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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Never mind last night’s show being the gayest Oscars ever (I doubt it). And never mind it potentially being the most predictable (nuts to the Academy for not going with any of my badly foreseen surprises). Here’s my biggest criticism of the ceremony: the 81st Academy Awards had surely the worst directed telecast in history. Throughout the show I found myself commenting over and over, “show the clips, not the [stage; musicians; Queen Latifah; etc.].” There were great injustices done to the deceased, to Baz Luhrman’s choreography (even if it wasn’t a great musical number) and to the nominated actors and actresses, many of who could have used a spotlight on their performances rather than isolated praise from a random peer.

But apparently this year’s ceremony wasn’t designed for the TV viewers, possibly because the Academy didn’t expect anyone to tune in anyway (we showed them; ratings were actually up!). It was a big insular party for Hollywood — and a number of foreigners with excellent accents (and Styx tributes) — during which we were all better off reading the live-blogging and live-Twitterings found all over the interweb than watching the actual program. Often, awards live-blogging is pointless; too many bloggers merely list wins and incidents as they happen, which is redundant for people actually watching the show, while others comment without details, which is insufficient for people who missed the event. But overdone Snuggie references aside, this year’s type-it-as-they-see-it bloggers were better than usual. Chalk it up to boredom, but the commentary on the disasters and disappointments of the Oscars was witty, insightful and actually worth reading. Maybe not on all websites, but on a lot of them.

So, for my final Oscar column of the 2008 awards season, I’d like to circumvent celebrating the event (which doesn’t deserve much praise, in my opinion) and instead celebrate five of my favorite live-blogged/Twittered moments of the night. Though everyone loves to watch a train wreck in progress, sometimes it’s better to turn your head away and listen to someone else describe the tragedy for you. Here is a sampling of the best such observations of the worst such wrecks at this year’s ceremony:

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“The best part about the 81st annual Academy Awards on Sunday night—y’know, besides Zac Efron, OMG!—is that once it’s over, we’ll never have to think about Slumdog Millionaire again.” — Christopher Rosen, at The New York Observer.

As the last weekday before the big event, today seems to be filled with more Oscar bloggery than all previous awards-season days combined. There are last minute predictions, last minute commentary and, most enjoyable, last minute Oscar nonsense. Are you ready? Are you bored? Are you so behind that you really need to attend tomorrow’s Best Picture nominee marathon at your local AMC theatre?

Whether or not you care about who or what wins on Sunday night, you may enjoy some of the following stories, quotes and video:

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When Milk wins the Oscar for Original Screenplay on February 22, it will be the first biopic to take the award in 26 years. Back then Gandhi faced some stiff competition, including two fellow Best Picture nominees, Tootsie and E.T.: The Extra Terrestrial, as well as An Officer and a Gentleman and Diner. And three of these opposing titles were 1982’s three top grossing films. Gandhi’s main obstacle, though, was not one of the other nominees. It was the difficulty of winning a category that’s typically associated with originality. Plenty of movies based on true stories have been nominated for Original Screenplay, but that “based on” factor can be a drawback, and the Academy tends to favor scripts born completely out of the imagination here.

Unfortunately for Milk, that Academy disfavor has been strong for the past three decades, passing over such ‘nonfiction’ films as The Queen, Shine, Nixon, Braveheart, Bugsy, Hotel Rwanda, Erin Brockovich, The Aviator and Good Night, and Good Luck for more “creative” efforts like Little Miss Sunshine. But this year, the ‘fiction’ films nominated for Original Screenplay are not strong candidates, whether for critical, commercial or political reasons. So fortunately for Milk, screenwriter Dustin Lance Black will partly win the Oscar by default. Not all voters will be choosing Milk in a process of elimination, though. Some will actually see that Black has penned a great “original” biopic and that it is indeed the most deserving of the nominated screenplays.

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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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It was shut out of the Oscar race for Best Documentary Feature, but Blessed is the Match: The Life and Death of Hannah Senesh, now playing in New York City, could easily inspire a Hollywood film about the life of its heroic subject. And that dramatic version could potentially garner multiple Academy Award nominations. It wouldn’t be the first time a figure documented in a nonfiction film was later portrayed in an Oscar-nominated movie. In fact, one of this year’s Best Picture contenders, Milk, is almost like a remake of the 1984 Oscar-winning documentary The Times of Harvey Milk.

Actual dramatic remakes of documentaries include Werner Herzogs’ Rescue Dawn, which revisits the subject of his earlier nonfiction film Little Dieter Needs to Fly, Michael Caton-Jones’ Memphis Belle, which fictionalizes the story of William Wyler’s doc The Memphis Belle: A Story of a Flying Fortress, and Martin Bell’s American Heart, which is loosely based on one of the subjects of his Oscar-nominated doc Streetwise. Also, the upcoming HBO dramatic film Grey Gardens was inspired by the Maysles brothers’ doc of the same name, and Hollywood has toyed with or announced remakes of the films The King of Kong, Murderball, Bra Boys and Sherman’s March.

To carry on the tradition, we’ve selected nine nonfiction films in addition to Blessed is the Match that would make great dramatic features.
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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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With a few more days left before the Oscar nominations are revealed, it is time to look at what the non-professionals anticipate will be among those contenders announced Thursday morning. Last Monday, we posted our own predictions for the Academy Award nominees and invited readers to weigh in with their own forecasts. A lot of comments concentrated on what shouldn’t happen, like The Dark Knight shouldn’t be nominated for Best Picture and Dustin Lance Black shouldn’t be nominated for his screenplay for Milk. And apparently The Curious Case of Benjamin Button could be this year’s Dreamgirls. However, there were some interesting trends among the many who chimed in. Check out some highlights after the jump.
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The Golden Globes have been handed out, and the last of Oscar ballots are to be postmarked by today. So, that’s it, the nominations for the 81st Academy Awards are being figured out as we speak, and campaigning is over until the official contenders are announced on January 22. Hopefully a few Academy members took notice of our unlikely last-minute suggestions, but it’s more probable that we’ll be looking at an unsurprising crop of films represented in the major eight categories. As you’ll see after the jump, we predict that two heavily-buzzed supporting performances will be snubbed. Of course you’re likely to disagree with these foreseen omissions. In fact, we welcome all you readers to make your own predictions in the comments section — what you think will be nominated, not what you want nominated. And on Monday, January 19, SpoutBlog will feature a post highlighting the best of these comments and predictions.

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Netflix and Film Independent got a jump on the deluge of independent filmmaking news that will be coming soon via Sundance by announcing a new independent film contest today that will be chaired by Josh Brolin and judged by Brolin, Dan Jinks, Bruce Cohen, and Dustin Lance Black.

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The Writers Guild of America have released their nominations for the best original, adapted and documentary screenplays of the year. The good: recognition for Boogie Man, Burn After Reading and Vicky Cristina Barcelona. The bad: some of the least original, most cliche-ridden scripts of the year got noms, including Milk, Benjamin Button and Slumdog Millionaire. The will-be-judged-by-history-as-criminal: Synecdoche, NY and My Winnipeg were overlooked. Blerg, WGA. Blerg. Variety has the full list of nominees.

Making her way to Sundance next month with her debut feature, Palestinian/Jordanian-American director Cherien Dabis, who was on the festival circuit last year with her terrific short Make a Wish, tapped her experiences growing up Arab in a small Ohio town during the first Gulf War when writing Amreeka, a bittersweet, comedic look at otherness. The film, which went through Sundance and Film Independent’s various talent development programs before going in front of cameras last year, will bow at the Eccles later this month. In the meantime we caught up with Dabis to discuss what she watched while prepping her new film, learning about classical music and just what Wong Kar Wai and Prince could do together. …Read more

Gus Van Sant’s Milk, a skillful and impassioned argument for gay rights, may have come out too late. As proponents of equal marriage rights are still reeling from the passage of Prop 8 in California, the film finds itself the subject of bitter irony, rather than the center of a political victory parade that could have been. Milk is saturated with politics, both on screen and off. It’s not too hard to imagine Sean Penn’s speech should he win an Oscar, and Van Sant has done a fair bit of political maneuvering in an effort to give him that opportunity.

Tom Cruise has done some politicking to get audiences to warm up to his Hitler assassination plot thriller, Valkyrie. Can he bury bury the couch-jumping and psychology-bashing hatchets quick enough to enjoy a successful holiday at the box office?

(Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday)

0:00 - Intro

1:32 - Milk

25:06 - Valkyrie

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