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再生時間: 287 秒 | ヌード: yes | 作成者: Whatolive |
新ファイルサイズ: N/A | 音声: yes | 旧ファイルサイズ: 74 mb |
ファイル形式: AOMedia Video 1 (WebM/AV1) | 解像度: 936x528 | 追加日: 2010-May-25 |
別名: Christine T. Nguyen, Jennifer Lee, Кристин Нгуен, کریستین نوین, کریستین نگوین, 克里斯蒂娜·阮
身体的特徴: N/A
初出演:
主な役:
キャリアハイライト:
Christine Nguyen was born in Saigon, Vietnam but raised in Houston, Texas. She began her career as a model during her sophomore year in college and subsequently took on roles in local school and theatre plays in Houston. Christine further honed her skills at the Los Angeles branch of the Australian Institute of Dramatic Arts. Throughout her career, she has appeared in numerous promos, infomercials, shorts, webisodes, episodics, commercials, and features. Beyond acting, Christine has also worked as a voiceover artist, host, spokesmodel, model, and master of improv.
プロデューサー:
制作会社: Retromedia Entertainment
ジャンル: Comedy, Horror, Romance, Science Fiction, erotic film, film based on a novel
受賞歴: N/A
類似作品:
Bikini Frankenstein (2010) is a comedic horror film directed by Fred Olen Ray. The story follows Dr. Frankenstein's grandson, Victor, who continues his ancestor's controversial experiments in creating life from dead body parts. In this case, Victor attempts to assemble the perfect woman using various parts from beautiful but deceased women. He succeeds in bringing his creation, named Victoria, to life. However, his success is short-lived as Victoria proves to be a homicidal maniac, killing anyone who sees her without clothes on. Complicating matters further, a beautiful nurse, Linda, falls in love with Victor, and he must find a way to control or destroy Victoria before she causes any more harm.
Bikini Frankenstein is a 2010 television film directed by Fred Olen Ray, blending horror, comedy, romance, science fiction, and erotic elements. It serves as an updated, humorous take on Mary Shelley's classic 'Frankenstein'. The film explores themes of obsession, creation, and the consequences of playing God, all while maintaining a lighthearted tone with its B-movie aesthetic. Although not widely recognized, it is a notable example of Ray's distinctive brand of exploitation cinema.