There are not only basic instincts in life.There is also Sliver with Sharon Stone, sexcrimes with Denise Richards, the turnip of Night with Bruce Willis, other more or less erotic and zero films.
Basic Instinct is certainly the stallion meter of the Hollywood erotic thriller (hacked by a Dutch director and an American-Hungarian screenwriter), but he was neither the first nor the last.The decade of the 90s has largely contributed to filling the shelves of accessible video clubs without having to pass the prohibited curtain of the porn department, while participating in the reputation of quantity of actors and actresses ready to be transformed into fantasies on paw.
From Brian de Palma (Body Double) to David Cronenberg (Crash), passing through Wachowski (Bound) or even David Lynch (Blue Velvet), the formula inspired a handful of cult films.Fatal liaison successes and indecent proposal have proven the obvious interest of crowds for these erotic films (pseudo).And the second respectable life of films like The Last Seduction helped make this subfamily of the thriller particularly exciting.
But because the world is wrong to forget certain seriously failed, but joyfully bad films in the genre, screen has selected 10 erotic-neune thrillers, populated by fatal women with two balls, sex scenes as soft as a sliceham, and sometimes with a few tasty moments to greet.
Sharon Stone's throne in the unbeatable Basic Instinct
Wild orchid
Duration: 1h45 - Exit: 1990
Mickey rolls
The erotic-neunes pretext: Emily is a lawyer.For the first time in her life, she leaves the USA during a professional trip which brings her to Brazil, where she must accompany a real estate operation.She meets James, a wealthy man, who represses his emotions and intends to make him discover and then adopt unbridled sexuality.
Erotic-neune interest: what a curious mix that this studio orgy.If at the time of its exit, Basic Instinct has not yet charred the genre, the Hollywood erotic thriller clearly draws on the line, self-cited and recycles, while his imagination dries up and his seamsEach more visible film.It is all the more glaring here since the structure of the story directly evokes the cult Emmanuelle, whose canvas he chews around the initiation of a young saint nitouche by a richer and older man, all in aSupposedly exotic decor.
And that is perhaps the first interest of the footage, namely the universe of stucco, rhinestones, swollen mucous membranes and glitter where it takes place.One thing is certain, this cardboard Brazil is as authentic as the smile of a TV presenter from the 90s, his bad taste, his garish colors and his sense of limited excess, background or restraint allows him to unrollEach sequence an atmosphere in turn absurd and kitsch, make it an object of curiosity.Thought as a piece of bravery, in the sumptuous artistic direction, the film did not need to undergo the weight of years to instantly transform seminal custard.
"", But where did I put this damn saxophone?""
But what still makes it today a remarkable proposal is the love story that was born behind the scenes, since the two main performers, Carré Otis and Mickey Rourke, began a passionate affair on the set, which endsAt a good and due wedding.This love story, used by the studio for promotional purposes, was to generate the urban legend according to which the actors have frequently copulated in front of the camera, in defiance of the likelihood of the company.The myth may be a beautiful lie, we indeed feel alchemy, largely sexual, which unites the two artists on the set.Combined with the artificiality of everything around him and the heartbreaking game of interested parties, the result is a completely singular fever.
The big scene: the adjective large is to clean at the White Spirit then to take with tweezers, but if there is one scene to remember from this embarrassing cum of cum, it is the sex sequence ""Kama-Sutra Style ""which unites Rourke and Otis, among the most explicit seen within American cinema, both fiercely sensual and improbable of ridicule.If the performers exchange many fluids with an undeniable good will, and their mixture of charisma, beauty and animality does wonders, the surrounding device deliciously sabotes them.
Erectile saxophone, flying sheets with slow motion, liters of false sweat thrown in the face of actors, improbable movements and curious stretching positions, we are constantly equidistant of the rupture of the Caverneous Body and Fou-Rire.
Hot blood for cold blood murder
Duration: 2h05 - Exit: 1992
Kim Basinger and Richard Gere play scrabble
The erotic-neunes pretext: Isaac Barr, psychiatrist (a recurring motive), deals with Diana, a particularly difficult and uncompromising patient.In search of information, he meets Heather, Diana's sister, immediately falls in love and sleeps with her.Unfortunately, Heather is married to a harmful man, a vicious and dangerous gangster which she intends to get rid of.And Isaac could well help him in his defending body.
Erotic-Neuneu interest: We heard you laugh to Proxima from the Centaur by discovering the French title of Phil Joanou's film, translated as a final analysis probably by the recognized English speaker Jean-Pierre Raffarin during a drinking to a drinkingThe lukewarm pelforth.And yet: behind this title hides a film certainly failed, but which has the merit of being neither a whim of a star nor a pretext for watching sex in gentle.No, hot blood for the murder of composure is a real neo-black film, which tries to tell a real story and make staging.
Besides, hot blood for murder of composure contains only one erotic scene per se, and at the very beginning of the film which is more, as if it were urgent for the story of filling the specifications andto evacuate the obligatory passages as quickly as possible to better focus on the themes that could not be more serious in the film, namely incestuous/conjugal rape, sexual domination and misogynist violence.So, rest assured, even if the intentions of the scenario are noble and that hot blood for the murder of composure is one of the ""minus worse"" entries of this list, it remains badly done.
Uma Thurman
All these themes are indeed addressed from an angle desperately inhabited by a form of complex of the male Savior, so much so that one wonders why Richard Gere is the triumphant hero of the film when he does nothing and that Kim Basinger andUma Thurman drools it throughout the film to escape their tragic destinies.As such, hot blood for the murder of composure is more a potpourri of poorly digested influences than anything else, and of which only the surface remains.And what a surface!(No we are not going to talk about actresses' plastic, focus).
If the staging is far from sparks, photography is regularly impressive.Ten years after Blade Runner, one wonders what the leader Jordan Cronenweth came to this story, as his mastery is obvious to each photogram.If the story is lost in unnecessary convolutions and absurd twists and turns, at least the exercise of style is successful.Also note an Eric Roberts, perfectly revulsing and creepy in the role of the bad guy (what a surprise).
The famous hysteria
The big scene: Kim Basinger and Richard Gere have fun under a sifted light passed through blinds that draw shapes on their skins.There are pretty colors, a few DNA exchanges dotted with a little voyeurs on Kim Basinger's chest.That's it, that's about it, the light is superb, the boredom too.
The scene is completely free and does not tell absolutely nothing of the two characters, its only interest is purely cosmetic.And erotic, we suppose (and again, it's still very wise).In short, nothing very interesting to see, unless, like the child in is there a pilot on the plane ?, You have never seen an old naked gentleman.
Boxing Helena
Duration: 1h45 - Exit: 1993
Intellectual handjob
The erotico-neune pretext: Nick Cavanaugh is a surgeon (rich, as usual) of Atlanta.Confronted from childhood with the sexuality of his parents, he developed a fascination for the young and free Helena, with whom he has already slept.But we realize that the guy is less of the transi lover than the unhealthy obsessed, very unhealthy.As he pursues her, she gets hit by a truck.The opportunity for Nick to take care of herself, in her own way.
Erotic-Neuneu interest: From the early 1990s, and a fortiori after the release of Basic Instinct, the erotic thriller gave in to a delusional escalation, which has reached summits of absurdity, as evidenced by most filmsof this file, and peaks of morbidity, as evidenced by Boxing Helena, perhaps the most incredible degeneration of the genre.Be warned: Impossible to dive into this putrescent emanation without grilling its concept.
Last warning
It is the producer Philippe Caland who has the idea first and who is looking for a woman to make her concretize.He therefore entrusts it to Jennifer Lynch, daughter of David, who obviously rejects the proposal before accepting on condition of adding her vision of things, without suspecting that he will offer her to make the feature film.Incredible, but true, Madonna almost played Helena, before Kim Basinger was interested and ended up declining in turn, causing a trial that made Hollywood fatty cabbage for several months.It was ultimately the poor Sherilyn Fenn of Twin Peaks who inherited the role, that of a woman amputated by the four members and sequestded by her stalker.
Any human being almost normally constituted and in the roughly virgin criminal record sees in this pitch a metaphor for toxic masculinity coupled with a horror film craspec, quoting Misery and anticipating the Piel that Habito.That nenni.If Boxing Helena intends to show a masculinity that literally amputates women on which she sets her sights...He does it with the codes and the libidinous aesthetics of the worst erotic thrillers of the moment.Inevitably, the result is excruciating.
The ""Stockholm syndrome"" part, a discomfort monument
It's simple: nothing is going well, from the surrealist performance of a Julian Sands convinced to play the sexual version of Norman Bates in the few appearances written in the machete of a lost Bill Paxton, of the metaphorical heaviness (take a shot toeach close -up on an armless statue) with the television appearance of the realization.
The worst being perhaps this scenario which fails almost everything he undertakes, dissociates in extremis of his own postulate in a twist prohibited by the guild of the writers and misses in the great lengths the character of Helena, supposedembody an overly assertive femininity that breaks on the obsessions of patriarchy.To do this, he undresses her in the middle of a worldly party and intimate to him to cheerfully masturbate the water jets under the eyes of the guests.This is called characterization!And it's not even the worst scene.
A normal evening
The big scene: spent the movie time, we are ready to accept anything.However, nothing can prepare us for the central sex scene.Poor Helena, now woman-trunk, attends the antics of her kidnapper with a prostitute.While Nick takes advantage of the experience he acquired during his wet dreams with the woman he has mutilated (yes), she nibbs her lips of excitement before their LASCIF missionary, filmed anywayhow and mounted on the song Sadeness of Enigma.If there is hell, he projects this sequence in a loop.
Sliver
Duration: 1h46 - outing: 1993
Elected the least plausible couple of the 90s
The erotic-neunes pretext: after the mysterious murder of a false lookalike by Sharon Stone, the real move in a chic building in New York.And while she falls in love with a muscular neighbor and that other deaths sow panic, she begins to wonder if the sexual appetite of Monsieur is not proof that he is a detractive.Index at home: it owns the building, and has installed cameras everywhere to watch the tenants.
The erotic-neune interest: if there is a film which deserves the label of subsic instinct in the 90s, it is Sliver.Same actress, same screenwriter, same cocktail of murders and orgasms, same game on a sexuello-criminal relationship: it would be almost funny if it was not so bad.
Adapted from the book of Ira Levin, Sliver was first a big blow for producer Robert Evans, in search of a resurrection after the disaster of Cotton Club, by Francis Ford Coppola (flop at the box office, and above all a storydrugs and murder worthy of a bad film).Bringing Sharon Stone and the screenwriter Joe Eszterhas, with the director Phillip Noyce (white calm, war games), was in theory the idea of the decade.And the result was up to the box-office side, since the erotic-regressive promise attracted the public (more than 116 million at the box office, for a budget of 30-40 million);in addition to having a career obviously solid on video.
A priori, Sharon was Stone when she signed
It is the only victory of Sliver, which was a tender pain for everyone.On the set, the tension was apparently real between Sharon Stone and William Baldwin.During post-production, Phillip Noyce snatched his hair to avoid the wrath of the censorship of a ban on under 17s.During the reshoots, tensions became even greater.
On the screen, it is a peak of cheesy, written with the finesse of a backhoe, in the suspense as in sex.Here is the story passionately neuneu voyeurism and scopophilia who live in each, illustrated by a pervert level 15 who takes advantage of his money and power to watch all her neighbors from his Panic Room of luxury handjob.The innocent heroine lets herself be caught up in the game, first with a telescope, then with a viewing of all these lives like a Sunday aprem in a wooden mouth on Netflix.
The few spirit traits of the scriptwriter Joe Eszterhas, who seems to cry for help or spit in the face of the public, via the character of arrogant and unbearable writer (""You do not like sex and violence?, you know ""), make the thing even more stupid and cynical.And the end, worthy of a sketch, where the heroine Zappe opposite camera after having said ""get a life"" to the priapical pervert, is the icing on the cake.
This post is Feng Shui
The worst fault of Sliver is to be deeply soft of the glans, since the film fails as much on the side of the sensual thriller as of the thriller, the fault in particular to totally ridiculous characters and mediocre actors (William Baldwin hides behind the hairof his beautiful pectorals, and Tom Berenger is bland as possible).Scenes of perfectly insignificant murders (ultra cut knives in the stairwell, soft pursuit to the elevator) to the suspense of the identity of the murderer, it is an anti-sor-in-instinct to all thelevels.The staging and editing do nothing, with ellipses, music and awful style effects.
The big scene: perhaps Sharon Stone̶a̶t̶a̶q̶u̶e̶e stained between two large posts (that of the building, and that of Zeke), while it rains outside, and that Principle of Lust of Enigma goes in the background.It is unworthy to be compared to the brutal sex scene between Michael Douglas and Jeanne Tripplehorn in Basic Instinct, necessarily copied here.Especially since it lasts 20 seconds before an indecent black mel.
The only reason to laugh at this carnage stamped 90s: remember that it is less worse than the filthy basic instinct 2.
Body
Duration: 1h34 - outing: 1993
""Excuse my outfit, I didn't know you were there...""
The erotic-neunes pretext: like Kim Basinger in 9 ½ weeks, Madonna embodies an art gallery owner particularly attracted by the pleasures of the flesh.Except that she is accused of the murder of her lover who is as if by chance a mature man, rich and powerful.She is the culprit very found, but fortunately, her lawyer Franck Dulaney, in the guise of the very wise Willem Dafoe, is there to defend her.And he too has a very special appetite for the art of BDSM.
Erotic-Neune Interest: At first glance, Body has this particularity of being a film of trials with the high point of violent but tasty sexual recreation between a lawyer and his client.With the unexpected meeting between Madonna and Willem Dafoe, filmed by the German director Uli Edel (passed on Twin Peaks, and behind the adaptations of me, Christiane F., 13 years old, drug addict, prostitute...and last outing for Brooklyn), there was an atypical film there.
Except that body (or body of evidence in original version, a much better title) remains a basic remodeling of Basic Instinct, without the talent or perversity of Paul Verhoeven and the screenwriter Joe Eszterhas.Hence the feeling of a second zone film, unsurprisingly forgotten by almost everyone since.
The passion Madonna version
The scenario signed Brad Mirman is the first big problem.The doubt about the guilt of Rebecca Carlson is never really exploited, and even if the resolution claims the opposite, the ambiguity of this amateur of the whip and handcuffs does not exist.Only light in this boredom tunnel: erotic sequences, quite inventive, and the investment of the two actors.At the time, Madonna chained films without going unnoticed, whether thanks to success (research Susan desperately, an extraordinary team) or chess (who's that girl, Shanghai surprise).And Body is in the second category, with a very modest success in theaters, and a recognition for the singer at the raid, as the worst actress of the year.
Also note the presence of Julianne Moore, then almost unknown, and who has had a bad memory of it in particular because of a nudity scene. En 1997, elle racontait au Los Angeles Times : ""C'était horrible.I was too young to know.It was the first time that I was asked that, and it turned out to be completely free and out of words.It was a terrible film and a terrible interpretation for me "".
Blonde ambition
The big scene: rather than the obvious big sex scene with a flowing candle, it is an unlikely sequence in an underground parking lot.Rebecca Carlson trains Franck Dulaney in one of the least sexy places on the earth, in order to fork on a car (and not inside).The choreography is rather acrobatic and following this great moment of pleasure, Franck will come out with a stained blood because of the lamp bursts that Rebecca exploded to be sheltered from.Difficult then to defend her client ...
Color of Night
Duration: 2h01 - Exit: 1994
When you're lost in the Bruce
The erotic-neunes pretext: Bill CAPA, psychiatrist, decides to go green in a colleague after the suicide of one of his patients in the middle of the session.A greening that turns red when the friend in question is murdered.Bill is investigating the patients of the deceased and by the way, starts a scorching adventure with a (far too) young unknown encountered by chance, after the latter pushed the rear trunk (we are talking about cars).Unless this tauge return (we always speak of cars) is anything but fortuitous...
Erotic-Neune interest: in 1992, Basic Instinct is a hit in theaters and made the legend of Sharon Stone for many reasons, but also, it must be said, because a stolen plan reveals his ham.Two years later, Bruce Willis, at the top of his celebrity, but also of his hybris, intends to do the same and show all Hollywood that he too has a hell of a charcuterie - and it's rather sausage.Neither one nor two, he puts on his posthe to become a hair bruce, takes off his pants to also become a naked bruce, and goes to conquer the rooms, which will unfortunately make a butcher's butcher's shop and spread it on the walls.
This is the story chosen by the general public at the 1994 release of Color of Night directed by Richard Rush, and entered the legend as the film where Bruce Willis gives everything.However, unlike quotation, legend is this time uglier than history, because there is a real embryo of artistic ambition within Color of Night.Despite his unknown name, Richard Rush is indeed not a yes-man, quite the opposite.And although Color of Night was an order, he accepted it because he loved the script between Basic Instinct and Pulsions and wanted to draw a real work from it.It was without counting on the big bad studio.
Do you want me to bark your teeth?
It is the classic blow of artistic disagreements, with the added bonus of an almost fatal heart attack for the director.The latter saw its assembly go out only on video, while the producer version, much lower, even amateur limit, was sent to theaters.And this is all the salt of the myth of Color of Night: it is neither a good film nor a nanar in none of the two cases.Just a slight turnip, incomprehensible and boring for cinema editing, and a slightly zero, potable, but forgetful thriller for video editing.Besides, no one has ever retained the slightest little bit, apart from that of Bruce Willis.All that for this.And besides, since we are talking about it...
The big scene: we could have remembered the courageous and very committed game of Jane March, who embodies no less than three characters and walks regularly completely naked in front of the camera.We could have discussed the fact that Bruce Willis, in addition to playing like a foot and carrying a posthe, wallowed in a story where he copulates with a character who half less his age and that it is downright gloomy.We could have been satisfied with the fact that, on the other hand, Color of Night surprisingly tackles questions of gender and homosexuality through the character of Richie - especially for a film from the 90s.But we are obviously going to talk about Willis sausage...And beware, will not have to clig eyes.
You will not see much more
While Bill Capa and his pink girlfriend for the first time, they are taken from an erotic fire so incendiary that only an unexpected fall in the pool seems to be able to temper.While his clothes with them are torn off and all of his anatomy is revealed to us, it is thanks to a movement of the thigh of Bill that we see half a second one of the quarter of theUpper surface of the glans of the gland, hidden behind another piece of his body.Those who dreamed of a conflagration can get dressed: the Color of Night myth is due to a stolen plan, far from Harvey Keitel in Bad Lieutenant (but like Basic Instinct).Even in his gloriole, Color of Night is an accident.
Jade
Exit: 1995 - Duration: 1h31
A method of maintenance of the wallpaper too little known
The erotic-neune pretext: following the discovery of the corpse of a collector to poorly recommendable para-Legal activities, an assistant to the prosecutor is rushed in a cropping case.The councilor, a follower of sado-masochism, would have used the luxury service of a luxury prostitute nicknamed Jade, with a sulphurous reputation, on which nobody manages to put his hand.
Erotic-Neuneu interest: eager to attract a commercial success likely to leave him frank cubits with studios, William Friedkin in turn embarked on the erotic thriller.History to do well, it brings together a first choice casting, combining the talents of Linda Fiorentino, which hacked the reptilian brain of many spectators thanks to Last Seduction, as well as comedians then promising, such as David Caruso, Chazz Palministeror Michael Biehn.
And in the script, we find the Pope of police stripping: Joe Eszterhas (Basic Instinct, Sliver, Showgirls), and producer Robert Evans (Sliver, yes).
Y david that blushed
But Joe was swept away in the turmoil of Showgirls and wishes to return to his fundamentals, to the point of writing Jade in the manner of a consistent copy of the thriller which made the glory of Sharon Stone.The process is so seeing, that it highlights how much the genre is out of breath.Intrigues and sub -intrigues never seem embodied, and no one finds what to do with their character, each lacking in cruelly thickness.
This is where the staging of Friedkin comes in, who for his part, did not save himself on the film, as the latter conceals pieces of bravery.And if the filmmaker has never been a great filmer of the flesh, he reveals himself once again more than capable when it comes to metaphorically representing the moral corruption of his characters.Obviously during the physical confrontations which opposes them, and in particular when it stages prosecution, accidents or sabotages relating to their vehicles.These sequences, each more intense than the others, are also enamelled with images of fairly graphic violence, which electrify our gaze, as if to recall the obvious link, but not always easy to film, between Eros and Thanatos.
By car Simone!
The big scene: it is therefore not when our anti-heroes come in the hairs that assembly and cutting provoke us a copious goosebumps, but well when their contradictory desires express themselves through violence.And in this register, how to forget the fabulous prosecution along the hills of San Francisco, a challenge which intended to renew the feat of federal police motorway Los Angeles and who obviously inspired Michael Bay for The Rock?It is more precisely its introduction, which here makes wonders.
Under the eyes of the brave assistant of the prosecutor, a witness is voluntarily crushed by a vehicle, which our hero will take away as soon as.The murder is of amazing and repeated violence, the unhappy being crushed twice, with a mixture of crudity and complacency which leaves us like two rounds of the side.The movements of vehicles as much as the work, usual in the director, of our scopic drive as the obvious sexual charge of the killing of a secondary protagonist, treated until then via his sexualization, make this beginning ofScene one of the shocks of the film.
Sexcript
Exit 1998 - Duration 1h50
"", But since I tell you that this lesbian kiss is important for the scenario""
The erotic-neune pretext: a beautiful gosse sports teacher is accused of rape by a rich kid.Except that she is wick with a local punk, who seeks to take revenge on a rotten cop who killed her boyfriend.And everyone likes swimming pools, swimsuits, champagne three plans, and Denise Richards.
Erotic-Neneu interest: probably one of the best representatives of the under-breed of erotic thrillers, because it is played perfectly.From the lesbian kiss to the three plan, including a perfectly absurd carwash session and the obsession for the body of Denise Richards filmed from all angles, sexcrimes is on paper a dictionary of the little pervert.With in addition a sordid story of murder, rape and money, it is the luxury Hollywood night bingo, assembled to respond to the lowest instincts of the public (male).
But in reality, sexcrimes is a perfect trap set to spectators as well as to the characters, and almost a point of no return in the genre.Orchestrated by the screenwriter Stephen Peters (who has disappeared from traffic since) and director John Mcnaughton (Henry, Portrait of a Serial Killer), with the help of the screenwriter and writer Kem Nunn (Deadwood, Sons of Anarchy) to refineWriting is a dizzying mask game, which almost turns into a joke as the moist rot reveals itself.This story of garbage that lies and cheat as they breathe and fornicate is designed as a scam, whether with the cast of the Blanche Neve Campbell to embody the criminal head, or with the editing and the narration that can only createdoubts in conducive places.
This is rotten who thought he was taking
The sexcrimes scam is all the more pleasing since it was intentional. Le réalisateur James McNaughton expliquait à Moneyintolight en 2016 : ""A ce moment de ma carrière, j'avais besoin de faire un film commercial, et ça a été un argument capital quand j'ai choisi ça.I really liked the script, but it was I also wondering, 'what sells?Sex and violence.You want sex and violence.Ok, that's.How much do you like this? '"".Years later, he will say that it was also his most political film, since it is the girl who lives in a caravan who wins, and crushes all the privileged and powerful.
Kevin Bacon, actor and producer of sexcripts, was the first big name to get involved, which reassured all the others (knowing that Robert Downey Jr.was supposed to have the role of Matt Dillon, but that he was put off for insurance issues given his state at the time). Il avait parfaitement résumé ça lors de la promo, chez Entertainment Weekly à l'époque : ""Quand j'ai lu le scénario pour la première fois, je me suis dit, 'Mon dieu, ce truc est la merde la plus trash que j'ai jamais lue'.But all 3 or 4 pages, I realized that it was not that.All 3 or 4 pages, there was another surprise "".
The post-generic scenes, which would pass those of Marvel for institutional films, are the highlight of this vast joke, like a last sneer to ratify the affair.Knowing that everything could have been even funnier, since at the origin, Matt Dillon had to join Kevin Bacon in the shower, for another succulent twist who was nevertheless been̶e̶e̶n̶s̶r̶é̶é̶é̶é̶é̶é̶é̶ cut by the producers, anxious to shock with the male equivalent of the male equivalentThe swimming pool scene - another marker of the blessed decade of the 90s.
To three, we go there
Under his air of low -level provocative scoundrel, sexcrimes is in any case a little cynical gem in the genre, which fits in black humor, and takes a malicious pleasure in amocher.It is all the more successful that James Mcnaughton is packing this with real know-how, with the added bonus of the excellent music of George S.Clinton, and the talent of actors and actresses, rarely filmed (and exploited).And the presence of Bill Murray, lost as a freshwater fish in a chic porn ocean, is all the more tasty.
The big scene: Denise Richards who leaves the pool in idle, Denise Richards who embraces Neve Campbell in a swimming pool, Denise Richards who undresses for a three -plan scene (she who had refused to do it for Starship Troopers, becauseIt was not justified).Sexcript scored many spirits (and probably some briefs) thanks to the actress, who was then at the top of her career, with beautiful to die and James Bond in stride.
Between the legs
Date: 1999 - Duration: 1h59
Orthodontics, level 1
The erotico-neune pretext: Javier and Miranda, addicts to sex, meet during a group therapy session.Muses by an irrepressible desire, they make love in a parking lot, inside an abandoned car.Except that there is a corpse in the trunk, that it is Miranda's husband who is responsible for the investigation, and that he will gradually suspect his wife to deceive him...
The erotic-neunes interest: give a rinsed concept, completely devitalized by Hollywood, to a Spanish director, and he will take care of gorging it with abundant and bubbling blood.This is precisely what Manuel Gómez Pereira, who gives himself joy in between the legs in 1999.He does not duplicate with as much fever the rise of desire which chanted two years earlier the remarkably underestimated) in the flesh of almodovar, but assistant to his recipe an appetite for insatiable cinema insatiable.
Not content with approaching the question of eroticism via the concept of addiction to sex, then absent from public debate and little treated on the screen, it uses worn ingredients to pass them within a real reelhitchcockian.Through its division, multiplying the patterns directly from the British master, using a camera which promotes extreme angles, which always increase the volcanic feelings of the protagonists.Even if it means missing a little measurement.
Indeed, by dint of questioning the nature of the events, the status of what the spectator discovers (reality? Illusion? Fantasy?) The story takes place more than once in the carpet, even if it means giving the impression ofbuy an artistic legitimacy that goes beyond the simple eye shaving.It must be said that in this area, Javier Bardem and Victoria Abril ensure a spectacle that would disturb a comatose Franciscan monk.
The big scene: rather than opening your story with a fornication sequence acting as a trigger for the plot, Pereira opts for a formidable crescendo climb.We will thus start with the column of a telephone adultery, put in the sound mouth whose success owes a lot to the actors, before Javier and Miranda frequently copy in a carcass.The scene is one of the most striking of the feature film, but not the one that leaves the most dazzling memory.
Later, when two characters finally jump on it, in a ballet of desire, but also of violence.Between passion, consent difficult to establish and then wish to devour, the sequence enjoys an iridescent animal dimension...Until the arrival of a toddler, a hair deconstance to see his mother doing the two -back beast.Or a game of roller coaster in turn exciting, exhausting then chilling, which refers both to the whimsical and fears of adults, and possibly to the traumas of their childhood.
Original sin
Duration: 1h56 - outing: 2001
Stolen kisses
Le prétexte érotico-neuneu : Un jour, Louis Durand, un riche marchand de Cuba, s’est dit : ""Tiens, il faudrait que je pense à me marier avec une inconnue"".It is done when he welcomes the most than attractive Julia Russel with whom he will experience a love and sexual passion of the most devouring.Except that Julia Russel is not the person she claims to be, and Louis will learn at her expense (and it's very sad).
Erotic-neune interest: a priori, no one has read the original Péché scenario before signing and finishing the thing.There is no doubt that the simple promise to bring Angelina Jolie and Antonio Banderas, alias Lara Croft and Zorro, to undress them on all posters and trailers, was enough to motivate producers.There is also no doubt that the two actors, then at the top of their Hollywood popularity, looked at the number of zeros on their contracts before reading their replicas.
This is in any case the only explanation for this turnip of category A, signed Michael Cristopher, director of the forgetfulness sex attitudes, and spotted with the TV movie Gia, dream woman (one of the first great roles of Angelina Jolie)).
""What is the meaning of all this?""
To make the operation even strange, Original sin was placed in the shadow of François Truffaut since it is a new adaptation of the Siren du Mississippi by William Irish, already adapted by the French director in 1969, with Jean-Paul Belmondoand Catherine Deneuve.A film that is among the most forgotten in his career, but which earns a thousand cinema points in front of the 2001 version.
Widely (on) sold on sex scenes, original sin is a failure in large widths.True cache, erotic sequences (bulky music option, and available in the bathroom, the bedroom or behind the curtains) are as rich and striking as the posters of the film, and drown in an ocean of howls, crises ofjealousy, slaps and extreme cabotinage.The rest is even worse, with a laborious intrigue of manipulations, swindle and secrets that never ends, on nearly two endless hours.The film painfully juggles between soft porn, thriller with twist and feverish romance, but fails at all levels with a certain harmony.
Nothing better than a cigar to catch his breath
The big scene: the first sexual antics are not always the best, and Louis and Julia remind once again.Perhaps because no one could keep a cool head against the bodies of Banderas and Jolie (both particularly well named here), their first part of the leg in the air is shown long, wide, across andvertical, in all possible and unimaginable positions.
The director takes advantage of this golden opportunity to make the pleasure last and vary the angles of camera, for example total dives - of the best effect it goes without saying.A great moment of kitsch.
