Due to the criticism and controversy of an alleged date-rape scene in Observe and Report, we bring you yet another list of sex scenes, this one focused on cinematic moments that stirred protest, censorship, bans and boycotts. Whether groundbreaking for their time or still questionable today, these scenes could probably have been included in our past highlights of films sold on a sex scene and films remembered primarily for a sex scene. But these are not leftovers. Many of them have merits and memorability outside of their “upsetting” depictions of a sexual act, though many of their objectors wouldn’t know since they never actually saw the films themselves.

One disclaimer must be made, because we’re sure commenters will jump in otherwise asking why A Clockwork Orange and other films with controversial rape scenes have not been included. Besides the fact that many readers will argue that such scenes are not rightly labeled “sex scenes,” there’s also the matter that too many films feature gratuitous rape scenes, and most of the time these are met with criticism. Of course, there are also a number of controversial consensual sex scenes that we’ve had to leave out, so feel free to name any excluded titles after reading the list.
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With Danny Boyle’s DGA win over the weekend, Slumdog Millionaire achieved a near-impossible feat; it became even more favored to win the Oscar for Best Picture. Once thought to be an underdog, Slumdog has been pretty much unstoppable throughout the awards season, even picking up the undeserved top honor at the SAG Awards, and has never fallen from its position of frontrunner since it took the lead months ago. Yet last week, the internet was populated by talk of a Slumdog backlash, and for the first time in weeks, other Best Picture candidates were seriously being discussed as slightly plausible victors. The two titles considered most likely to be a threat to Boyle’s film are The Curious Case of Benjamin Button and Milk, with little concern for either Frost/Nixon or The Reader. However, while the former candidate is probably a sure thing to lose, the latter film should not yet be dismissed.

Before the Academy Award nominations were announced last month, The Reader wasn’t even thought to be a contender for any major category except Best Supporting Actress. Now, among its five nominations, it’s up for three higher-tiered Oscars, including Best Picture. So, we can’t rightly continue underestimating its potential. This isn’t to say that we are predicting The Reader to win Best Picture; Slumdog is still the safest bet for the top prize. But odds for The Reader do need to be adjusted, as its chances are a lot closer to, if not better than, secondary favorites Benjamin Button and Milk. Of course, as the it stands now, the film should be an appealing choice for any gamblers out there, because a surprise Best Picture win for The Reader would pay out big time. So, our immediate apologies to betters if the following seven factors have any influence on professional oddsmakers out there.
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Move over Milk. I Love You Phillip Morris does the gay rights movement one better, using in-your-face comedy and mainstream casting to defuse whatever anxiety the Heartland might have with guy-guy relationships — the irony being that this outrageous conman comedy from Bad Santa scribes Glenn Ficarra and John Requa was originally supposed to be directed by none other than Gus Van Sant. When Van Sant dropped out, the writers stepped in to shoot their own screenplay, resulting in a first-time film that feels more polished and professional than 90% of the studio comedies in theaters these days.

It helps that Ficarra and Requa went in with a proper script, an ingredient too frequently missing in Judd Apatow and Adam McKay’s improv-happy method, where a cocktail napkin sketch of a plot seems to be all the team needs. No doubt Ficarra and Requa allowed their leads, Jim Carrey and Ewan McGregor, a certain flexibility in interpreting their parts, but it’s refreshing to find a comedy that cuts together, where one scene sets up the next and ideas planted early in the film pay off for bigger laughs later on. The final gag, which shows an unmistakably phallic-shaped cloud, completes a joke set up in first-act flashbacks to Steven Jay Russell’s childhood.

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Is romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.”

If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers have adequately supplied them with new kinds of love for the ages.

Just take a look at these ten films from the past decade. They may be full of cynicism, but they’re also filled with big-movie love, in their own way. If you can’t see the romance, then the problem is with you, not the movies.

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Oprah Winfrey can certainly create a best seller when it comes to books, and her pick of the presidential candidates is on his way to the White House. But can she get behind a movie and contribute to its success? 20th Century Fox seems to hope so, because the studio apparently allowed the talk show host to screen an unfinished cut of Australia in preparation for her November 10 show, which featured the film’s stars, Nicole Kidman and Hugh Jackman, as well as a live-via-Skype call-in from filmmaker Baz Luhrman. Fortunately for Fox, Oprah raved about the film, and now the media has latched on to the endorsement, creating some much-needed positive buzz for the Oscar-hopeful. Yet there’s a big problem with all the excitement: Oprah’s film recommendations have hardly been sure-fire champs in the past.

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• Celebrity death cult where were you? Soul Men, featuring the final performance from Bernie Mac, underperformed over the weekend, placing only sixth with $5.6 million. I guess you preferred his other final film, Madagascar: Escape 2 Africa, which achieved the best debut of 2008 for an animated film with $63.5 million. The other big opener was Role Models, which did better than expected with a second-placing $19.3 million. All thanks to Jane Lynch’s bagel dog trick, I’m hoping.
• Meanwhile, Quantum of Solace, which doesn’t open in the States until Friday, has already passed the $100 million mark overseas.
• Despite YouTube video being possibly the worst format in which to watch movies online, MGM is licensing some of its titles (no 007 movies, unfortunately) to the site for full-length streaming.
• Joe Johnston, who has a Best Visual Effects Oscar for work on Raiders of the Lost Ark, has been hired by Marvel to direct First Avenger: Captain America. And I’m probably the only one who’s now hoping the comic book adaptation is reminiscent of the Johnston-directed The Rocketeer.
• Terrible news: the Brokeback Mountain opera is no longer happening.

In a crowded year for Best Actress contention, Anne Hathaway could be the only first-timer to receive an Oscar nomination in the lead category, possibly going up against mainstays such as her Devil Wears Prada costar Meryl Streep and Kate Winslet, as well as the less-nominated vets Nicole Kidman and Kristen Scott Thomas. Her main competition for the outsider, dark horse position is Frozen River’s Melissa Leo (who may benefit from her film’s initiatory screener campaign even though River’s theatrical release was early and hardly noticed), and Happy-Go-Lucky’s Sally Hawkins, whose film just debuted to favorable reviews citing her brilliant (as in talented and bright) performance. But Hathaway is sure to be the victor –– even though her performance in Rachel Getting Married is hardly deserving of such an honor.

The Oscar buzz for Hathaway has been high for weeks now, enough that the actress apparently joked about it in her Saturday Night Live monologue earlier this month (I thought of it as less a current-year expectation than a general career goal, but it’s made Risky Biz Blog’s Steven Zeitchik compare Hathaway to Catherine O’Hara’s buzz-afflicted character in For Your Consideration). The fact that she’s a well-known movie star should make Hathaway’s buzz continually more reportable by the press and more noticeable by both the public and the voters, which gives her some advantage over Leo and Hawkins in terms of cultural consciousness.

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This week we have two big-time offenders: Mike Myers’ The Love Guru, which has brought concern from Hindus, because the comedy seems to be making fun of the Hindu religion; and Ron Howard’s Angels & Demons, the “sequel” to The Da Vinci Code, adapted from Dan Brown’s bestseller. Earlier this week, the Vatican banned the latter production from all Catholic churches in Rome. The following statement from Father Marco Fibbi, spokesman for the diocese of Rome, was a favorite quote from the story: “Usually we read the script but in this case it wasn’t necessary. Just the name Dan Brown was enough.”

Of course, these days, religious organizations taking offense to a movie seems so commonplace that news like this is hardly even considered bad buzz. Neither The Love Guru nor Angels & Demons will be too aversely affected by the protests or boycotts. Both films will merely be added to the following list of major offenders (in alphabetical order so as not to offend anyone who thinks one is more offensive than another), as almost a genre cataloging than an inventory of condemned.

• Brokeback Mountain - Because of its promotion of “the homosexual lifestyle,” many right-wing Christian groups protested Ang Lee’s film. Most famously, it was pulled last-minute from a multiplex owned by Mormon businessman and Utah Jazz owner Larry H. Miller, though his motivation was not necessarily claimed to be religion-based. Despite there being hundreds of gay films throughout the years, because of its popularity, this one was the worst offender.
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I’m so bored already with Indiana Jones and the Not as Good a Movie as We’d Hoped that I may not even see it until its well into its run. In July (at least six weeks after the film opens), I’ll be visiting my father down in Alabama and so maybe I’ll wait and watch it with him. After all this bad buzz, such a nostalgic experience may be the only way to appreciate and enjoy it. Anyway, the only thing I’m more tired of than reading about Indy is watching movie trailers redone to make them like Brokeback Mountain. So, it’s really like having lemon juice poured on my pop culture booboo today to have been directed toward the fairly old video seen above. Thanks Stu.

If you’re still hungry for more on the Indy backlash, check out the continued updates on Defamer, which include links to Shia LaBeouf’s denial of the film’s negative reviews and claims that SpoutBlog friend Eric Kohn has lowered the bar of film criticism by liveblogging from the Cannes press screening. (Plus, there’s new Uwe Boll updates, which I myself have sworn against continuing for the time being).

I probably shouldn’t even legitimize this with a post, but what the hell, it’s Friday: OK! Magazine, that bastion of fairness and accuracy in reporting (see their previous “scoop” from earlier this week) is reporting that Heath Ledger is about to sign on to star in a sequel to Brokeback Mountain:

“It will follow the nasty process of being openly gay in 1963 Wyoming, an insider tells OK!. “Ennis will finally come out of the closet.”

Defamer, noting that Ang Lee’s film followed Ledger’s Ennis DelMar through to 1983, calls bullshit:

Escape from Brokeback Mountain promises to mine all the nasty gay processes missed by the original, while setting the stage nicely for part three, Brokeback Revolutions, in which our hero finally reaches the fabled realm of Zion (which looks a lot like a leather-themed circuit party in Fort Lauderdale).

I’ve been following Electroma out of the corner of my eye for awhile. It’s the first feature film written and directed by Guy-Manuel De Homem-Christo and Thomas Bangalter, who are better known as the French techno duo Daft Punk, although there are no Daft Punk compositions on the soundtrack. Bangalter has described Electroma as “experimental and inaccessible; however, it’s a movie that does not require your brain to function.” It screened at Cannes, where it earned possibly the most condescending Variety review I have ever read, wherein Leslie Felperin sniped at the film’s “risible” plot and total lack of dialogue, and lobbed pejorative comparisons to Gus Van Sant’s Gerry and Vincent Gallo’s The Brown Bunny – which are two films that I absolutely adore — although she eventually concedes that one shot of a burning robot (is that a spoiler?) is pretty off the chain.

And as more reviews roll in, the news seems to be getting better and better. This one, from Seattle’s The Stranger (which comes to us via BuzzFeed) says Electroma is “pretty” and “sad” and that, in terms of emotional arc, “is a huge downer, like Brokeback Mountain for robots.” That review is rife with details on the “roughly three things” that form the movie’s plot, so don’t click through if you’re sensitive about that sort of thing.

Unfortunately, it looks like Electroma will be going straight-to-video here in US–right now, it’s scheduled to be released by Vice Records in September. I’m trying to get my hands on a copy, and as soon as I do, you’ll be the first to know.