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Hollywood's 100 Sexiest Films, Ordered
Emma Stone plays a reanimated Victorian woman with a strong erotic hunger in the current Oscar candidate "Poor Things." The head film critic at THR ranks 100 more hot films where Hollywood approved of sex.
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Adrian Lyne is all over most erotic film lists — take your pick from 9½ Weeks (who’s gonna clean up that kitchen?), Fatal Attraction (“I’m not going to be ignored, Dan”) or Indecent Proposal (a million-buck fuck should at least be interesting), just please
In Ridley Scott's tragicomic feminist road movie, Brad Pitt became a star when he approached Geena Davis's Thelma in a parked Ford Thunderbird while portraying the dodgy cowboy wanderer J.D. With a charmingly self-assured demeanour and a southern drawl, J.D. successfully gains entry into Thelma's motel room. The following day, he proceeds to pilfer her best friend Louise's (Susan Sarandon) life savings, which the two fugitives use to escape to Mexico. It's a complete bust as far as single nights go. Nevertheless, Thelma at least gets a taste of romantic adventure unlike anything she's ever had with the immature jerk she married, along with some useful advice on thievery.
Todd Field's darkly satirical and unsettling look beneath the polished exteriors of American suburbia revolves around the lustful and earthy extramarital affairs of Patrick Wilson's Brad (whose warm caramel skin tones ought to be illegal) and Kate Winslet's earthy, lustful Sarah, during their spouses' absence from work. Of all, infidelity is nothing new in movies, but the spin cycle took on fresh significance when a disgruntled housewife resurrected sexually while seated on a washing machine.
As in the majority of these entries, chemistry is key, and Sarita Choudhury and Denzel Washington had it to spare in Mira Nair’s buoyant account of an interracial romance between a Ugandan Indian immigrant and a Black Mississippian, facing disapproval from both their communities. The film offers a novel, frequently humorous perspective on cultural disruption and a groundbreaking portrayal of love across the brown-Black divide. It also has a particularly memorable late-night phone call that is so intensely seductive and filled with physical desire that it will make you yearn for the days before FaceTime landlines.
Here, Susan Sarandon and Kevin Costner were at their most endearing, and they make a fiery combination. A rare film, Ron Shelton's sophisticated, sultry comedic romance combines a fun depiction of the transition from flirtation to unrestrained desire and possibly even something more meaningful. It is a tribute to America's favourite game. In the film, Sarandon portrays Annie Savoy, a groupie who mentors a new minor-league Durham Bulls player every season in order to teach them the poetry of baseball. She chooses Tim Robbins' brazen pitcher, known as "Nuke," but Crash Davis, Costner's seasoned catcher, makes it a three-way race. The furniture practically trembles during the sex. It is advantageous that Crash not only has quick reflexes when releasing a
In the 1970s, Warren Beatty was so well-known in tabloids as a Hollywood lothario that MAD magazine once made fun of him for not having slept with Shirley MacLaine. (Kids, they are brothers and sisters.) His supposed skill with women was never more deliberately taken advantage of than in Hal Ashby's hilarious parody of sexual politics in Nixon-era America, which also parodied conventional politics. Beatty plays a lustful Los Angeles hairstylist in a project he designed for himself. He uses his blow dryer as an extra penis and weaves his way through Beverly Hills bedrooms in an attempt to get money for his own shop. Even having an affair with a possible investor's (Jack Warden's) wife (Lee Grant), mistress (Julie Christie), and 17-year-old daughter (Carrie Fisher) doesn't seem to stop that fantasy.
Ally Sheedy was rescued from semi-obscurity by Lisa Cholodenko's eye-catching debut from Breakfast Club Brat Pack. She was able to showcase an unexplored side as Lucy, an edgy, once-famous photographer who was influenced by Nan Goldin. Her drug-addled, ex-Fassbinder muse lover Greta (Patricia Clarkson, all languid glamour gone to seed) and their downstairs neighbour, ambitious assistant editor of an art magazine Syd (Radha Mitchell), who drifts away from her boyfriend and into Lucy's bed, create a hot triangle. Although Cholodenko is as aware of the psychic and emotional terrain as she is of the sexuality, the love scenes are frequently praised as a breakthrough in mainstream lesbian screen representation. The portrayal of the drug-addled demi-monde of downtown New York is reminiscent of Goldin's seminal debut collection, The Ballad of Sexual Dependency.
Lee Daniels’ third picture attracted scorn when it premiered in Cannes. However, when viewed outside of that hotspot for art, it's an incredibly juicy slice of Florida swamp pulp that lets Nicole Kidman channel Sharon Stone, as if she was emulating Dusty in Memphis' cover image. Her sultry act, which entices John Cusack's chained, alligator-hunting redneck (who is imprisoned for murder) is unforgettable. Her waving off some young women on a beach who are trying to urinate on Zac Efron in an attempt to counteract the jellyfish stings covering his body is even more outrageous. "Shift it! I'll be the one to piss on him if anyone does! At his Cannes news conference, Daniels wowed the crowd by defending the movie's eroticization of Efron's role while wearing his tight-fitting outfit: "The lens
During the latter moments of the 1990s, when John McNaughton's mystery thriller was released, news quickly spread that part of its softcore titillation was a rare view of what gay admirers waggishly dubbed "Kevin Bacon's bacon." Aside from the full-frontal sequence, though, this is gourmet garbage, with a story so twisted that it's still being explained at the closing credits. Two teenagers, Denise Richards and Neve Campbell, accuse Matt Dillon, a high school guidance counsellor, of rape. But hold on, it's a fraud! That's just the beginning of a convoluted tale of betrayals, killings, and a heated argument that escalates into a lesbian makeout session in a swimming pool—all of which are pruriently watched by Bacon's Miami detective.
A ripe peach's juicy possibilities were illustrated by Luca Guadagnino's stunning portrayal of first love and sexual awakening, long before Bella Baxter was investigating the masturbatory pleasures of the fruit bowl in Poor Things. The relationship between Timothée Chalamet's 17-year-old Elio and Armie Hammer's character, his father's graduate student helper, is more often hinted at than demonstrated. Desire permeates the air between them like the bright beams of the Italian summer sun, yet it doesn't make it any less tangible. The film that marked the beginning of a thousand Chalamemes featured a scene where Elio skillfully navigates a dance floor to The Psychedelic Furs' "Love My Way," with his flowing movements alluded to as a potential mating ritual.
Many of the 1980s and 1990s films that are frequently mentioned in discussions about erotica are those where sex is associated with risk. These films include Jade, Sliver, and Showgirls, all of which were written by Joe Eszterhas, the screenwriter of Basic Instinct. But director Jim McBride began from scratch, evoking the sensual New Orleans air with a hint of Cajun seasoning and then crafting a taut thriller about police corruption, where the real heat originates from the tense, simmering relationship between a state deputy attorney and a local police officer entangled in her investigation. Ellen Barkin and Dennis Quaid's chemistry is off the charts.
Before the JLo Industrial Complex was constructed, Jennifer Lopez was able to play a character, and she does so with genuine grit in Steven Soderbergh's witty, deft, and incredibly seductive adaptation of Elmore Leonard. The character is U.S. Marshal Karen Sisco, and she is entangled with George Clooney's Jack Foley, a charming career bank robber who kidnapped her. The two radiate movie-star charisma at its most alluring, whether they're squirming together in the trunk of her car, flirting at a hotel bar, or getting soaked in a tub when Karen surprises Jack during bath time.
The reason Paul Verhoeven's obscene Hitchcockian thriller consistently makes it onto lists of Hollywood erotica is more complex than Sharon Stone's ability to transform a routine police interrogation maneuver—such as uncrossing and recrossing her legs—into a subversive play of sexual power. Stone is carnality personified in her role as crime author Catherine Tramell, who is connected to a string of gruesome ice pick murders. She turns smoking a cigarette into the most obscene act you've ever seen someone execute outside of a pornographic film. Not surprisingly, Michael Douglas's investigator feels like putty in her grasp. ... her bed, which made him call her "the fuck of the century." The main distinction from the majority of these kinds of films is that the woman is always in charge.
David Cronenberg is far more aware of the baser tendencies that his characters are prone to than he is of the romantic aspects of sex, as the title and almost his whole filmography make clear. This is seen by the dramatic comparison of these two scenes. In the first, where Viggo Mortensen plays a small-town family man, he plays the role of the passive spouse, content to let his role-playing wife (Maria Bello) take the lead while she's dressed like a cheerleader and wearing transparent knickers. Their rough-and-tumble physical union later blurs the lines between repulsion and desire in a physically gruelling session on the stairs after he is revealed to be a gangland thug in hiding. Unsettling, yet enduring.
Lawrence Kasdan redefined the neo-noir with this sweaty thriller, borrowing liberally from the classics — most notably Double Indemnity, a little further down on this list — but spicing things up with a sexual candor that was hot and humid even by the standards of the South Florida setting. William Hurt plays Ned Racine, a dodgy lawyer who gets entangled with Matty Walker, bored wife of a wealthy businessman she’s looking to offload. “You’re not too smart, are you?” she observes. “I like that in a man.” The role deservingly made Kathleen Turner and her throaty voice into overnight stars.
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