Tag: Erotic

THE LAUGHING WOMAN (1969)

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Written & Directed By: Piero Schivazappa

Cinematography: Carlo Achilli and Sante Achilli 

Editor: Carlo Reali

Cast: Philippe Leroy, Dagmar Lassander, Lorenza Gueirieri, Valo Soleri, Maria Cumani Quasimodo, Mirella Pamphili 

Doctor Sayer, esteemed director of a philanthropic institution, hides a misogynistic and sexophobic personality to which he gives vent to weekends, dedicating himself in his isolated villa to sadistic games in the company of professionals expert in satisfying similar inclinations and staging their death in ways more imaginative. Taking advantage of the visit of one of his employees, Mary, decides to move from fiction to reality, imprisoning the woman and subjecting her to physical and psychological torture.

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Done with great style and craftsmanship, this film is more of a battle of the sexes type movie. As it plays like pop art and is filmed like a Giallo. 

Where a young woman falls under the spell of a masochist male and while catering to his every fetishistic whims.

He eventually does fall in love with her. Where we wonder by the end whonrealyl has the power and who was truly in control.

The film Does have some racy sex scenes that are titillating and also torturous. Making thaincoen across as FIFTY SHADES OF GREY way earlier. 

As this is like watching a porno with a plot only without any hardcore sex scenes. So that the thrills in this film is how far will it or the actors go. 

The soundtrack matches it scene by scene 

Though there truly seems to be very little going on and not much story. As the film seems to want tonturn you and and find thrills. As it tries to portray a cynical love story of sorts. That comes across as a thriller at times That sadly truly doesn’t have that much to say or offer.

It’s an erotic drama, or you could even say erotic thriller, though at heart this truly could’ve been more of an adult film with hard-core scenes as that seems to be its appeal because even the storyline is a little thin to make excuses for the places it goes, and there is supposedly an emotional component that it doesn’t feel that deep, But one could see how maybe the writer or director is trying to show a difference or how sex and emotions are linked for certain people.

Don’t exactly know what the film is trying to say. Doesn’t want us to watch all the pain this woman goes through and then pull the rug from Under us so that we watch as she survives but conquers and never was the victim At all? Though i’m sure certainly racy at the time. Now you just marvel at the production design and marvel at what they got away with.

As the film feels like a film not brave enough to be a full porno. So instead it tries to add a thin plot and stylish shots. That pornos of the time had, but maybe they wanted to put this out as a thriller. As it contains plenty of erotic scenes but while short you also hope that it is going to be a bout a little more. So don’t come into this film expecting too much more than titilation. So much so it feels more like a fetish film more than a feature film. 

Though with only the main two actors in the erotic scenes if it was a porno. It would ag e to have the audience focused on the main actors and being attracted to them. As there are barely any others to distract or pair off with. So it’s more a couples movie, hence romantic. 

This is the kind of film you would stay up late to watch as a kid on cable.

Grade: C+

AMUCK! (1971)

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Written & Directed By: Silvio Amadio

Cinematography: Aldo Giordani

Editor: Antonio Siciliano 

Cast: Farley Granger, Barbara Bouchet, Rosalba Neri, Umberto Raho, Patrizia Viotti, Dino Mele, Petsr Martinovitch, Nino Segurini

The secretary of a writer and his wife investigates the disappearance of her lover – their previous secretary – and finds herself the target of the couple’s erotic desires and a murder plot.

When it comes to older foreign films, especially let’s say Italian or Spanish. They truly encapsulate and showcase culture going through a transition at the time, trying to be as modern as the times that the film was made, but also still having a classic-looking feel. 

The female characters always dress well and in style. The protagonists are usually sexy and beautiful. With homosexual activity or seduction. It is surprising some of these films as they are more explicit than some of the films coming out today, which are supposedly more open-minded. Which then makes the scenes like these sexy though a bit more fetishistic.

Especially here as many scenes have a slow motion softcore scenes that are quite revealing and usually same-sex. There are quite a few that make the film at times feel like it’s more lesbian erotica with a plot, with gorgeous women. Not necessarily regular or ordinary-looking women. It offers a distraction or entertainment. As the film has a mystery at its heart, though you know who is guilty, the only question is how or why.

Though shot more for a male viewing audience as it has that day through it, most of the women appear naked or topless, and all seem to have great voluptuous bodies and petite frames.

Though the erotica is more in the first half, making it seem like the film will be a sexual liberation movie most of the time. The second half becomes mortgage, dramatic, and fashionable, yet slows down and becomes dull and not quite as titillating or flashy.

One wishes that there was more mystery to the whole endeavor. Which is at heart a giallo 

Barbara Bouchet looks so incredible that you can barely take your eyes off of her throughout. Except when co-star Rosena Neri Osnon screens who has the more dangerous-haired look. Whereas Bouchet is the innocent, Neri is the liberated wild card.

Ultimately, the film feels like more of a tease with nudity rather than too much action. The action that there is is more exploitative than Romantic, leaving a more will they are won’t they question in the minds of the audience rather than any real or threat of violence.

One of the few strengths of the film is the rather surprising ending, though an explanation more than anything else, and perfectly unpredictable as no one in the audience would have guessed it.

More to look at if you admire the female form and how it’s filmed, kind of like a film filled with beautiful bombshells and a weak mystery.

Grade: C+ 

DEATH WALKS ON HIGH HEELS (1972)

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Directed By: Luciano Ercoli 

Written By: Ernesto Gastaldi and May Velasco 

Story By: Dino Verde, Ernesto Gastaldi and May Velasco

Cinematography: Fernando Arribas 

Editor: Pedro Del Rey and Angelo Curi

Cast: Susan Scott (Nieves Navarro), Simon Andreu, Frank Wolff, Carlo Gentilli, George Rigaud, J. Manuel Martin, Luciano Rossi, Claude Lange

After a French stripper is harassed by a man who wants a cache of diamonds stolen by her late father, she flees to England in the company of a doctor, but danger follows.

There is a murder mystery at the heart of this film that seems to take a backseat to showing the body fashions, styles, wigs, and beauty of the film’s star Nieves Navarro. As the film practically worships her as much as most of the male main characters do in the beginning 

So much so that it feels like like a star vehicle as we see her in states of undress and high fashion, where each scene seems to be her in a new outfit or look even in her striptease in which it seems like she does blackface or it’s just very heavily tanned with an Afro wig. She manages to burn through the scree. She manages to burn through the screen. A chance for her to role-play and these costumes, even as she plays the same character.

Their scenes of her whole striptease and scene of her eating by a fireplace that plays more like sex between her and her married lover, then just simple foreplay, especially with all the close-ups of their faces. As the film tries to exude glamour, class, and a fair bit of being campy.

Now, once the second half of the film starts, it almost feels like a different film. This is where it becomes more of a murder mystery and it’s not as magical or fun. The reality seems to set in. 

As almost everyone is a suspect as they all seem to be fascinated or stalking the lead female character, even both. Even the married man’s wife becomes a suspect, and she seems to resemble an older version of the main character, the actresses look alike

The main female character is the truly interesting part. She seems to be the bait for all of the characters, including the audience.

There is even a ridiculous action scene that seems obsessed with the female character who keeps seeming to hit her silence in the balls times throughout a scene.

The film offers plenty of twists and turns, though it does feel lengthy at times. The film isn’t as thrilling or spooky as expected, and a movie of this kind that resembles a Giallo. Though it feels like a naughty version of a police procedural from the 1970s on foreign land. We see the before, the actual crime, and the after with an investigation. 

It’s also not the most artistic as the first half works more as a relationship drama with lavish locations and some intrigue. It ends up being more fun than expected.

GRADE: B-

NEW ROSE HOTEL (1998)

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Directed By: Abel Ferrara

Written By: Abel Ferrara and Christi Zois

Based on a short story by William Gibson

Cinematography: Ken Kelsch 

Editor: Jim Mol and Anthony Redman

Cast: Willem Dafoe, Christopher Walken, Asia Argento, Annabella Sciorra, Victor Argo, Gretchen Mol, John Lurie 

In the not-too-distant future, two New York businessmen plot to play two multinational rival corporations against each other, with a little help from a shady Italian street woman, to obtain an important Japanese businessman for the company they work at, only things are not always as they appear.

Abel Ferrara is a talented writer and director who always seems to dip his toe into things that could be seen as shocking. It might be that is just his interest in the stories that he wants to tell. Nowadays he makes more personal, dramatic, artistic films, but for a time he seemed to be a provocateur when it came to cinema stories of the streets of New York, in particular, starting out with more horror films, then seemed to have a period where it was mostly crime related films.

He is a filmmaker of interest who is very unapologetic, though I will admit since his movie, BAD LIEUTINENT, and his one studio-made film a remake of INVASION OF THE BODY SNATCHERS, his films have been for me at least hit or miss. Unfortunately, it feels like they usually miss or fail to make a connection. Though he’s a filmmaker where you can always find something of interest in his films or his filmmaking.

I remember at the time being interested in this movie, more to see Asia Argento and I felt because she looked very enticing, and the story sounded somewhat interesting. Not to mention liked the cast of it mostly being her Willem Dafoe and Christopher Walken, even though at the time it seemed like Willem Dafoe and Christopher Walken were almost in everything so seeing them in yet another film wasn’t that enticing but with her as the added attraction. 

As I had only seen pictures of her and not really seen her in a movie, not to mention with Abel Ferrara directing, I knew it would be dark and troubling, but reading the synopsis of the story and plot it never quite gelled with me, especially from people who have seen it They just didn’t seem like it was worth going to movie theaters to check this movie out.

Watching it now. Almost 25 years later I’m kind of glad I didn’t see it in theaters. It’s not a bad movie, but I would’ve been greatly disappointed and it would’ve probably been more forgettable to me. I would’ve seen it as more experimental and artistic, so it would also show how the story could be told more on a limited budget, especially one that is set in the future and kind of cyberpunk. As after all, it is based on a short story by William Gibson. This might be why the film seems so rebellious and Avant Garde or striving to be different. 

The film has a lot of cutaways of digital video and photography that we come back to throughout the story.

There is a lot of eroticism and a few scenes of sex on display. One of the themes of this film seems to be fantasy and how much you let it take over especially as you know the truth but you want to believe.

It seems like the film is more about all these vipers being hustlers on their own, being brought together to take down a big fish, and slowly turning on each other, as at the center of it one makes the dangerous decision of not only trust, but love, especially with somebody who works as a professional seductress were acting is their professional, so you never know when they’re being genuinely Trust or telling you what you wanna hear to their own satisfaction

It seems like the camera is as captivated with Asia Argento as much as The characters are as it always seems to be exploring and exposing her allure, so while it doesn’t provide her an acting exercise where we see her day-to-day. this is a goddess movie. Where it seems the allure and the strength of the film is on the femme fatale and how the audience feels about her as a film and its own wife fetishizes her to a degree, making the film and the protagonist see her more as a goddess.

There is Something about Asia Argento, her films, and her career. I’ve always been kind of in awe, but she rarely got a chance to shine or have that career-defining performance. It was more she was in hit movies, but you don’t, in particular, remember her performances or character, because you could point out movies like LAND OF THE DEAD or MARIE ANTOINETTE or XXX, yes she was in those films as a cast member, but none of her performances stand out.

Even when she directed her own films such as an adaptation of the book THE HEART IS DECEITFUL ABOVE ALL THINGS. which were more controversial and shocking, she made a little impact, but never long-lasting unfortunately, as they were artistic, but seemed more poised to shock. so I always look at her career as a kind of example of promises made, but never quite capitalizing on all the talk, hype, or Fame. there might’ve been more personal reasons as to why her career stalled at a certain point, but I still find her talented, beautiful, and stunning and half the time when I watch some of her movies. It was just to see her in it And she looked sensational and in most of them captivating. 

It’s also interesting that the film has great actress Gretchen Mol featured in a small but important role throughout as at the time she was also considered an ingenue in the acting world, the next big thing or flavor of the month at the time, though she is displayed for less in this film.

The film comes across as a futuristic tale that had an idea that was original but did not have the budget for the ambitions of the script so it feels like the third act is made to put the story of what actually happens or happens from scenes we’ve seen earlier as flashbacks or memories to explain it all.

It’s an interestingly constructed film with a good soundtrack. that uses a lot of it looks to be handheld video and a bunch of scenes, or at least the beginning of digital video being used and more professional films.

Offering a third-act explanation of everything by pointing out what was evident in playing sight from before now that might be because I just didn’t have enough money to finish and film. Actually, it is very creative but can be seen as frustrating to someone in the audience who is traditional filmmaking or is used to having, their hands held to end to the end

Does it have an ending? Strangely it feels somewhat unfinished. This would be a film that definitely could stand the case of being remade.

A bit disappointing but creative. Its artistic flourishes seem born out of not having the budget that was expected and making the best out of the situation. Though definitely a film where the camera is in love with Asia Argento. As much as the main character.  As it spotlights her almost fetishistically. 

Grade: C

AND GOD CREATED WOMAN (1988)

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Directed By: Roger Vadim

Written By: R.J. Stewart 

Cinematography: Stephen M. Katz

Editor: Suzanne Pettit 

Cast: Rebecca DeMornay, Vincent Spano, Frank Langella, Donovan Leitch, Judith Chapman, Benjamin Mouton, Gail Boggs 

In this variation on director Vadim’s own, more acclaimed Et Dieu Créa La Femme (1956, the same title in French), the vamp Robin Shea marries charming carpenter Billy Moran, only to get out of prison, but soon decides to seduce James Tiernan, who runs for state governor.

The remake was directed by the original director Roger Vadim. Tries to keep the same bets but in more modern dressing and fashion.

The film almost feels pornographic as the sex scenes are that graphic and feel more realistic. The original was a bit more coy. This goes for the jugular a bit. Though this version might be more explicit it Contains the same quality that the original did. An eroticism. 

Which makes it feel more like a softcore movie. Stretching to be more of a mainstream dramedy and relatable. This comes across more as a straight-to-cable or horn video at the time. Trying to cash in on the original’s fame.

While star Rebecca DeMornay is certainly attractive and works In the role. She isn’t at the level of the bombshell that was Brigitte Bardot. She comes across as certainly more intelligent, but she is familiar to the audience. As she was the fantasy girl in RISKY BUSINESS. Here she is more down to earth, still a bit dangerous, but somewhat familiar. At least she is fleshed out character-wise. 

The film almost feels like a step down for her from RISKY BUSINESS. As the subject of the lust humanizes her more, she is still desired more physically than anything. Where in the previous she remained a mystery. Here she is given a backstory and is all the more relatable, but still treated and shown in more of a carnal way throughout. That thought the material was never quite strong feels cheapened.

Of course in my teenage years when I first saw this film. This was a cable classic like finding a hidden treasure. Though was treasured more for its erotic Value. Sort of like Demornay’s character.

The quality might be a little off as Roger Vadim didn’t write this version only directed it and trusted the screenwriter to modernize it and make it more American. Which would explain the rock n roll angle. Though comes off as barely resembling the original and more in name only, with the two male leads obsessed with the free-spirited female character, against their better judgments. 

The cast is respectable throughout. Though don’t know if they signed up more because of the director. All involved deserve better than this. Most of the main stars have sex scenes. Even if they are hinted at or more shown afterward. It Reeks of someone older trying to show that they are still hip and can be cool, embarrassing themselves in the process 

This version does expose one essential truth about both films. Your interest is tied to its star no matter what story the film offers. So while it might try to have an extra amino of Merit at heart they are Star making films in the same way a teen idol or a TV star trying to make the move to the big screen and the film is built around them while giving them room to flex their acting muscles. Still, pay up the qualities of what the audience likes about them and hopefully have that built-in audience waiting for them and expose more to their charms 

Grade: C

SINGAPORE SLING (1990)

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Written & Directed By: Nikos Nikoladis

Cinematography: Aris Stavrou 

Editor: Andres Andreadakis

Cast: Meredyth Herod, Panos Thanassoulis, Michelle Valley

A man searching for his long-lost lover is kidnapped by her killers, an insane, mother-daughter duo, and they force him to commit various sexual atrocities with them.

This film is absolutely extreme, and bonkers and leaves one with mixed feelings. As the one thing I can say about this film is that it is original. It definitely has a one-of-a-kind vision. Is that enough as we as an audience witness but don’t necessarily feel. maybe will be able to identify with the film and its own way though it feels pretty specific.

I can admit that one has never seen a film quite this horny from a female point of view, but more through a male gaze of females. 

It all adds up to Definitely an original vision that seemed prepared to be a cult film, which usually doesn’t work but here it does. Though it does come across as sleazy and slimy. That could easily have been an artistic porno film if only it had hard-core scenes.

One could stand that this film is an artistic expression of imagination, but as soon as the character starts to puke on the man she is having sex with all bets are off. 

This strangely feels I could be a fetish movie on the grand gugonol style and expresses it at times. As  There are scenes that are disgusting in certain small ways more In the details of it’s own kind of gore or feeling of it.

The Film makes sense only to itself, though it does offer exquisite nudity. Not to mention many close-ups of RAW meat And loads of female masturbation. 

This film is meant to be erotic, but it feels more devoted to fetish. One can give everyone involved credit as it takes a certain lunacy and bravery, to present themselves and this film, as what can be seen as embarrassing, but art is supposed to be provocative, and this film certainly is in its own way. Yes, even if I don’t entirely understand it, there feels like a certain bravery, throughout, or some fantasy of someone specifically a dirty dream of sorts only subtle in its mentality.

That could also be a nightmare despite its erotic, adult, kind of narrative turned on its head 

Like some kind of reverse GREY GARDENS homage, only erotic but just as fascinating with some external shocks.

The dinner scene brings new meaning to eating disorder or might end up, causing one for audience members. One could do without it, but in this sound construction, it feels like it’s needed truly a stand out amongst the other craziness that this film offers.

Many of the scenes are also comedic with cannibalism thrown in 

Breaking the fourth wall and any kind of barriers and talking to us in the audience, seems to try to help us understand the characters and what exactly might be going on or at least privy to their inner monologues.

It ends up surreal and bizarre. Midnight movie that is funny intentionally and unintentionally at times. The film is extreme, sick, and disgusting at times. difficult to characterize.

By the end, you are left with So many mixed feelings about this film, though it definitely feels deliberate and its intent. It can be quite nasty & disgusting. Though keeps your interest to see where it is going

SINGAPORE SLING. Plays out like a David lynch inspired student film. I have never seen a film quite this horny from a female point of view, but more through a male gaze of females. That’s supposed to be erotic yet feels like a fetish film. Inspired by the Otto Preminger classic film LAURA

It can be quite nasty & disgusting. Though keeps your interest to see where it is going. It could have easily been an adult film only without hardcore sex scenes.

The film seems more like a stylistic exercise, whereby the end one can admire it, but yet I’m half disgusted by it and it’s an easy film to pass on dispatch  dissuade

Grade: B- 

THE FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICION (1970)

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Directed & Edited By: Luciano Ercoli
Written By: Ernesto Gastaldi and Mahnahen Velasco
Cinematography: Alejandro Ulloa 

Cast: Dagmar Lassander, Pier Paolo Capponi, Susan Scott, Simon Andreu, Osvaldo Genazzani, Salvador Bugbeo

The wife of a struggling businessman is blackmailed by a mysterious man into having a sadistic affair with him, or he will leak evidence implicating her husband of murder.

This might not be a good film but stay for the look, style, and fashions. Which are especially memorable. Like a Vogue magazine pictorial only with a theme.

The film is so erotically lurid that it feels like a Joe Eztherhaus-type film script. As it involves blackmail and sex. Though more talked about and hinted at than shown. So not quite exploitive.

Most of the film plays into the main characters’ suspicions and sacrifices. It then finds itself focused on infidelity and her paranoia over it 

Which would place it more in the drama category. Yet plays like a thriller. Thought could easily be a foreign soft-core erotic movie. As the film seems to be more about the beauty of the female characters. 

It’s not really the mystery behind everything. It’s the whole experience. What I took away was taking it all in. Rather than trying to figure out a murder or mystery. It felt more like watching a drama 

As for a film that is filled with eroticism it isn’t as exploitive as one might expect. It does present a quite open sexuality, manner, and behavior.

Watching it feels like walking through a museum in a foreign land. It seems like everything is exquisite yet you are soaking through the past that is so close to the modern day. That you can still see some of these fashions in play maybe in more high society.

The character of Dominique wears a dress that practically has no sides to it. So you get to see her Frame and shape. Which makes her outfit an all-time classic. As she is the most interesting character in the whole film. You might find yourself wishing she had a spin-off. 

The film ends up more as a psychological drama than a giallo, which is what one might have expected. The film’s characters just offer a lot of threats.

Only in the last 20 minutes after 70 minutes of set up does the film truly become a thriller. Even after an opening scene that makes it seem Like one. 

What is impressive is that it feels epic yet really only has six cast members but plenty of locations 

The film lays it on a lot towards the end to offer a twist that should have been somewhat obvious. As it has a Colombo type of ending.

Close but no cigar 

Grade: B-

BENEDETTA (2021)

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Directed by: Paul Verhoeven
Written By: Paul Verhoeven & David Birke
Based on the book: “IMMODEST ACTS: THE LIFE OF A LESBIAN NUN IN RENASSINCE ITALY” By: Judith C. Brown

Cinematography: Jeanne LaPoirie
Editor: Job Terburg

Cast: Virginie Efira, Charlotte Rampling, Daphne Patakia, Lambert Wilson, Olivier Rabourdin, Louise Chevillotte, Herve Pierre, Clotilde Courau 

A 17th-century nun in Italy suffers from disturbing religious and erotic visions. She is assisted by a companion, and the relationship between the two women develops into a romantic love affair.

I used to hate period piece films for the most part.  Now I appreciate them for their artistry and attention to detail of the time.

That makes watching them feel so enriching if done well. 

The film does have an overreaching achievement of being and feeling like an epic even though the film takes place in a few locations and in small, close quarters. That no matter the subject matter manages to keep the audience enriched and paying attention. As this is definitely not your typical religious picture. 

This film reminds me of the films as a teenager you stayed up to watch late at night for the promise of sex and nudity, but you might get bored watching at first as you keep waiting for that to be shown and as soon as you are ready to quit you start to get glimpses. That’s films were usually foreign and some were bad. Though some you actually got into while waiting for what you came for. Especially as the characters involved in this relationship are very attractive. Where we see them without clothes often enough.

This is based on a true story and while there is plenty of religion throughout. There is also plenty of violence and while there is certainly exploitation in view. The film never quite feels as dirty or exploitative as director Verhoeven has done in the past. The violence he does show is graphic and suggested at times. 

Here while it is obvious it seems more refined. Even when it gets into the ridiculous it still feels like it is trying to stick to the story above all else. 

The film almost works in two halves as the first part seems to be more about watching the main character serve in servitude in the convent. While slowly being seduced by the wild young woman she convinces herself to be saved from her abusive father. 

The second half involves the main character supposedly having religious visions and Jesus speaking through her. As she starts to have stigmata scars. As she rises through the ranks to be thought of as a saint and believed to be one, the tragedy that befalls those who don’t believe. While also falls into supposed sin with her sexual relationship with the nun she saved.

Though both leads are eye-catching they also offer strong performances throughout 

Throughout the film it shows how power corrupts and leads us to believe that maybe Benedetta is telling the truth while offering evidence that she’s not also. 

The film at times does seem to want to be somewhat of a satire or have a sense of humor, not a strong one, but let’s see some of the far-fetched aspects throughout. 

Watching this nunsploitation epic, there is no doubt if director Paul Verhoeven had made his CRUSADE movie. It would have been a Classic and made Arnold Schwarzenegger a bigger icon.

As it is nice to see directors like Verhoeven do smaller-scale films. Where he is more impressive. As we know he can handle bigger budget movies with panache, but it feels like his smaller films are a lot more memorable and stronger.

Grade: B+

R100 (2013)

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Directed By: Hitoshi Matsumoto
Written By: Hitoshi Matsumoto, Mitsuyoshi Takasu, Timoji Hasegawa, Koji Ema & Mitsuru Kuramoto

Cinematography: Kazunari Tanaka
Editor: Yoshitaka Honda

Cast: Nao Omori, Mao Daichi, Shinbu Terajima, Hari Katagri, Ai Tominaga, Eriko Sato, Naomi Watanabe, Lindsay Hayward

An ordinary man with an ordinary life joins a mysterious club. The membership lasts for one year only and there is one rule: no cancellation under any circumstance. The man enters into a whole new exciting world he never before experienced where crazy love goes wilder and crazier. Is it an illusion or is it real? Welcome to the world no one has dared to explore until now!

The first act of this film is interesting, yet quickly becomes infuriating. As it introduces and lays the groundwork but then there seem like long scenes of repetition, long takes, and boredom.

The dominatrix scenes at least offer up what looks like random one-sided action scenes. Where we watch the main character go through many types of torture from various Dominatrixes and they each have a different specialty. That they come off almost as action hero henchmen or villains themselves. 

The film from time to time offers commentary by the film audience seemingly verbalizing what the actual viewing audience watching the film is probably feeling or thinking or wanting to say and pointing out flaws. While also giving the film a meta element and thus another layer. 

Once we get to the second act the film picks up as it doubles down on the out-there elements. Where the film comes off where it was already supposed to be more comedic. 

Until we get to the over-the-top third act. Which involves more action, fantasy, and chases that feel more convenient while still keeping its odd quality about it.

I really tried to get into the film And it’s a ridiculous premise. I will admit it was a challenge and while I can certainly say it’s different. I can’t say it was very enjoyable.

The film tries to break down a lot in explications and randomness. What is supposed to be comedic introduces randomness that constantly makes the film non-coherent and fully self-contained. Yet the first half still feels a bit monotonous. Even as it constantly aims for absurdism. 

Even as the film’s title reveals an inside joke. You know that it has a constant sense of humor about itself. In Japan, R18 is a rating that means no one under 18 is allowed to see it . As they will not understand the film. So this film’s title being R100 means it’s so disturbing that no one or at least no one under the age of 100 should watch it. As they won’t understand it. Which one can see? 

Grade: C

IN THE CUT (2003)

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Directed By: Jane Campion 
Written By: Jane Campion, Susanna Moore & Starvos Kazantzids
Based On The Novel By: Susanna Moore 
Cinematography: Dion Beebe 
Editor: Alexandre De Franceschi

Cast: Meg Ryan, Mark Ruffalo, Jennifer Jason Leigh, Kevin Bacon, Sharrief Pugh, Nick Damici, Heather Litteer, Arthur J. Nascarella, Patrice O’Neal 

A psychological thriller: a lonely New York woman discovers the darker side of passion after becoming involved with a tough homicide detective who is investigating a series of murders in her neighborhood.

This film seemed to be dismissed and quickly forgotten by audiences and critics at the time of its release. Seen more as a failure or embarrassment. When actually it is a film that is worth exploring for the rules it abides by and the many it doesn’t. 

It’s grimy ugly not all that sexy. You don’t want to be there but are kind of forced to. As the film starts off disorienting and claustrophobic, it constantly feels like it’s tightening a noose. It stays intense with barely any noticeable score. 

Not a pleasant experience but this film is worth exploring. 

It’s strange as it is Jane Campion making a movie that is more seen as the most mainstream for her at that point and you have America’s sweetheart who wants to challenge herself and be seen in a different more dramatic light. In other words, trying to be anti-mainstream 

So you have these two working together trying to tell a tale that seems mroe obsessed with sex and maintain interest in a murder mystery that seems to be in the background until it hits close to home 

It certainly doesn’t help that all the male characters seem to be creepy as hell. Though make up a long suspect list 

The violence is more told or shown in the aftermath. After a while, the film’s problem is that you wonder what this is all about and what we are waiting for as it gets a bit monotonous at times but stays interesting. As you never know quite where it is going to go next so it feels alive 

The film is certainly well-directed though the material might not be the best. It works as everyone seems ordinary and doesn’t feel like a glamorous Hollywood production. As it does get down and dirty 

So can’t say you like or really care about too many of the characters. Especially when every cop character seems to have an overworked New York accent 

Then throw Kevin bacon into all this madness as a psycho stalking ex. He usually wears red so he might as well be labeled a literal red herring. Where you wonder why Meg Ryan’s character slept with him in the first place. As he seems to be there as a recognizable face and kind of a waste of time.

As Meg Ryan plays a nerdy teacher who is brought into all of this erotic and sexual obsession. At first, she seems Miscast almost like this film is more an experiment for her watching one time America’s sweetheart in a down and dirty role that for some might come across as desperate but for others, it shows she is up for the challenge. Between this film and her other dramatic performances in COURAGE UNDER FIRE and WHEN A MAN LOVES A WOMAN. 

Mark Ruffalo gives the most convincing performance. As he comes across as a simple character with a lot of secrets and heMs not the type to talk about his feelings. More direct as he seems to inhabit the role than play it. Though will admit him, Nor most of the cast are the first you would think of or fantasize about seeing in an erotic thriller 

Though the film would have been easily welcomed and probably lauded had it come out in the ’70s or 80’s as it seems to agave that kind of grit and seriousness of those films even if it would have felt like more of the norm back then. Though it does show classic early 2000 New York 

It feels like a welcome daring film especially for the times that was just too gloomy for audiences of the time to really get into as it is far from enjoyable 

Doesn’t play into bigger-budgeted thrillers with plenty of tension but not as much suspense and lead up. The score is barely noticeable 

The film shows the violence that men do to women that isn’t always physical or sexual but mentally and emotionally. 

 No matter what you think you are going to get going into this film. Do you actually get, It’s A challenging film that has a mind of life or energy if it’s own. That isn’t quite like anything you might have seen before. Not for everybody 

The film is sexual and erotic but not sexy necessarily. When it comes to the more erotic scenes and nature of the film. In the cut is the first Hollywood movie where I have seen someone a man eat ass booty 

Even by the end of the film once the killer is revealed there are no real answers. It’s more left for the audience to put together from what they have seen. Not only when it comes to the murder mystery but even most of the characters’ motivations.

Grade: B-