Drew Barrymore can work in our pit crew ANY DAY OF THE WEEK
tmc_6882
In one of many joyously over-the-top undercover scenes in the impish
big screen adaptation of "Charlie's Angels," Drew Barrymore --
incognito as part of a sexbomb race track pit crew clad in cleavage-
flaunting stars-and-stripes leather jumpsuits -- distracts a bad
guy's chauffeur by seductively licking the steering wheel of his car.
http://membres.lycos.fr/vidcaps/drew/index.html
Drew Barrymore
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After Barrymore seduces the limo driver in the aforementioned scene,
the movie engages itself in a game of chicken while driving Formula
One racers on the streets of Los Angeles in a scene that is the
epitome of action movie fun taken to its enjoyably ridiculous apex.
http://www.cndb.com/movie.html
?title=Charlie's+Angels+(2000)
Comment:
The very hot Drew Barrymore doesn't exactly show the goods in
this PG-13 rated chick action flick. In one scene she flashes a
driver... we get loads of cleavage but unfortunately no nipples.
Comment:
I tried to avoid reviewing this movie. But since it has become a
regular on cable recently I've finally given in. While I think
Barrymore is a real cutie (I just love her baby face) she's just
limited to cleavage (my favorite is the pit scene) and stratically
cover near-nude shot. Look elsewhere.
Comment:
No nudity here folks, just some fine cleavage shots as she
unzips her suit to seduce a driver. Drew is still adorable and sexy
and proves that she'll still show some skin on film, although it's
not too revealing.
Comment:
This movie proves that no matter what anyone says, Drew is a
FOX. She gets a lot of crap but in this movie she is one fine
Angel. We see her covered in sheets twice in the movie,
exposing some nice hip, but the prize scene is when the Angels
go to the race track. Drew, in order to seduce a limo driver,
unzips her jump suit down to her wait, exposing side views of
her breasts that leave nothing to the imagination. I liked the
movie, and I liked Drew's breasts.
Comment:
When she falls from the window she hangs, completely nude
from the bedsheet. The scene appears altered digitally in order
to obscure her nudity, although there it seems that you do see
some of her naughty bits. As she drops to the ground and
tumbles down the hill below, there are other brief shots where it
looks like you see the good parts. But again, it looks like it's
been digitally obscured.
In the race car scene, when she's sitting in the car distracting the
driver, you only see the deep cleavage in the racing suit. There is
A LOT left to the imagination, considering you don't see all of her
breasts. Not even a hint of nipple. Excellent cleavage, but only
cleavage.
http://www.backseatreviews.com/charliesangels.html
Instant Kick Ass Action—Just Add T & A!
By K. Charles Dwyer
Giving every angel equal time to strut her stuff,
Charlie's Angels has Drew, while undercover, seduce a limo
driver. It's a scene, which culminates in her licking the driver's
steering wheel, designed to deliver steam heat—and it does
exactly that.
http://www.tollbooth.org/2000/movies/charlieangel.html
The parade of costumes is particularly, uh, revealing. Drew
Barrymore (Never Been Kissed) wears a skin-tight racing
jumpsuit which she conveniently unzips to her navel.
Later in the movie, Drew Barrymore
will have the indignity of wearing nothing but a plastic swimming
pool, though that might be preferable to the sexual encounter her
tongue has with a steering wheel.
http://www.popmatters.com/film/reviews/c/charlies-angels2.htm
More to
the point, the film revels in its heroines' sexuality, presenting it
as
both their weakness (as when one ends up in the wrong bed)
and their greatest weapon. Thin and voluptuous, the Angels use
sex (or the promise of it) to get what they want. Dylan, for
example, wears a jumpsuit with neckline that plunges to the
curvature of her breasts in order to distract a driver while Alex
plants a camera on his car.
http://www.all-reviews.com/videos-2/charlies-angels-2.htm
The three actors are
clearly having a wonderful time with their roles and each is
afforded showcase moments. Liu gets to play dominatrix in an
efficiency expert scene, Diaz shakes her small, but shapely booty
to the tune of "Baby Got Back" in a comic bit on the set of "Soul
Train," and Barrymore plays seductress with a limo driver in a
revealing scene that makes it clear why David Letterman smiled
so widely when she danced on his desk and flashed him.
http://www.osbradio.com/movie.html
Drew Barrymore, the sore thumb of the three, and I
mean that figure-atively, also has her eye-popping sexy moment,
when she uses her grand-canyonesque cleavage to distract a
limo driver.
http://www.familyeducation.com/whatworks/item/front/0,2551,1-9
128-8057-34,00.html
Dylan shows a great deal of cleavage while dressed in an auto
racing jump suit that's zipped down quite a ways in the front (she
isn't wearing a shirt).
http://dir.salon.com/ent/movies/review/2000/11/03/charlies/index.html
"Charlie's Angels"
Who cares about the fate of privacy, of all things, when you can
watch three sexy babes stamp out crime in zip-off suits and high-
heeled boots?
By Stephanie Zacharek
Barrymore is her usual charming self. She manages to be cherubic and
dazzling at once, especially when, zipped only halfway into one of
those skintight motor-speedway outfits, she sweet-talks
a nervous
chauffeur from the passenger's seat, swooping over to lick the
steering wheel.
She then tries to distract a limo driver by
stating that it's "hot" and then suggestively licking his steering
wheel.
The following article is featured in the September 2000 isuue of
Premiere magazine. The article is copyright to Premiere magazine and
to its author, Trish Deitch Rohrer. The images are copyright to
Premiere magazine and Mark Abrahams.
Watching the Detectives
How did the new 'Charlie's Angels' - Cameron Diaz, Lucy Liu, and Drew
Barrymore - deal with an unfinished script, an inexperienced
director, and a rumor-churning set? With a little ass-grabbing, hair-
twirling, and a lot of female bonding. By Trish Deitch Rohrer.
Who are these women walking through the streets of a downtown Los
Angeles movie studio, heading for the lunch wagon on a perfect spring
day? Is that Drew Barrymore? Cameron Diaz? Lucy Liu? Or is it the
gorgeous, brilliant, and ultracapable team of Angels Charlie has
working for him in the year 2000? Liu, dressed in a tight, red, silk
kimono that just covers her butt - clearly a costume designed to
ensnare some amorous villain - looks like a latter. But would an
Angel stumble on the way back to her trailer, clutching a plate piled
high greasy Mexican food, nearly becoming what Barrymore calls "Taco
Geisha"? Diaz, walking slightly ahead in rubber flip-flops and a
white tank top, her sky-colored eyes hidden by shades, has that
certain Angel confidence, but would an Angel have her bra straps
showing? And what about Barrymore, in baggy sweats, old boots, flat
hair, and no makeup, looking precisely like she just finished her
100th day of doing double duty - acting and producing - on this
gargantuan film? Her plate is so full she has to carry it like a
tray. What kind of sexy Angel disguise is that?
Techies is shorts - wearing their tool belts like gunslingers - stand
quietly to the side, eyes down while these women (and two of their
dogs) stride by. The techies know who these women are, disappearing
into a trailer now, somewhat bedraggled, clumsy, starving, exhausted,
but nevertheless so obviously in command: They are the three
actresses who suvived the making of Charlie's Angels. As Diaz puts
it, "What doesn't kill you only makes you stronger."
When you talk to some people on the set of Charlie's Angels, you get
the impression that this big-budget, high-profile, updated remake of
the '70s television show has been - since the moment it received a
green light, in February 1999 - on the edge of disaster. The rumors
have been hurrendous: Thirty versions and hordes of writers, they
say, have attempted to fix the script, even in the final weeks of
shooting; the three young female stars have been at one another's
throats; Barrymore has been forcing Liu to wear turtlenecks. And then
there is the highly publicized story about a blowup between Liu and
Bill Murray, who plays Bosley: Liu slapped Murray, some reports say;
he walked off, say others. Whatever happened, many seem to agree that
the set had to be shut down for the rest of the day, until things
cooled off.
The actresses themselves, though, have another story to tell - though
they say they don't need to, that the truth is fine, and fine left
between them - about the eight months they've just spent
experimenting with being Charlie's Angels.
One wonders if without the very real chaos that characterized the
Charlie's Angels shoot, Barrymore, Diaz, and Liu would have become as
close as they have, as tight and protective and high-minded a unit.
It was certainly out of a sense of wanting to "take the higher road" -
when there was every opportunity to do otherwise - that sealed the
bond, at least between Barrymore and Diaz.
Early on - long before shooting even began - Barrymore and Diaz were
asked to do a promo for the film, one that would appear on
television. Barrymore, as a producer, understood what a great
opportunity the promo was, and so she was startled when Diaz, just
before taping, suddenly said she wouldn't do it. It was too early,
Diaz said - the script wasn't nearly finished, there was no plot to
speak of, and she didn't know who her character was (in fact, 14
writers did come and go in the process of trying to get a coherent,
finished screenplay, and the Angels' characterizations were left
largely up to the actresses). Getting dressed up as some half-
developed character she would most likely never play and going on
television, Diaz said, put her in a vulnerable postion. And just as
important, she added, it would be dishonest to show such a promo to
innocent audiences.
"I just looked at her," says Barrymore, who has spent what surely has
been a lonely life in Hollywood trying to be genuine, "and I was
like 'Got it.' I completely understood." She smiles lovingly at Diaz,
sitting across from her at the table in Liu's trailer, which is
crowded with sloppy plates. Diaz tilts her head and says to
Barrymore, not without some edge, "Awwwwww."
"No," Barrymore says, "I've got to tell this story because it's so
deep." She shoots the cuffs of her sweatshirt. "'Lights up,'" she
says in her best stagemanager voice, "'cascading landscape, Cameron's
talking.'" Barrymore sings some operatic notes and both girls crack
up, but then they stop, because, in fact, the moment Barrymore is
describing was pivotal for both of them. "And I saw her in this whole
new light: I was like, 'Got it.'" Barrymore points at Diaz. "And I
got you too."
Thus the unique sisterhood between Drew Barrymore and Cameron Diaz
began.
Barrymore and Diaz, who spent months together every day in five-hour
story meetings, trying to come up with plot lines and
charcaterizations that they not only could live with but that might
even be good, didn't want to have to choose a third Angel. They
didn't want to have to reject anyone, and they didn't want to subject
the wrong woman to what they knew was going to be a hellish shoot -
100-days-long and action-packed. Barrymore and Diaz had already begun
training hard with a kung fu master and his team of nine from Hong
Kong, and the actresses often dragged themselves to work in real
pain.
The two women had grown so close by this time that not only did you
never see them apart, but you would have been hard-pressed to find a
moment when they weren't holding hands, standing with their arms
around each other, twirling each other's hair, or even, on
particularly playful occasions, dry-humping each other in public. It
must have been hard to imagine how a third person would fit in. But
they have it on videotape, the exact moment when Barrymore and
Diaz "clicked" with Liu.
In her audition, Liu stood calmly talking to the person behind the
camera as if nothing out of the ordinary was going on, while
Barrymore stood on one side of her and Diaz on the other, smoothing
out her long, dark hair between their fingers and bouncing the ends
against their faces (a habit that Barrymore introduced to Diaz months
before).
"We all have the same sense of humor," Diaz says, describing why it
is that the three Angels began to feel like sisters on the day of
Liu's audition. "We all have that twistedness about us."
The women can't seem to remember why, for instance, they call
Liu "Pussy Lu" or Barrymore "Poo", or Diaz "Puups". And the three of
them seem to take great pleasure in one another's most private parts.
In fact, on the subject of Barrymore's forcing Liu to wear
turtlenecks, Barrymore says, "If they only knew." She reaches across
the table and adjusts Liu's neckline so that it's even lower than
before.
"Tape it up!" says Liu, smiling at Barrymore.
"We just want to be hands-on with one another, you know?" Diaz
cracks, and they all laugh hard. When these three women laugh
together, it's always very, very loud - cannonballs of sound coming
from deep inside.
"I'll come in and be like, 'I need more lift in my boobs,' and she'll
help me," Barrymore says, pointing to Diaz. "She's a very good boob
wrangler."
You can feel the women stirring in their seats, warming to this
subject. The new Angels, apparently, are the 21st-century
postfeminists - not just proud of being women, but in love with their
own bodies and with one another's.
Barrymore: "Like the other day, when we did the racetrack scene - "
All three in unison: "'Cock it to the right!'" (Apparently, in the
racetrack scene, Barrymore's character wears a disguise that makes
her resemble Seka, the porn queen.)
Liu: "Cameron's always helping me walk, saying, 'You should walk
right, because you look like you just got off a horse.'"
Diaz looks at Liu like she's out of her mind.
Liu: "Well, she never said that, but..."
Another explosion of laughter.
Diaz (Shouting): "What movie do you think this is?!"
Liu (In a Marlene Dietrich voice): "It's Pussy Cat Theater."
When they've all quieted down a bit, Liu says, "What we're doing is
trying to make each other look good as a unit, you know?"
Barrymore: "We've always got each other's backs."
Diaz: "Even if it means we're grabbing each other's asses."
All three: "That's right!"
Again, falling into each other, their mouths wide with laughter.
According to Barrymore and Diaz, it is the film's director - McG, a
30-year-old maker of commercials and music videos - who has been
responsible for their being able to survive eight months of intense
collaboration on a script that, for a long time, had a questionable
plot and no ending. Though McG had never directed a film before, he
got the job because of his presentation to both Barrymore and
executives at Sony.
"I got to Sony," says McG, a friendly, energetic redhead from Newport
Beach, California, "and I took my jacket off and I rolled up my
sleeves and I started circling the table. Then I jumped up on a chair
and started telling them the minutiae of what I wanted to do with
every single scene. And here I am."
"There has never been one day that his energy has dropped," Diaz says
about McG, who directed, among other award-winning commercials, the
foot-stomping country western Gap khaki ad. "And it just drives all
of us, pushes all of us, keeps us all present and involved."
The other two girls nod their heads.
"All day he rallies people," Barrymore says. "He keeps them going. He
screams, 'This is my favorite scene!' And you know he's been
screaming that all week long, but you get excited anyway."
"Like the first week we did this driving stunt," Barrymore
continues, "where we're all three in the car. And I was driving, and
taking it sort of safely, and he's like, 'Come on - '"
"' - balls out!'" Diaz yells, finishing Barrymore's sentence.
"He always gives weird references," Barrymore says, and she and Diaz
smile mischievously. "Yeah, you know, like 'Grab your sack and drive
the car.'" The girls giggle and beam. "He makes you feel good, you
know?" Barrymore says. "About everything."
As Leonard Goldberg, one of the creators of the Charlie's Angels
television series, points out, he loves his family, but he gets mad
at them sometimes. On the set of the film - a relatively small
kitchen considering the number of cooks - people have occasionally
exploded. There was the Liu-Murray incident, for instance. According
to Nancy Juvonen, Barrymore's producing partner, Bill Murray came
into the production late, with all kinds of ideas about how to save
it. Liu didn't agree with some of Murray's ideas and told him so
rather forcefully. They argued. But, Jovonen insists, the production
did not shut down for the day. "The opportunity to give your opinion
lies at every corner of this production," Jovonen says. "And people
take it. In this case it was like remodeling a house - he wants the
piano here, and she wants it over there."
Diaz broke down one day, too, and had what she calls a "childish
fit". She'd done a lot of her solo scenes for the film early on, and
then worked on mostly action scenes with the other actresses for
months. At one point, she found herself having to say a line, and
realizing that she'd forgotten how to act.
"It took me back like seven movies," she says. "You know, you're
having such a great time, and then you have to remind yourself, 'Oh,
yeah - I have to act now. Oh my God. How do I do this?!'"
Embarrassed by her own outburst, Diaz apologized to McG, who told
her, "We're just here to have a good time. I mean, it's Charlie's
Angels."
But to Diaz, and to the other two actresses, it has never been quite
as simple as that. Becoming the Angels - women who are capable of
tapping into computers, redirecting missiles, racing cars and
speedboats, being sexy, and falling in love, all without engaging in
male-bashing or alienating other women - has turned into a profound
experience.
Diaz: "We all work really, really fu**ing hard. We don't just stroll
through this movie. We put our hearts into it."
Barrymore: "Unlike on other films, we're collaborating with our
director. We didn't phone anything in. We come here thinking, what
can we do to make our characters more consistent?"
Liu: "How can we make it better, more real, more fun?"
Barrymore: "We became the Angels."
The girls sit in silence for a moment, and then crack up.
Diaz: "We just want people to have a good time."
Liu: "Anyway, it's just a movie."
Diaz and Barrymore look at her.
Diaz (Huffly): "Well, if you can say it's just a movie..."
Liu (Undefensively): "I mean, do the naysayers have to make it so
dramatic? I mean, it's just a film - I meant it like that."
Barrymore: "I don't think it's just a movie, our experience. But when
people get caught up in the bullsh** of it, then you realize, why are
you investing so much negative energy? That's when I think it's just
a movie. An earthquake could come and swallow us all up, and then
where's your big Hollywood b.s. machine going? Nowhere. But once you
narrow it down to your own small world, and the satellite" -
Barrymore starts making beeping noises, using her hand as the eye of
the satellite, getting closer and closer to the little world that is,
at the moment, Liu's trailer - "we're here every day - of course it's
not just a movie to us! We're obsessed! We're totally narrow-minded!
It's all we do!"
The hard truth, though, is that today is the final day of shooting
Charlie's Angels, and that soon the actresses will move on to other
projects, other costars. Barrymore is checking herself into a hotel
for three days to sleep, and then she's taking a quick vacation (with
boyfriend Tom Green), before relocating to New York for Penny
Marshal's new film, Riding In Cars With Boys. Liu has a few weeks off
before starting a new season of Ally McBeal. It's only Diaz who has
no plans, who will soon be able to listen to the phone messages she
stopped checking weeks ago and to go to lunch with her mom or
boyfriend (actor Jared Leto) instead of the other Angels.
"I don't want to think about it," Barrymore says glumly.
Diaz, sitting quietly, suddenly starts talking about the past
weekend, when she went for a drive by the beach. She found herself
speeding along - top down - awestruck by the families with children,
and by the couples. "And then I saw the ocean and how there is no end
to it," she says. "And I thought how amazing it would be just to be
afloat in the ocean with nothing - no responsibilities - just being
out there, surviving."
"In short," Liu says to no one particular, "she had the day off."
The wrap party, everyone agress, was the best party anyone had ever
been to. A thousand people showed up at Barrymore's house, where
there were canvases and paints laid out, four bars, and a game room
with air hockey. The actress also set up a room where old episodes of
Charlie's Angels played continuously.
Barrymore: "I've had parties before where I've tried to screen stuff.
And people at parties just don't have the attention span."
Diaz: "But here, people went and sat through - "
Barrymore and Diaz: " - whole episodes!"
The two women laugh hard into each other's faces.
Barrymore: "We walked in and said , 'You guys, it's a comedy.'"
Barrymore catches Diaz's eye.
Barrymore and Diaz (Shouting): "'Get over it!'"
http://dir.yahoo.com/Entertainment/Movies_and_Film/Genres/Adult_Movies
/Porn_Stars/Seka/
http://www.mascotcoalition.org/education/movies/charlies_angels.html
Charlie's Angels Reviewed
Advertised as "a high-octane, high tech update that brings the show
from the 1970s into the new millennium," this 2000 action movie
features the sexy trio of Cameron Diaz, Drew Barrymore and Lucy Liu.
The MPAA rates this film "PG-13" for "action violence, innuendo and
some sensuality/nudity."
Some consider this an empowering "chick-flick" that manifests some
positive female roles, yet MASCOT has never reviewed such a blantant
smoking-imagery movie. All "bad" or rebellious characters use
cigarettes and smoking to enhance their performance.
Angels in Action: Beautiful, Sexy and Super
Background of the Angels
The movie portrays Natalie as the slightly goofy, but extremly bright
Angel;
Alex is the rich, sophisticated one...
It is Dylan (shown below) who is the rebellious Angel.
This scene opens with her smoking in the school bathroom.
She walks over to the security monitor and gives those watching
the "finger."
In a boot camp setting, she shows her disgust for authority figures --
Resulting in Dylan "punching out" her sergeant and stomping out.
Peddling Soft Porn
Dylan, Drew Barrymore (below), uses her sex appeal to distract a male
chauffeur.
She giggles as she notices her top has come unbuttoned; but leaves a
lasting impression
with the driver by giving his steering wheel a lucious, intimate kiss.
Natalie, Cameron Diaz (below), plays a sweet, but sexy, girl-next-
door.
She entertains the audience with a 70s disco workout in her underwear.
Hearing the door bell, she rushes to see who is there -- forgetting
about her attire.
She leaves the UPS delivery man speechless with her suggestion, "You
know,
I signed the release paper so you can just feel free to stick things
in my slot."