Here’s an offer to send blood rushing to your nether regions: How’d you like to get your mitts on THE X LIST: THE NATIONAL SOCIETY OF FILM CRITICS’ GUIDE TO THE MOVIES THAT TURN US ON for free?
It’s easy! Just utilize that comment link above and tell us what movie or movies turn you on and why. Just keep it clean, people, or at least full of creative euphemisms. That means – to borrow a phrase from the book – “no gaping vulvas.”
A winner will be randomly selected on Nov. 22. In the meantime, consider this review as foreplay.
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Oh, what the hell, I’ll go:
American Beauty: Mena Suvari’s character reminds me of my first serious girlfriend from high school (not that she looked anywhere close to that good, unfortunately).
Bram Stoker’s Dracula: Though I’ll never forgive Keanu, the “absinthe” scene does it for me every time. If I’m watching with that special someone, the movie gets paused. Every. Time.
Mystery, Alaska: Lots of nice ladies in this one, especially Lolita Davidovich. It’s easy to imagine living someplace cold with her to warm up to, as confirmed by Ron Eldard’s classic line of “Play hockey and fornicate, my two favorite things to do in cold weather.”
An American Werewolf in London: It’s the nurse fantasy thang.
Mulholland Drive: David Lynch didn’t withhold the chapter breaks on the DVD for nothing!
The Fog: Two words: Stevie Wayne (actually four words: Adrienne Barbeau as Stevie Wayne).
Wild at Heart: Hotter than Georgia asphalt!
There’s a few.
I am right there with you on WILD AT HEART.
But I think any list would be incomplete without a mention of the woman-horse love scene in EMANUELLE IN AMERICA.
Eyes Wide Shut. As Cruise moves through each room in the mansion, Kubrick captures the fear and excitement of being of voyeur.
Risky Business. The scene on the train. A confident woman combined with exhibitionism. This had a tremendous effect on my teenage self.
I particularly love a good movie that manages to incorporate a nicely hot scene that is germaine to the character or context of one the film’s themes. Some of the best examples of his :
- Bree Daniels (Jane Fonda) strip scene before her elderly client in KLUTE
- Barbara Crampton’s “dressup” scene (perhaps the most memorable application of lipstick in a Charles Band film) in FROM BEYOND
- Sophia Loren’s seduction reprise in READY TO WEAR
In all of these cases the scene is infinitely worthy of a fast rewind and rewatch … yet not gratuitous and very much a contributing virtue to the plot and film itself.