Movies can develop intriguing reputations for a plethora of reasons, including clever marketing strategies and juicy gossip. This often leads people to assume that certain movies are plain old boring, when in reality they are far more captivating than they could ever imagine. Sometimes, a movie might be remembered for a scandalous moment or be associated with a genre that typically churns out subpar films, causing folks to dismiss it without even giving it a fair shot.
However, there are instances where the ongoing buzz surrounding certain movies is actually well-deserved. Films like Bernardo Bertolucci’s Last Tango in Paris or Nicolas Roeg’s Bad Timing feature spine-tingling scenes that might be a bit too intense for some viewers. But instead of being written off as trashy, these movies are the brainchild of esteemed auteurs who purposely aimed to leave their audiences feeling unsettled for deeper reasons than mere shock value. No matter where these misconceptions originated, it’s crucial to set the record straight and acknowledge the extraordinary quality of these films. So, let’s cheer on these movies that offer more than just cheap thrills.
1. Dangerous Liaisons
Based on the official trailer, Dangerous Liaisons appears to be an intriguing period drama that delves into the scandalous sex lives of the French aristocracy before the French Revolution. John Malkovich portrays an infamous lothario, while Glenn Close takes on the role of his equally cunning female counterpart. Together, they use their cruel tactics to corrupt and destroy the lives of three young socialites. While the movie does have its fair share of bodice-ripping moments, it is not the breathlessly erotic romance that many might expect from its marketing.
The scandalous nature of Dangerous Liaisons can be attributed to its source material, a novel written by Pierre Choderlos de Laclos in 1782. At the time, the book caused quite a stir due to its frank portrayal of sexual themes. Stephen Frears’s 1988 film adaptation remains faithful to the novel, although its sexual content is not as explicit as other movies of the decade or the actors’ own filmographies. Instead, the movie focuses more on power dynamics rather than mere lust, presenting a sophisticated and sexy portrayal of manipulation taken to extreme levels.
Malkovich and Close skillfully utilize their seductive powers as a means of dominance and entertainment. They readily use and discard their peers, viewing their relationship as a playful rivalry fueled by a simmering attraction. However, when Malkovich’s character develops genuine feelings for his latest target, played by Michelle Pfeiffer, Close’s pride is threatened, and a war between them ensues. Dangerous Liaisons revels in the misbehavior of the wealthy elite, but as the story progresses, it takes a darker turn, ultimately leading to tragedy. What initially seems like innocent fun at the beginning of the movie carries all-too-real consequences by the end. The ruthlessness of a social circle built solely on appearances and reputation proves to be deadly.
The haunting final image of Close, staring at herself in the mirror while removing her makeup, serves as a powerful symbol of her isolation. Cast out by the people she once manipulated like puppets, it dispels any notion that Dangerous Liaisons is just another shallow costume drama.
2. Fatal Attraction
Fatal Attraction, an ’80s erotic thriller, is often associated with the word “steamy.” However, the controversy surrounding the film revolves more around the demonization of Glenn Close’s character than its sexual content. Michael Douglas portrays Dan, a lawyer and devoted family man who engages in a brief affair with a book publisher named Alex (Close). As Dan attempts to end their one-night stand, Alex becomes increasingly persistent, unstable, and ultimately violent. Despite the title and promotional images suggesting a steamy film, Fatal Attraction is actually much colder in reality.
Director Adrian Lyne is known for pushing boundaries in his films when it comes to sexuality. Movies like Lolita, Indecent Proposal, and 9 ½ Weeks have sparked controversy due to their content. While some of Lyne’s films may be dismissed as stylish sleaze, Fatal Attraction stands out. Love it or hate it, the film is a tightly crafted thriller, showcasing Close’s exceptional performance. The movie manages to rise above its disappointingly moralistic ending, thanks in part to Close’s portrayal of Alex, which goes beyond mere hysteria and pure evil. Despite committing horrifying acts such as stalking, kidnapping, and harming a bunny, Alex comes across as fragile. On the other hand, Dan is largely unlikable, despite being the target of her obsession.
Although not marketed as a horror film, Fatal Attraction delivers spine-chilling jump-scares and effectively preys on male fears of vengeful ex-partners in a subtly insidious manner. It is a moody thriller with a dark core that seamlessly combines multiple genres and lingers in one’s mind long after the credits roll.
3. Bound
The Wachowskis are best known for their action-packed and visually stunning films like The Matrix and Cloud Atlas. However, in 1996, they made a splash with their first co-directed feature, Bound, which caught people’s attention for different reasons. This indie neo-noir revolves around the story of two women, Violet (Jennifer Tilly), a gangster’s moll, and Corky (Gina Gershon), a tattooed ex-con. The two women fall in love and hatch a plan to steal millions from the mob while framing Violet’s shady boyfriend.
Lesbian romances have often been marketed and labeled as titillating affairs, and Bound was no exception. Critics tended to focus on the “Girl-Girl Action!” aspect rather than the fast-paced plot or the intense violence, as noted in a review by Variety. However, the steamy reputation of Bound may be a result of prejudice, but it can also be attributed to the undeniable chemistry between Tilly and Gershon. Their connection feels refreshingly intimate and free from the male gaze.
While the chemistry between the lead actresses is a standout, the Wachowskis managed to pack much more into Bound, as highlighted in the Variety review. The film showcases a directorial style reminiscent of the neo-noir gore of the Coen Brothers’ Blood Simple, witty dialogue akin to Woody Allen’s work, and slapstick comedy reminiscent of the Marx Brothers. Others have even drawn comparisons to Hitchcock and Billy Wilder. Bound, like all of the Wachowskis’ movies, is an ambitious spectacle. However, what sets it apart is that its plot and characters are equally captivating and fully realized. It is an erotic and stylish thriller that doesn’t skimp on character development or a satisfying ending.
4. Sex, Lies, and Videotape
Steven Soderbergh’s groundbreaking debut, sex, lies, and videotape, lives up to its intriguing title, but not in the way you might expect. Andie McDowell takes on the role of Ann, a housewife in Baton Rouge stuck in an unhappy marriage with a successful lawyer, played by Peter Gallagher. To make matters worse, he’s having an affair with her younger sister, portrayed by Laura San Giacomo. When Ann’s old college friend Graham, played by James Spader, comes to town, she turns to him for an unexpected form of therapy.
Graham has a peculiar fetish for interviewing women about their sex lives and recording these conversations on videotape. Surprisingly, it’s through these intimate conversations, rather than physical acts, that Ann discovers a level of connection and intimacy missing from her marriage.
The title of the film, sex, lies, and videotape, is both accurate and misleading. While most people would associate it with sex being captured on tape, in this case, it refers to conversations about sex. Soderbergh, who was only 26 when the film was released, initially believed it might be too European for American audiences and too dialogue-heavy for Europeans. However, the film went on to win the prestigious Palme d’Or at Cannes and the Audience Award at the Sundance Film Festival. It quickly became one of the most revered and groundbreaking independent movies.
McDowell delivers a captivatingly honest performance, displaying a magnetic self-effacement that outshines the carefully choreographed and glamorously lit bedroom scenes typical of erotic dramas. Meanwhile, Spader walks a fine line between being seductively sinister and vulnerably authentic. This film is a rare gem that explores and directly addresses the topic of sex without objectifying its characters.
5. Secretary
The 2002 movie Secretary took a bold approach, presenting itself as a fetish-laden, taboo-heavy erotic drama centered around a secretary engaged in a sadomasochistic relationship with her boss. However, the initial impression created by the poster was quite misleading. It featured a woman in a short skirt and heels, bending over and grasping her ankles. Accompanied by the tagline ‘Assume the position,’ it gave the wrong idea about the film’s content.
Maggie Gyllenhaal, who played the lead role of Lee, initially had reservations about accepting the film. She feared that it would perpetuate negative stereotypes and be seen as an anti-feminist sex movie. However, she was ultimately won over by the script and appreciated director Steven Shainberg’s willingness to explore deeper meanings within the sexual aspects of the story.
Upon its release, Secretary surprised critics with its enlightened approach. However, the misleading poster and synopsis have contributed to a more one-dimensional reputation for the film.
The story revolves around Lee, a seemingly ordinary young woman who had recently spent time in a psychiatric hospital due to self-harm. Her boss, Mr. Grey, portrayed by James Spader, becomes aroused by her submissive nature and engages in spanking. This experience awakens something within Lee, leading to a passionate affair between the two. While the power dynamics inherent in a boss-secretary relationship are questionable in real life, the relationship between Lee and Grey is nuanced and ultimately a testament to love.
Lee finds a sense of liberation in their unconventional sexual dynamic, while Grey struggles with self-loathing and shame regarding his desires. Despite being the dominant figure in their relationship, Lee helps him accept and embrace his tendencies without judgment. Ultimately, the movie transforms into a conventional love story, highlighting that their intense physical desires do not exclude tenderness in other aspects of their lives.
Even years after its release, Secretary remains a refreshingly sophisticated and playful portrayal of a type of relationship that Hollywood often reduces to tired clichés.
6. American Gigolo
Richard Gere takes center stage in Paul Schrader’s American Gigolo, where he is constantly objectified in almost every frame. Portraying Julian, a male escort who finds immense satisfaction in cars, clothes, and his own physique, Gere exudes a sun-kissed and feline allure. He moves with a graceful poise, fully aware that he is being admired by all who lay eyes on him. Julian derives pleasure from pleasing women, particularly those neglected by their husbands, making them more susceptible to his professional skills. However, his carefully crafted life takes a sudden turn when he becomes involved with a politician’s wife (Lauren Hutton) and is framed for the murder of a former client.
At first glance, the premise of a movie about a male prostitute accused of murder may sound sleazy, especially considering Schrader’s previous film, Hardcore, which delved into LA’s adult film underworld. However, American Gigolo takes on a glossier and more romantic agenda. Instead of focusing solely on the seedy aspects of sex work, it presents itself as a stylish character study. It explores the life of a supremely confident protagonist whose ego is ultimately brought down to earth.
Right from the start, there is a sense of tragedy surrounding Julian’s character. Much like Patrick Bateman in American Psycho, he meticulously follows an elaborate workout routine in his lifeless apartment. His muscles glisten, his hair falls into his eyes in just the right way, and sunlight streams through the windows, creating an air of perfection. Like Bateman, Julian possesses an immaculate Armani wardrobe and derives an unsettling amount of pleasure from his glitzy possessions, devoid of the same joy in his interpersonal relationships. As he gradually loses control of his life, he begins to disconnect from this carefully constructed identity.
Schrader’s approach in American Gigolo focuses on highlighting glamour rather than sleaze. Nevertheless, he manages to convey the darkness and redemption within the film’s central character.
7. Eyes Wide Shut
The production of Eyes Wide Shut was surrounded by secrecy and tabloid fascination. Tom Cruise and Nicole Kidman, who were famous for their marriage, starred in the film which delved into the private lives of a married couple. The director, Stanley Kubrick, insisted on keeping the press completely away from the production. This led to wild rumors of nude scenes, marital conflicts, and scandalous sex scenes that might never be seen. However, the actual film was far from titillating.
Kubrick, already renowned as one of the greatest directors, didn’t compromise his artistry to create a soft-core film as a final hurrah. Instead, his last film is cryptic, suspenseful, and dark, revolving around the concept of infidelity rather than explicit orgies.
Tom Cruise portrays Bill Harford, a New York doctor who discovers that his wife Alice, played by Nicole Kidman, has fantasies about another man she almost left him for years ago. This revelation sends him on a chaotic journey through the streets of Manhattan, where he tries and fails to have an affair despite being propositioned by numerous individuals. Finally, he attends a party that seems tailor-made for his desires, only to find it turning into a nightmarish experience rather than a sexual fantasy.
Kubrick’s meticulous composition of the masked orgy scene creates a clinical rather than erotic atmosphere. It focuses solely on bodies, leaving a psychological impact on both Bill and the audience. Bill ends up fearing for his life, escaping from a nightmarish scene that is difficult to believe is real. The most intimate and insightful moments in the film occur during the intense fights between Bill and Alice, while the sexual scenes are surreal and filled with menace.
Eyes Wide Shut provokes endless interpretations, exploring themes such as sexual fantasy, infidelity, death, and the abuse of power. It covers a wide range of human experiences in an unsettling and surprising manner, defying expectations of a tantalizing display of erotica.
8. The Last Seduction
The ’80s and ’90s witnessed a revival of femme fatales inspired by the iconic performances of Hollywood legends like Barbara Stanwyck, Rita Hayworth, and Ava Gardner. Rather than being featured in traditional neo-noir films, many of these roles found their place in erotic thrillers. Actresses such as Sharon Stone, Madonna, and Denise Richards took on these provocative characters, engaging in explicit sexual scenes. Pushing boundaries even further, the screenplay for The Last Seduction was initially pitched as a soft-core movie. Its release straight to television gave the impression that it was a trashier erotic thriller compared to the low-quality exploitation films produced by major studios at the time. However, this assumption couldn’t be further from the truth.
In The Last Seduction, Linda Fiorentino portrays Bridget Gregory, a telemarketing worker who runs away with $700,000 that her abusive husband earned from a drug deal. Seeking refuge in an unremarkable town, she manipulates a local insurance salesman, played by Peter Berg, while concocting a complex and chilling plan to rid herself of troublesome men. Unlike most ’90s erotic thrillers that relied on copious steamy sex scenes and explicit dialogue to redefine the femme fatale, The Last Seduction reinvents the character by presenting Bridget as a sexually dominant, ruthlessly calculating modern woman who takes center stage as the protagonist, rather than the villain. Fiorentino’s deep voice and chain smoking embody the classic femme fatale archetype, but she is not the doomed seductress of earlier films.
Contrary to expectations, the sexual encounters in the movie serve as a demonstration of Bridget’s control. She uses sex as a weapon, devoid of any subtlety or facade. One particular scene involving Bridget aggressively pushing the insurance salesman against a chain link fence to satisfy her desires, which initially made Peter Berg apprehensive, turned out to be the most impactful love scene of his career. He reflected, “I thought I had made a grave mistake and that my career and life were over, but it turned out to be the most memorable love scene I have ever been associated with.” The Last Seduction received glowing reviews from critics, with Fiorentino winning the New York Film Critics Circle award for her exceptional performance. Unfortunately, due to its direct-to-TV release, she was ineligible to compete for the Oscar that many believed she deserved.
9. Lust, Caution
Any movie with an NC-17 rating and a title starting with “Lust” is bound to make certain assumptions, and it’s true that Ang Lee’s 2007 period drama has a lot of sexual content. However, the explicit scenes in the film, which has a runtime of 158 minutes, are used sparingly and are crucial to the plot. The story is set in Japanese-occupied Shanghai during World War II and follows Chia Chi, played by Tang Wei, an ordinary college student who transforms into a stunning socialite in order to seduce and assist in assassinating Mr. Yee, portrayed by Tony Leung, a collaborator with the enemy.
Despite her dedication to the mission, Chia Chi finds herself in a passionate affair with Mr. Yee, and her feelings ultimately disrupt the assassination plot. Lust, Caution received an NC-17 rating due to some explicit sex scenes that involve both consensual and non-consensual interactions. However, these scenes are not gratuitous; they provide glimpses of honesty within the web of deceit that both Chia Chi and Mr. Yee are entangled in.
It’s possible that Mr. Yee suspects Chia Chi’s ulterior motives from the start but chooses not to confront her. Their physical relationship is intense and explicit, serving as a compensation for the secrecy and dishonesty that permeates the rest of their lives. Without these scenes, the development of their growing feelings would lack conviction, resulting in an unsatisfying ending.
Ang Lee is known for his ability to blend seemingly incompatible genres, and in Lust, Caution, he intertwines sex and espionage, effectively illustrating the extremes and ruthlessness of life during wartime.
10. Carnal Knowledge
Carnal Knowledge is a movie that explores shallow sexual encounters, partner swapping, and the objectification of women. The story follows Jack Nicholson and Art Garfunkel as college friends who spend 30 years searching for romantic partners. Nicholson’s character, despite criticizing women for their shallowness and laziness, only values their physical appearance. On the other hand, Garfunkel’s character idolizes women to an unrealistic and self-defeating extent. When the film was released in 1971, its explicit portrayal of physical relationships shocked and angered audiences. Some newspapers even refused to advertise it, and in Georgia, the film reels were confiscated from a theater. The theater manager faced charges of distributing obscene material, and the case eventually reached the US Supreme Court, where he was ultimately acquitted. Although the movie still carries a seedy reputation, it is a reflection of the era it was made in. Similar to Mike Nichols’s other films that explore unfulfilling sexual relationships like The Graduate and Closer, Carnal Knowledge’s provocative dialogue and brief nudity serve a purpose and are not mere additions for shock value.
The movie is ahead of its time in depicting two forms of toxic masculinity. Nicholson’s character objectifies women, dehumanizing them through their bodies, while Garfunkel’s character places them on an unattainable pedestal. Candice Bergen, Ann-Margret, and Rita Moreno have significant roles that highlight the shallowness of the male characters. The sexual encounters in the film are not intended to titillate but rather to create a sense of alienation. By the end, Nicholson’s character becomes so desensitized that he can only find arousal when a sex worker reads a script glorifying his masculinity. This unconventional approach leaves viewers who expected a sexy escapade feeling deceived and thoroughly disheartened. Instead, what emerges is an unfiltered portrayal of the main characters’ pursuit of relationships that are bound to disappoint everyone involved.
