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Before the internet, before late-night cable TV shows, before the VCR brought entertainment of all types into the privacy of American homes, there were movies like "10", "The Blue Lagoon", and "Blame it on Rio", whose chief attraction was the opportunity to glimpse beautiful women parade around in nothing or next to it. Nowadays, of course, much more explicit material can be found with the click of a mouse. But given that I had seen the first two of those three movies when they were initially released, but not the third, I decided to use the wonders of the internet to go back in time to see how "Blame it on Rio" would come across in the year 2011.

The short answer: "Blame it on Rio" is slightly deeper (and longer) than an episode of "The Love Boat"; it's about on par, as far as psychologically based comedies go, with the Chicago-based version of "The Bob Newhart Show". So there are no insightful commentaries on the human condition contained within the storyline: the basic message, I would say, is that it is awfully hard to remain monogamous for the entire lifetime of a marriage. The storyline never quite degenerates into a farce, which would probably be an improvement, nor is it dramatic; it is sort of in between. Thus, the chief attraction, twenty-seven years later, remains the eye candy.

There won't be enough eye candy to satisfy 21st century viewers seeking visual thrills; as I said there is much more explicit content on the internet which is more easily accessible. But for those who were of age in the 1980s, watching "Blame it in Rio" does offer some highlights, while bringing back memories of how entertainment used to be. The main highlights are Michelle Johnson, who gives what turns out to be the best performance of her career while at the peak of physical perfection of her young nubile self; and the gorgeous portrayal of the city of Rio de Janeiro in a more carefree, innocent time, before it became known more for crime and slums.

The lines that Michelle Johnson has to utter are usually cringe-inducing, or that is they would be if the viewer was paying any attention at all to them, but fortunately she provides ample visual distraction, and for that her performance is to be applauded. She does a great job shedding her inhibitions. But surprisingly, in retrospect, the young female actress who went on to much more fame and fortune, and who is even now still on the cover of celebrity magazines, is Demi Moore. In "Blame it on Rio", Demi can't hold a candle next to Michelle Johnson's performance.

"Blame it on Rio" is recommended only for folks such as myself, who remember the impact it made at the time but didn't see it then. It is not a classic, or even as good a movie as Blake Edwards' "10".

Nine times out of ten, when I read a book before seeing the movie, I enjoy the book much more; but the movie "Thank You For Smoking" (TYFS) is that rare occurrence of a movie which is the equal of the book. I thoroughly enjoyed the book TYFS, which I still rate as one of Christopher Buckley's best. In movie form TYFS is even more impactful, due to the stronger sensory experience of the cinema, while being equally funny and insightful - but not, of course, as pleasingly long or in-depth.

What makes TYFS succeed so brilliantly is Buckley's satirical behind-the-scenes view of how Washington politics and politicians work, and what they say, feel and do, both in public and behind closed doors (which, of course, is quite a contrast). Although certain scenes in TYFS are a bit over-the-top, and one might quibble with certain things the characters say and do, one gets the sense that there is a lot more truth about our political system in TYFS than there is in today's 6 o'clock evening news.

Movie writer/director Jason Reitman faithfully transfers Buckley's views to the silver screen, and the production values of TYFS are top-notch. Aaron Eckhart us simply amazing as lead character Nick Naylor: he is perfectly cast as the handsome, well-spoken lead lobbyist for the tobacco industry, and he gives a great performance. The supporting cast also turns in a series of fine performances: notable are Katie Holmes as an unscrupulous investigative reporter, Maria Bello as a fellow lobbyist (for the alcoholic beverages industry), Robert Duvall as the patriarch of the tobacco industry, and Sam Elliott as the original Marlboro Man. The settings and cinematography are outstanding, and the producers even got Joan Lunden and Dennis Miller for a couple of talk show scenes. Any quibbles about the movie aren't worth mentioning, aside from the fact that the movie is definitely for adults, even though there's nothing explicit about the visual images.

So if you are someone who takes a skeptical, perhaps cynical, view of the goings-on in Washington D.C., and would enjoy laughing at how you suspect Washington really works, then you will thoroughly enjoy "Thank You For Smoking".

Romantic liaisons between younger women and older men aren't supposed to last. The initial impulse isn't supposed to last, the incompatibilities in age and lack of shared cultural experiences are supposed to prevent a deep bond from forming, and the censure of polite society is supposed to eventually cause the parties to sever their ties. Yet what if the initial impulse is deep enough, and various parties around the lovers are rash enough, to trigger effects which last for the lifetimes of both participants? This is the intriguing scenario explored by director/writer Claude Chabrol (assisted by writer Cecile Maistre) in "A Girl Cut in Two".

The "May" of the romance is a young on-air television personality wonderfully played by Ludivine Sagnier, who in this film is the embodiment of the expression "a breath of fresh air". The "September" of the romance is an aging author and intellectual capably portrayed by Francois Berleand. Sagnier manages to demonstrate some believable longing and chemistry towards Berleand, even though their scenes together are not explicit (Sagnier fans will see a lot more of her, so to speak, in the film "Swimming Pool"). Unfortunately for our lovers, not only is Berleand's character married as well as fussed over by a publicity agent (played by Mathilda May) with whom he is also dallying on the side, but Sagnier's character is the desired object of affection of a brash, spoiled young heir played by Benoit Magimel. This combustible mix eventually explodes, as it must.

"A Girl Cut in Two" is a very French film, and will appeal to those seeking an immersion in French culture, society, and morals. The setting is not Paris but rather the smaller southern French city of Lyon, which is beautifully captured on film. But the most intriguing aspect of the film is Berleand's character, and what his many actions and deceptions say about French society and morals in the early 21st century. Berleand's character, although he is exalted for the truths contained in his writings, invents different "truths" to suit his circumstances, and eventually pays a price for doing so.

Ludivine Sagnier fans who appreciate her for more than just the charms of her beauty and body will enjoy "A Girl Cut in Two", as will those seeking a thought provoking film about upper-crust French society.