Watching pornographic movies together can provide couples with an avenue for exploring their sexual fantasies, interests and preferences safely and consensually. They may also gain an insight into which types of stimulation each partner finds most stimulating.
However, inappropriate usage of erotic films may have an adverse impact on relationships.
Eyes Wide Shut
Eyes Wide Shut was met with some initial disapproval when released, yet has since garnered praise from viewers and critics alike. Acclaimed for its prescient portrayal of sexual power games run amok among the elite class (which later inspired E.L. James’ Fifty Shades series), its depiction was widely considered groundbreaking when released.
Tom Cruise stars as Manhattan physician Bill Harford and Alice (an ex-ballet dancer who now pursues lower class activities to satiate her sexual fantasies). When they meet at a party, their flirtations becomes awkward and suspicious as both parties harbor sexual desires that don’t include each other.
Sex is an integral component of this movie, yet rarely depicted in an explicit manner. Even during an orgy involving naked bodies writhing around one another, its use was shot with minimal physical pleasure being displayed; more of an internal ritual than physical enjoyment was displayed as the camera lingered on body parts rather than expressions of pleasure; with Bill and Alice exchanging passionate glances during their bedroom scene alone as such displays are scarce throughout.
Eyes Wide Shut is an engagingly entertaining film despite its lack of action, thanks to Kubrick’s brilliant production design in their apartment, at a party they attend and in a stately mansion they visit. He deftly avoided Hollywoodizing his setting instead subtly conveying its moral squalor and predictability – creating an engaging character study.
Cruise and Kidman turn in stunning performances as leads, taking risks by casting themselves as iconic celebrities in a film about sexual dysfunction; their emotional vulnerability reveals limits of their control over impulses.
Wonder Woman
Five years ago, Wonder Woman disrupted superhero movie mythology by showing that women could be just as compelling in this genre. Gal Gadot’s fierce yet feminine hero manages to avoid falling prey to power-worship reminiscent of many male heroes’ pretensions (such as Ben Affleck’s Batman or Henry Cavill’s Superman from DC’s franchises) without giving in to pseudo-Nietzschean posturing and boast an inspiring ideallism rarely seen elsewhere in superhero cinema.
Jenkins’ masterful direction and writer Allan Heinberg’s sensitive characterization give Gadot the chance to shine as Diana Prince, an indomitable heroine with strong roots both in Amazonian culture and feminist activism. Her onscreen chemistry with Pine, who adds his signature combination of Paul Newman-esque seduction and Clark Gable-esque energy adds a splash of classic Hollywood flair that elevates this film even further.
Wonder Woman 1984 may seem somewhat underwhelming on home screens, but it remains an experience best enjoyed in a cinema. And amid all the madness of 2020, it provides two hours of hopeful entertainment.
The Housemaid
The Housemaid is an engaging and addictive read that will keep you guessing – the perfect thriller that’s guaranteed to have you shouting with fear!
This book has been turned into a movie, starring Jeon Do-Yeon. The release date for the film will be April 26.
Rebecca Sonnenshine wrote the script for this film. The plot follows Millie, an 18 year-old housemaid hired to provide services for wealthy and powerful people.
Wild Things
Wild Things is a delightfully absurdist comedy-thriller, revelling in its own vulgarity. A vibrant blend of thriller, romance, and silliness are well realized with top performances throughout. Director John McNaughton provides an intricate plot which keeps audiences guessing until the final credits roll.
Denise Richards stars as Suzie Marie Toller, an outcast from high school. To avenge herself against Sam (Matt Dillon), an unkind guidance counselor, she devises a plan involving blackmail and sexual exploitation as her means.
Wild Things’ story brims with sexual tension, violence and scandalous affairs; making an impressive entry in the gritty erotic thriller subgenre. Exploring obsessive relationships and public interest controversies while keeping its audience guessing with unpredictable plot twists that make Wild Things impossible to predict.
Kevin Bacon and Matt Dillon make an excellent cast. The movie became an instant classic.
The film holds an R rating and contains some strong language and sexual material that may not be appropriate for children, including: an exposed woman breast scene; a man in a swimming suit and three-way sex scenes featuring buttocks and chests being shared between three partners; discussion of sexual abuse, the murder of a child, drug use as well as discussion. Released in 1998 from Arrow Video this film offers two versions; its original theatrical cut as well as an extended „Unrated Edition”, both presented at 2160p/24hz with Dolby Digital stereo soundtrack accompaniment accompanied by commentary by McNaughton himself plus making-of featurettes featuring him himself!
Sorry to Bother You
Boots Riley takes full advantage of his position as a black man to highlight the absurdities in American culture, particularly at work. Sorry to Bother You is a startling indictment of white privilege, where Cassius can succeed at corporate jobs by adopting an accented voice – an eventful film with lasting significance for 2018.
As the film progresses, it becomes apparent that its plot serves as an allegory for America’s growing class warfare. But as soon as sci-fi elements such as a half-horse/half-human hybrid workforce arrive onscreen, it becomes impossible to take anything seriously.
Riley does his best to displease his audience, and for a time succeeds. His razor-sharp satire particularly stands out against the culture of sales and its subtle power games among managers and their agents; but occasionally goes off script to try make his movie weirder than it otherwise should be, creating an endless cycle of cultural animus that never really gets resolved.
Tessa Thompson as Detroit is truly electrifying, playing out Riley’s intention that she be perceived as the physical embodiment of Black feminist revolutionaries. Every scene where Tessa appears seems like mini installations within Riley’s chaotic narrative; each time Tessa appears she feels like the star. Ultimately though, this movie knows exactly what it wants to communicate about despite sometimes falling short when conveying its ideas clearly.