Triple Dare (Teenage Taboo Erotica)

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Maybe cinema audiences – even slasher film audiences – didn’t want to be told that what they were doing might on some level be a bit twisted.

Awkward, horny teens eager for sexual satisfaction are hardly underrepresented in the entertainment world— hello, sex comedies— but films that center on teenage girls and their kinkiest desires are still outliers. Nonetheless, John Schlesinger’s drama was a risky, adventurous movie in theme if not content, making a mesmerising protagonist out of Jon Voigt’s gay hustler who strikes up an unlikely friendship with another impoverished loner in Dustin Hoffman’s skittish con man Ratso. The film recast Cruise, a hunky all-American golden boy, as charmless and sexually anguished, a man unable to get laid for love nor money, and the cavorting Kidman as brooding and unfulfilled.

If the template’s central attraction lay in the playful contrast between the teen-movie genre and the scholarly source material, then Cruel Intentions mined this for all it was worth: lowering the tone, upping the vulgarity, and telling its steamy story with gleefully frivolous tone.

Boogie Nights resisted the easy narrative in favour of a story about everyday people who meet at work, form bonds and surf the waves of a fast-changing industry with youthful cheer. Which isn’t to say that that film which popularised the term “milf” has aged impeccably: its central set-piece features a girl obliviously stripping for a lecherous online audience. Anderson’s film took us behind the scenes of the seediest industry possible, and showed us the innocence and humanity of the people in the middle of it and their commitment ­– like any filmmaker – to making a worthwhile movie.So it made the cutesy girl-on-girl action in Bound (2006) and Mulholland Drive (2001) seem dubious and cheap. The story follows Maggie Gyllenhall’s title character, a social outcaste and self-harmer, as she gets a job for – and promptly embarks on a relationship with – an attorney played by James Spader (who, having also starred in Sex, Lies and Videotape and Crash, has quietly amassed his own impressive oeuvre of thoughtful films about sexual compulsion).

Soon enough Hollywood would spawn an entirely new genre founded on the terrifying allure of this new archetype of American life: the empowered career woman.

Despite sounding like the plot of an unbearably quirky absurdist comedy, Her comes about as close to a genuine romantic drama as its premise permits. The Basic Instinct of its day, the Shame, this movie, under the fetishistic gaze of millionaire director Hughes, pretended to be ab

Welcome to a countdown of the greatest sex films ever made about the small but preoccupying part of the human experience known as sex - from coming-of-age lesbian dramas to gritty portrayals of sex addiction to, erm, loincloths. Both Jeremy Davies as Ray and Alberta Watson as his mother opt to play it straight, each sketching out self-loathing characters plainly desperate for comfort in any form.Ostensibly a horror movie with bite, Justine’s journey from vegetarian to meat-lover also mirrors her descent into the desire for other kinds of flesh. But, certain reservations aside, the key to the film’s success and enduring appeal is the obvious affection in which it holds its central characters. The story loses none of Waters’ fascination with gender and class, merely transposes it on to another society. It's a lot of the same stuff that's in Kids, but it's done in the stupidest way, and everyone just finds it so fucking funny because it's so cute.