is a certainly not a film for everyone, or perhaps anybody. I imagine the experience is like being high on something spiked with an agent that can induce awful nightmares. Though I’m not sure being drunk or high will make Kuso a delightful experience. Having seen the film stone-cold sober with an Earl Grey Tea Latte at an afternoon press-and-industry screening, I can confirm that, indeed, many critics and acquisition executives gave up at various points throughout. It’s a film that won’t been seen at a theater near you anytime soon, as it may, in fact, be in violation of many lease agreements, edging towards pornographic. But, if you came for the blood, sweat, tears, semen, and amniotic fluid, then Flying Lotus will give you your money’s worth in a nasty piece of work...

HollywoodNews.com: Extraordinary and stunning: Aimee Mullins is a woman who demands admiration. Gifted athlete, fascinating model, talented actress, Aimee is characterized by her unique achievements, her charisma and radiant beauty.

Today, she joins the family of L’Oreal Paris Ambassadors.

“The L’Oreal Paris icons are among the most beautiful women in the world. I am very honored to be joining this family. The ‘Because I’m Worth It’ tagline means a lot to me. Beauty is not skin-deep; it can be a means of self-affirmation, a true indicator of personality and confidence,” says Aimee Mullins.

“Aimee embodies perfectly the L’Oreal Paris woman. Sublime, charismatic, strong. Her life is extraordinary in all meanings possible,” says Cyril Chapuy, Global Brand President of L’Oreal Paris.

“Aimee Mullins is a truly remarkable woman. An accomplished athlete, muse, fashion model and talented actress, yet she is so much more: a smart,...

Who doesn’t like to see Clive Owen run? Who isn’t intrigued by multinational fiduciary malfeasance? If you answered “not me” to both of those questions you are a) able to negotiate double negatives well and b) definitely going to enjoy Tom Twyker’s The International. Dig this clip, where Clive proves that sometimes your own two feet are the best in city traffic. Clip two shows a shootout at New York’s Guggenheim Museum, hence placing Tom Twyker alongside Ridley Scott (Someone To Watch Over Me) and Matthew Barney (Cremaster 3) on the short list of filmmakers that have used this location.

Palm Pictures

NEW YORK -- The latest in Matthew Barney's non-chron-ological cycle of avant-garde films follows in the tradition of this distinctive artist's unique and decidedly bizarre vision. More than twice as long and much more visually accomplished than the other entries in the series, Cremaster 3 is nonetheless a highly alienating and less-than-involving experience for anyone not in possession of the accompanying explanatory notes or not intimately familiar with Celtic mythology, Masonic initiation rites and the legend of the formation of the Isle of Man, among other things. (The title, by the way, refers to the muscle that controls the height of the testicles.)

All five films in the cycle, which have previously received limited theatrical distribution, are now playing in various art houses around the country as well as in museums as part of a traveling Matthew Barney retrospective. Only the most adventurous and patient viewers are advised to attend.

Running a numbing three hours, the video-shot, dialogue-free Cremaster 3 defies plot analysis, though it has something to do with the creation of New York's Chrysler Building and a conflict between the building's architect (played by sculptor Richard Serra, one of many guest stars in the series) and an apprentice played by Barney himself. Among the oddball characters on display are the undead corpse of the killer Gary Gilmore (who figures prominently in Cremaster 2); a beautiful legless woman (Aimee Mullins) who cuts potatoes with the blades on the shoes of her artificial limbs; a gaggle of gorgeous female dancers, much like the Rockettes, who put on a routine in the rotunda of the Guggenheim Museum; and a beautiful half woman/half cheetah.

The action includes a duel between two giants, a demolition derby among vintage automobiles in the lobby of the Chrysler Building and a particularly unpleasant dental encounter at the Saratoga Racetrack. As with the other installments, this film showcases Barney's penchant for including extreme and explicit renditions of bodily functions, here best exemplified by a scene in which the apprentice's intestines pour out of his rectum.

There's no denying the elaborateness of the artist's conceptions, nor his ability to depict them with outrageous elan, but really the whole series is so much pretentious nonsense, lavishly praised by those who equate obscurity with profundity. The lack of intelligibility might be forgivable if the films were executed with more wit and faster pacing, but the entire enterprise reeks with sluggishness and features visuals that are far more elaborate than actually meaningful. Individual moments do convey some thematic resonance, but overall the films would be far better appreciated via a passing glance at a museum's video monitor than through sustained and excruciating viewing.