Ultimo tango a Parigi
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Last Tango in Paris (1972) More at IMDbPro »Ultimo tango a Parigi (original title)


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2 items from 2015


Variety Critics Pick Their Favorite Film Sex Scenes

20 January 2015 10:00 AM, PST | Variety - Film News | See recent Variety - Film News news »

With sex and Hollywood in the spotlight as the debut of Universal’s “Fifty Shades of Grey” movie approaching, Variety critics weigh in on their favorite movie sex scenes.

Justin Chang

 

“Don’t Look Now”

(Nicolas Roeg, 1973)

This notorious sequence, featuring Donald Sutherland and Julie Christie, comes feverishly close to capturing the close-quarters tenderness of a loving marriage.

 

“Late Marriage”

(Dover Kosashvili, 2001)

Ronit Elkabetz and Lior Ashkenazi star in one of the most unguarded and naturalistic sex scenes ever filmed, full of cranky pillow talk, playfully feigned orgasms and free-flowing nudity.

 

“The Dreamers”

(Bernardo Bertolucci, 2003)

A naked Eva Green forcibly seduces a shy Michael Pitt, who is both aghast and aroused — a fair assessment of the viewer’s reaction as well.

Scott Foundas

 

Last Tango in Paris

(Bernardo Bertolucci, 1972)

The butter scene ensured notoriety, but another moment — two lonely people naked on a mattress, trying to bring each other to »

- Justin Chang, Scott Foundas and Peter Debruge

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The Missouri Breaks | Blu-ray Review

20 January 2015 9:00 AM, PST | ioncinema | See recent ioncinema news »

Arthur Penn’s notorious, arguably ‘revisionist’ Western The Missouri Breaks makes it to Blu-ray courtesy of Kino Lorber, with packaging that keeps the film’s initial infamous discrepancies alive and well with star Marlon Brando’s name retaining top billing. Though it would be Brando’s last sizeable role, the film’s main protagonist is really Jack Nicholson as a matter-of-fact horse thief who runs up against a prosperous man who holds himself above the law by failing to recognize that the rest of the country’s outlying frontiers have them.

The term revisionist is problematic in reference to Penn’s film, though it attempts to make us sympathize with a villain positioned against a civilized businessman who’s nearly as irredeemable. Two wrongs don’t make a right, so if anything, Penn’s adaptation of Thomas McGuane’s script is anarchist at best. Plagued with a troubled production thanks »

- Nicholas Bell

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2 items from 2015


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