Rampart, Owen Moverman’s tough urban drama featuring Woody Harrelson as a somewhat less than principled LA police officer, goes into limited release tomorrow (following a brief Oscar-qualification run in December), and while the movie itself is pretty good, we must take some exception to its bold poster and trailer tag line: “The most corrupt cop you’ve ever seen on screen.” Well, that is a might tall claim. After the jump, we’ll run down ten previous movie cops who could give Harrelson’s Dave Brown a run for his money.

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Shame, a candid and powerful look at sexual addiction from director Steve McQueen (no, another Steve McQueen) is out in limited release tomorrow, and as we reported last month, it’s going out with the NC-17 rating—no children under 17 admitted, under any circumstances. The rating, many have surmised, is due to the film’s copious male nudity, and that’s how the American ratings system works: all the naked ladies you want, but the erect male member= automatic NC-17.

The rating was initiated by the MPAA back in 1990, and was intended to be an alternative to the porn-stained (if you’ll pardon the pun) X rating; NC-17 movies, like Henry & June (the inaugural film to carry the rating), Bad Lieutenant, The Dreamers, and Lust, Caution would be for adults, by adults. But it quickly became the kiss of death for filmmakers and distributors. Just as with the X rating before it, newspapers and television outlets wouldn’t carry ads for NC-17 films, while larger theatrical chains and home video outlets refused to carry them. Smaller films would take the mark or (as Kids and Happiness did) go out unrated, while the editing process for big releases became something of a con game: if a film was rated NC-17, the distributor would make the trims necessary for an R-rating, enjoy the publicity, and then restore the cut material for the inevitable “unrated” DVD release (frequently carried by the very chains that refused to stock NC-17 films). By the late 1990s, studios wouldn’t even bother with the first step, cranking out unrated versions of raunchy comedies and adult thrillers as a standard step in their home video release plans.

While the politics of who gets an R and who doesn’t are shady at best (check out the terrific documentary This Film is Not Yet Rated), we can’t help but wonder about what would have happened if the NC-17 could have been what its creators wanted it to be. Fox Searchlight’s decision to release Shame with the scarlet letters/numbers has prompted another round of “will the NC-17 finally become respectable?” questions (answer: dubious), but what if that question weren’t necessary, because the NC-17 had never been stigmatized? Had that been the case, we might have seen the uncut movies we’ve assembled after the jump. Read More »

Welcome to “Trailer Park,” our regular Friday feature where we collect the week’s new trailers all in one place and do a little “judging a book by its cover,” ranking them from worst to best and taking our best guess at what they may be hiding. We’ve got five new trailers for your post-turkey consumption this week; check ‘em out after the jump. Read More »

Nestled among this week’s new theatrical releases is The Big Year, a rather syrupy looking Bucket List riff co-starring Steve Martin, Jack Black, and Owen Wilson. Let’s be clear: we have not yet seen it. But we’re not holding out much hope for a movie that puts those three guys together and cannot find one single laugh to put in a trailer.

How could you combine three men as (granted, not always reliably) funny as these and not come up with a laugh riot? Quite easily, turns out. The recent cinema is all but littered with pictures that teamed up established comedic talents and thus sounded like sure-fire crowd pleasers, but which ended up tickling the funny bones of neither critics nor moviegoers. After the jump, we’ll run down ten comic combinations that misfired.

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In Oren Moverman’s superb directorial debut, two US veterans take on the grimmest of duties: delivering news of the deceased to their next of kin.

For Ben Foster and Woody Harrelson, this operation is a sort of hereafter; Foster is a hero back from the current mire in Iraq, while Harrelson was a soldier during the first. Together, they brave reactions from relatives and loved ones that scale the emotional range. Still, a friendship comes out of the grief and, against procedure, Foster falls for the newly widowed Samantha Morton. Politics aside, The Messenger offers a sober, personal, and thoroughly compassionate portrait of what’s left after the postwar narcotic of anger passes.

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