Showing posts with label Bad Lieutenant. Show all posts
Showing posts with label Bad Lieutenant. Show all posts

Tuesday, September 28, 2010

Top Ten: NC-17 Box Office Champs

Robert here. Did you know that yesterday was the twenty year anniversary of the NC-17 rating?  That tag, applied to the most controversial of films, has developed the most controversial reputation itself, with artists and advocates complaining that it's implemented unevenly and scares away theaters an rental providers.  We're going to leave all that be for now and instead celebrate the ten films that, despite or because of their NC-17 reputations, lead the pack.  Here are the top ten money-making NC-17 films.

10. Wide Sargasso Sea (1993) $1,614,784
Rated NC-17 for strong, explicit sexuality
Does this one not sound familiar to you?  Released early on in the rating's lifetime, speculation is that while there's plenty of sex, it was the full-frontal male nudity that pushed the MPAA rating's board over the edge, probably the sort of thing that would easily get an R today (but you never know).  NC-17 films were relatively rare early on (not that they're plentiful today) and the rating's promise of scandalous titillation added interest to this film that history has forgotten.

9. Bad Lieutenant (1992) $2,000,022
Rated NC-17 for sexual violence, strong sexual situations & dialogue, graphic drug use.
While most of the films on this list can attribute their rating almost entirely to violence or sexual content, Bad Lieutenant serves up a healthy helping of other material as well, specifically it's prolonged scenes of drug use.

Not that the rape of a nun and Harvey Keitel's almost legendary full nude scene are things to scoff at (and we may wonder if the drug use alone would have earned an NC-17).  The film's sacrilegiously controversial reputation undoubtedly has helped boost it's earnings (the quality product behind the hype doesn't hurt either) and continues to buoy the film's position as a cult classic.

8. Crash (1996) $2,038,450
Rated NC-17 for numerous explicit sex scenes.
Sex and car crashes.  Crash is a film which, fifteen years later, still divides audiences and still provokes shock.  It's a testament to Cronenberg's skill and bravery as a director that he can delve head-first into such unspoken fetishes and ending up with a film that many still consider a masterpiece.  As is always the case, the NC-17 film was both a boost and a hindrance, allowing producers to slap the tagline "The Most Controversial Film in Years" on the film while simultaneously cutting an R-rated version for more sensible tastes.

7. The Dreamers (2004) $2,532,228
Rated NC-17 for explicit sexual content
It's fitting that Bertolucci grabs a spot on this list, as his work has always advanced the cause of intelligent erotica.  The trick here, as it always has been, is giving you passionate sex and nubile bodies (in this case Louis Garrell, Eva Green and Michael Pitt) to gaze at packaged in a manner that makes you wish you hadn't been turned on.  In the case of The Dreamers, we're presented with an incestuous love triangle with enough full frontal that the eventual rating couldn't have shocked anyone.  Cinema lovers can enjoy the classic cinema homages.  Francophiles can drool over the setting of 1968 Paris.

6. Tie Me Up! Tie Me Down! (1990) $4,087,361
Rated NC-17 for scene of strong adult sensuality with nudity.
With a title that promised Sado-masochistic treats and s director coming off his biggest hit to date Tie Me Up! Tie Me Down! boosted Pedro Almodovar's reputation as a chronicler of obsession and sexuality to the point where now we expect content for Almodovar that borders on the NC-17 line.  The film itself is the most delightful dark romp present on this list.


5. Lust, Caution (2007) $4,604,982
Rated NC-17 for some explicit sexuality.
Ang Lee's follow up to his Oscar win is a great example of how a distinct confluence of events can temper the NC-17 boogey man.  Combine a high profile director, and independent release and a sex scene so essential to the film, that to cut it would be disrespectful to said high profile director, and you've got uncensored success.

A brief aside about the bizzare marketing that accompanies NC-17 films.  The censored Lust, Caution DVD made for rental chain shelves, promises "the R rated film, not seen in theaters" and if you didn't know that was a downgrade, you'd assume, as I imagine is the point, that you're getting added kinkiness.

4. Bad Education (2004) $5,211,842
Rated NC-17 for a scene of explicit sexual content.
Pedro Almodovar's second entry on this list is a film where the sexual content is most definitely not meant to  arouse.  The film is a neo-noir based around the victim of an abusive priest.  As with his last NC-17 film, Almodovar uses the springboard of his greatest success to release a film that can only work with the content that most distributors would quickly flinch at.

3. The Cook, the Thief, his Wife and Her Lover (1990) $7,724,701
Rated NC-17 for adult situations/language, nudity, sex
My great old film professor's story goes, he showed this film to a class and got into a bit of trouble.  Truth told, the violence, death by forced feeding, sex in meat lockers and cannibalism can overwhelm some of the films other creative visual constructs (for example, the colors of characters' outfits change as they walk from one room to another).  But director Peter Greenaway knew what he was doing and knew what he wanted.  This film is still that for which he's most known.  And it's hard not to ignore the bizarre courageousness of any film where Helen Mirren utters the phrase, "Try the cock... it's a delicacy."

2. Henry & June (1990)
$11,567,449
Rated NC-17 for adult situations/language, nudity, sex
The first film ever slapped with the NC-17 distinction and it shows.  The story of Anais Nin's unconventional relationship with Henry Miller and his wife June and how it inspired Tropic of Cancer these days seems, if not tame, certainly unworthy of the rating.  But as the ratings board was still figuring out what would qualify (apparently three-way sex and brothel scenes made that list) they handed Henry & June a PR victory and the movie practically marketed itself.


1. Showgirls (1995) $20,350,754
Rated NC-17 for nudity and erotic sexuality throughout, and for some graphic language and sexual violence.
I give you, the grand champion.  Look at the difference between the moneys made by this monster and our number two film.  Showgirls is the only movie on this list that still has a place as a pop culture phenom.  That place may not come with the most respect in the world (although I'd argue it never was meant to) but the combination of good marketing, quality camp and copious nudity (hiring a previously "good girl" actress didn't hurt) propelled Showgirls easily to the top of this list.  Considering the small-release, art house atmosphere that most NC-17 films niche into today, I wouldn't expect a challenger to Showgirls' crown any time soon.

How many of these films have you seen?
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Sunday, June 27, 2010

Take Three: Jennifer Coolidge

Craig here with another Take Three.



Is there not a hint of Mae West's bawdy style? A splash of Bette Midler's brash cheek? A glint of Raquel Welch's gilded glamour? Even a dash of Lucille Ball's daffy demeanor about Jennifer Coolidge? Let's leave out the Pamela Anderson and Anna Nicole Smith associations; they're old, lazy and boring. Coolidge is the new doyenne of daft.

Take One: Blonde ambition

Legally Blonde (2001) was all about Elle and la vie en rose of course, but it took just enough time out from its lawyerly pursuits to make way for a little bit of solid support: Jennifer Coolidge's manicurist, Paulette Bonafonté, assists Elle into the pink; Elle, in turn, teaches Paulette the ways of the Bend & Snap. Coolidge's comic timing is impeccable. And whilst she doesn’t have a great deal to do in the film her characterful scenes with Witherspoon were fun. Coolidge lifted the slightly jaded, what-has-the-world-given-me? veteran of love type to brazen, buxom heights. The film made good use of her comedy credentials - she gave Legally Blonde plenty of bend and a lot of snap. Wouldn't it have been great to have her in nearly every scene?

She has her fair share of fun dialogue. "I'm just a middle-aged high school drop-out with stretch marks and a fat ass" is Paulette's line in resigned philosophy. But the obvious catty joy Coolidge revels in as she delivers "so what's this Vivian got that you don't have - three tits?" gets my winning vote.

Too much snap! Too much snap!

Paulette's tragi-comic yet cheerful naivety was a great asset to the film. We need her there as contrast, a timorous foil for Witherspoon's youthful perkiness; she's the older, though maybe not-the-wiser, generation Elle; and at heart a mouse in a lioness body. Watching Coolidge in the film got me thinking - wouldn't she be perfect choice if someone were to do a comedy remake of Alice Doesn’t Live Here Anymore? I'd back this casting. It'd be a dream lead role for this deserving supporting actress.

Take Two: My stepmother is an AA-lien

Herzog's recent The Bad Lieutenant Port of Call: New Orleans (2009) was, cast wise, a treasure trove of future Take Three contenders: you may well see Val Kilmer, Eva Mendes, Shea Whigham, Michael Shannon, Irma P.Hall or Brad Dourif receiving thrice the love here soon. But Coolidge was the really unexpected cast addition, so she claims this one. I must have been looking elsewhere during the opening credits (playing spot the reptile?) because I didn't know she was in it. But I was happily surprised to see her pop up as Nicolas Cage's boozy stepmother. She bucked her familar trend of blonde ditz-queen here and worked wonders in a rare serious role. (Maybe the connection is that Coolidge has a house in New Orleans, and she may have desired a spot of home work.)

Sacrificing her trademark flirty pout and all trace of make-up in the name of artistic endeavour she's almost unrecognisible. It's a small but interesting part. Whether she's trolleyed on beer, teetering on the edge of her dilapidated mansion's verandah, whilst facing off with Cage, or engaging in a lengthy slagging match with Mendes, Coolidge is wholly convincing in the film as a drugged-out, beer-stewed former babe. She added another facet to her career. And more power to her for taking on such an uncharacteristic, vanity-free role.

Jennifer (moon)shines despite the lack of visible glamour in Bad Lieutenant

Take Three: Best on show in Best in Show

"We both have so much in common. We both love soup. And, er, we love the outdoors. And talking and not talking. We could not talk or talk forever... and still find things to not talk about."

Some old guy, Rhapsody in White and Jennifer in Best in Show

Ah, the ways in which Coolidge, as Sherri Ann Cabot, one of Best in Show's (2000) many competitive dog owners, is endearingly funny ("Ya know what, I'm the one having to push him away"). She appeared in two other Christopher Guest com-sembles (A Mighty Wind, For Your Consideration) but she delighted most in this one. It's a role not a million miles away from Legally Blonde's Paulette (if it ain't broke, don't fix it, eh?) - and it seemingly aped Anna Nicole Smith's penchant for, erm, the more mature man - but Coolidge lends a fresh charm to Sherri Ann, and essays the role with a poised, spaced-out affability.


You can see early on how Sherri's heart just isn't in it; she loves her dog, not her husband - but could she really care less about show trials? It's no wonder she finds love with Rhapsody in White's trainer Christy Cummings (Jane Lynch), for whom she provides "unconditional love... and decorative abilities". Sitting on the sidelines and chipping in with an ad lib or two may look easy, but is tricky to get spot on. Coolidge nails each scene and very nearly steals the whole movie.


She's given so many wonderfully jubilant turns in both film and TV. Stick a pin her richly-comic résumé then sit back and bask in the sheer joy of watching a Jennifer Coolidge performance. It's a pleasure to praise solid comedic (and occasionally dramatic) support when it's carried out with such cheeky abandon and effortless good humour. I'd willingly watch her in anything.

When's Jennifer going to get a starring vehicle of her own to shine in?