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Ranking Best and Worst NC-17-Rated Films, as 'Blue is the Warmest Color' Opens (Video)

by Anne Thompson
October 24, 2013 5:36 PM
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Adele Exarchopoulos and Lea Seydoux in "Blue Is the Warmest Color"

It was no surprise when Cannes Palme d'Or winner "Blue is the Warmest Color" earned an NC-17 rating for “explicit sexual content.” Sundance Selects/IFC Films figured that would be the case when they submitted it. They were stirring up some ratings controversy to lure people to see the lesbian romance starring two lovingly photographed nubile French actresses. They could go unrated stateside if they wanted to. They want audiences to know that the film is not trimmed or softened in any way. “We have intimate knowledge of how the MPAA works," said Jonathan Sehring, President of Sundance Selects/IFC Films, "and it is unquestionable that changes must be made. That the board finds violence acceptable for young viewers while condemning sex is egregious.” 

Michael Fassbender in "Shame"

Yes, the film starring Adele Exarchopoulos and Lea Seydoux as young lovers experiencing the highs and lows of a long-term relationship is steamy. It has a seven-minute explicit sex scene, which has been the source of much debate and discussion since the film premiered at Cannes (where rumors began to fly that the sequence was closer to 20 minutes). But talk of the sex scenes, plus the apparent ongoing drama between Kechiche and his two leading actresses, has unfairly overshadowed the strongest aspect of the three-hour film. It's a passionate, observant, epic portrait of one woman's coming-of-age (a domain often reserved for men), and is expertly crafted.

While IFC opened the Abdellatif Kechiche film after the New York Film Festival in NY and LA for a qualifying Oscar run on October 25, the movie will also go out on VOD later on and the NC-17 rating will only enhance its visibility.  "We feel that the movie will work extremely well on any and all platforms," said Sehring. "It is pretty incredible work and the performances are breathtaking."

The film's three-hour running time is a barrier for wide theatrical play. Landmark, AMC and Regal will both play specialized films in NC-17. But Cinemark will not book a film rated NC-17. Mainly the NC-17 gets in the way of newspaper ads in such papers as the Seattle Times. Which is not so big a deal anymore in the online media age. 

At Cannes Jury president Steven Spielberg called the film “a great love story that made all of us feel privileged to be a fly on the wall, to see this story of deep love and deep heartbreak evolve from the beginning. We didn't think about how it was going to play, we just were really happy that someone had the courage to tell this story the way he did...The issue of gay marriage is one that many brave states in America are resolving in a way that suits all of us that are in favor of gay marriage. But I think actually this film carries a very strong message, a very positive message.”

Other distributors have taken advantage of the NC-17 rating to get attention for their films. "Bully" isn't the first time Harvey Weinstein has used his battle with the MPAA ratings board as fodder for a marketing campaign--he also did it for 1990's Peter Greenaway romp "The Cook, The Thief, His Wife and Her Lover," which scored a remarkable $7.7 million domestic gross back in 1990. Fox Searchlight, on the other hand, has embraced the rating by changing awareness on the NC-17 in order to remove the brand of "shame" around the NC-17 by reminding folks that many films have found success despite the Scarlet Letter, from "Cook, Thief" to "Henry and June" ($11 million). They adopted the rating for both 2003's "The Dreamers," from Bernardo Bertolucci ($2.5 million stateside), as well as 2011 sex addiction drama "Shame" ($4 million). It was one way to make it a must-see, in a way, for certain audiences. (Director Steve McQueen talks about Michael Fassbender's Oscar snub and America's fear of sex; here's our flip cam interview with his star.) 

Back in the day, the MPAA started out with the X as its official rating for adult-oriented films, such as John Schlesinger's "Midnight Cowboy," which won the Oscar in 1969. But the X was swiftly adopted as a promo tool by the porn industry, which splashed XXX over the likes of "Inside Jennifer Wales" on 42nd Street and later, porn videos.

Thus in 1990, the MPAA introduced the NC-17 ("No Children Under 17 Admitted") and later, an amended rating (“No One 17 and Under Admitted).  Some films with the rating have managed to find audiences, but many relied on NC-17 to deliver adults in search of sensational material, and were often slammed by critics, shunned by newspapers, and relegated to a limited number of theaters.

But the world has changed, as Blockbuster and video stores don't have the clout they once did. IFC released "Enter the Void" in 2010 to $.3; LD Entertainment earned $2 million with "Killer Joe." Getting the best of bith worlds was R-rated "Blue Valentine." After the Weinstein Co.'s famously successful appeal to reverse the initial NC-17 rating, the movie starring Ryan Gosling grossed $9.7 million in 450 theaters in 2010-11, and went on to an Oscar nomination for Michelle Williams. 

Here's a ranking of films eventually rated NC-17, from must-sees to must-avoids, with review links and trailers:


  • zawminnaing | June 9, 2014 5:56 AMReply


  • Bill | October 29, 2013 12:49 AMReply

    "miscast Carey Mulligan's renditon of "New York, New York..." - I couldn't disagree more.

  • Nomi Malone | October 25, 2013 8:08 AMReply

    Anyone who would advise people to avoid watching SHOWGIRLS clearly has absolutely no sense of humor and should in fact, just stop writing about films altogether. SHAME is a colossally overrated bore. I'd rather watch SHOWGIRLS for 24 hours than have to watch the most boring sex addict in history peeing again.

  • Brent | April 26, 2012 2:56 PMReply

    What about Requiem for a Dream? It is definitely a must see.

  • dawn | April 3, 2012 12:16 AMReply

    No, LIE? That film was amazing. But now that I think about it, it might have been released unrated.

  • Charles | October 25, 2013 12:32 PM

    My thoughts exactly. "L.I.E." was a masterpiece and should definitely be on this list, especially for the amazing performance by Brian Cox and the breakout performance by Paul Dano (five years before "Little Miss Sunshine" and "There Will Be Blood"). If I remember correctly, the film was released with an NC-17 rating but when it was released on DVD, it was simply as an "Unrated" film.

  • James | March 28, 2012 5:12 PMReply

    "Bad Liutenant" was not remade by Werner Herzog.

    The Nicolas Cage with was not a remake of the earlier film. Just like the Crash staring Sandra Bullock and Matt Dillon isn't a remake of the Croneneberg film of the same name. ;p

  • Charles Cochran | March 28, 2012 11:22 AMReply

    Crash should be in the Must See section and Bad Lieutenant should be in the Your Call section.

  • Dave H. | March 28, 2012 11:43 AM

    I concur.

  • Rob | March 28, 2012 11:17 AMReply

    Crash isn't about Holly Hunter's character. She's, what, fourth lead at best?

    Bad Education played widely outside of festivals and New York, and made about $5 million at the box office, a good number for any foreign language film.

    Showgirls is essential viewing.

  • apricoco | March 28, 2012 11:10 AMReply

    You are missing a biggie in my honest opinion: Kids. I'd personally put it in the catagory of 'your call' but you can't deny that Harmony Korine made a film worth mentioning, even if it is for the lack of moral compass normally found in films. Telly as a character is highly watchable and makes your stomach turn. Plus, debut performaces of two future hollywood stars: Chloe Sevigny and Rosario Dawson.

  • Michael Mayo | March 28, 2012 2:16 AMReply

    No "The Devils" or "Performance"?

  • The Pope | March 28, 2012 8:14 AM

    I see what you're asking, but the rating NC-17 didn't exist back in the late sixties/early seventies.
    I reckon they would have been given an X, right?

  • Zachary W. | March 28, 2012 12:12 AMReply

    It should be noted that "Showgirls" has developed a devoted following--and not just among cultists and camp-lovers. This is Verhoeven at his most unhinged and wildly savage; there are few American films in the last couple decades as searing in their indictment of Hollywood's "A Star is Born" mythology. Forget the ironic camp. Anybody who can't tell that this is a satire frankly isn't looking very hard.

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