8 Mainstream Movies Originally Slapped With an NC-17 Rating

Hulton Archive/Getty Images
Hulton Archive/Getty Images

When the Motion Picture Association of America (MPAA) developed the modern film rating system in 1968, the X label was intended to signal to audiences that a movie dealt heavily in adult themes, overt sexuality, or graphic violence. Films like Midnight Cowboy and A Clockwork Orange were given X ratings, but didn’t suffer any of the stigma associated with it. (Midnight Cowboy won an Oscar for Best Picture, the only X-rated film to ever do so.)

Before long, audiences began to associate X ratings with pornography, so in 1990 the MPAA moved to mark films inappropriate for children under 17 with an NC-17 tag instead. In either case, the Association insisted that filmmakers excise footage if they wanted to earn an R designation—a rating much better served for general audiences and box office revenue. Take a look at eight films that were originally rated for adults only before directors made the necessary changes to appease the whims of the often-cryptic ratings board.

1. AMERICAN PIE (1999)

Jason Biggs and Eugene Levy appear in a publicity shot for 'American Pie'
Randy Tepper, Universal Studios/Getty Images

Coming-of-age stories often involve sexual awakenings, though not often with pastries. For 1999’s American Pie, directors Paul and Chris Weitz had star Jason Biggs attempt an intimate encounter with a pie. The scene was obviously engineered for its shock and word-of-mouth value, but the MPAA didn’t find it amusing. The film was submitted four times to trim shots of excessive pie thrusting before the NC-17 label was modified to an R.

2. ROBOCOP (1987)

Director Paul Verhoeven has long been a thorn in the side of the MPAA: His Showgirls, Basic Instinct, and Total Recall were all cited for gratuitous content. Verhoeven’s first brush with the board came after he submitted 1987’s RoboCop for evaluation. The film, which depicts the struggle of cop Alex J. Murphy (Peter Weller) to retain some semblance of humanity after being gunned down and transformed into a law enforcement machine, is among Verhoeven’s bloodiest. In one scene, Omni Consumer Products executive Mr. Kinney (Kevin Page) is annihilated by a malfunctioning ED-209. Verhoeven was so intent on a gruesome demise as a result of ED-209’s firepower that he reshot the scene with over 200 squibs attached to Page, then called him back a third time so special effects artists could use spaghetti squash to emulate his intestines coming out.

Not surprisingly, the MPAA reacted to this grandiose display with an X rating. Verhoeven was able to secure an R by omitting just two seconds of Kinney’s death along with two seconds of Weller being shot.

3. SCREAM (1996)

Neve Campbell appears in a publicity shot for 'Scream'
Joseph Viles, Dimension Films/Getty Images

Scream—Wes Craven and Kevin Williamson’s deconstruction of the slasher-film genre—wouldn’t have been complete without adopting some of the gore pervasive in those movies, though the MPAA had other things to address when they decided to hand down an NC-17 rating. According to Craven’s director commentary on the DVD release, the board was concerned that the villains of the film who engage in self-harm with a kitchen knife in order to stage a convincing crime scene could be “imitable.” Additionally, they preferred not to see the intestines of one victim and complained about the intensity of the opening scene, in which Drew Barrymore’s character is methodically taunted and stalked by the killer. Craven obliged most of their requests and the film went on to gross $170 million—plus spawn three sequels and an MTV television series.

4. CLERKS (1994)

Kevin Smith’s debut film, chronicling the woes of convenience store employee Dante Hicks (Bryan O’Halloran), is entirely absent of any violence, nudity, or depictions of sexual activity—the usual suspects when it comes to the NC-17 label. What the low-budget feature does have is an abundance of very explicit talk about sexual relationships, copious amounts of profanity, and one character (slacker clerk Randal Graves, played by Jeff Anderson) reciting a list of pornographic movie titles. The language was enough for the MPAA to bypass an R and assign an adults-only NC-17 rating. The board revised it to an R after an appeal, cautioning viewers about “explicit, sex-related dialogue.”

5. TWO GIRLS AND A GUY (1998)

Robert Downey Junior is photographed at a public appearance
Francois Durand, Getty Images

Robert Downey Jr. was roughly 10 years away from an all-audiences tenure as Tony Stark in the Marvel universe when he appeared in this indie film about an actor who despairs when his girlfriend (Heather Graham) finds out about his other girlfriend (Natasha Gregson Wagner). The film went through 13 edits of a scene in which Downey and Graham appear to be engaged in a sexual act that the Los Angeles Times described as “being outlawed in some states.” The film finally received an R, though it remains one of Downey’s lesser-known efforts.

6. TEAM AMERICA: WORLD POLICE (2004)

Movies that use techniques typically associated with children’s entertainment aren’t exempt from controversy. Director Ralph Bakshi’s Fritz the Cat, released in 1972, earned an X rating for salacious animated content, and 1999’s South Park: Bigger, Longer, and Uncut was in danger of an NC-17 before cuts were made. For 2004’s Team America: World Police, South Park co-creators Matt Stone and Trey Parker engaged in extended negotiations with the MPAA, who perceived the film—about peacekeeping marionette-style puppets—to be in poor taste.

One scene of particular concern involved puppets having sexual relations. “Our characters are made of wood and have no genitalia,” producer Scott Rudin told the Los Angeles Times. The board eventually agreed to an R, but only after the scene was submitted multiple times for editing. Parker would later point out the MPAA had no problem with puppets resembling Tim Robbins, Susan Sarandon, and Janeane Garofalo all meeting spectacularly violent ends; it was the puppet sex that tripped them up.

7. SUMMER OF SAM (1999)

John Leguizamo appears in a publicity shot for 'Summer of Sam'
Hulton Archive, Getty Images

It’s not often that the Disney corporation finds itself in the position of potentially sitting on an NC-17 film. But when the company’s Touchstone banner released Spike Lee’s Summer of Sam in 1999, they were confronted with the MPAA’s insistence that Lee had made an adults-only film. Detailing the 1977 summer in New York where real-life serial killer David Berkowitz terrorized the city, Lee’s film was singled out for an orgy scene that the board found objectionable. A bemused Lee observed that they did not appear to take issue with scenes depicting Berkowitz murdering his victims. Lee eventually brought the film in with an R rating, trimming four shots involving sexuality, but told the New York Daily News he was puzzled that “we did not hear one thing about the violence in the movie.”

8. EYES WIDE SHUT (2000)

Possibly the most mainstream movie star of all time, it seems unlikely Tom Cruise would ever be caught in a ratings board controversy. But for Eyes Wide Shut, he and then-wife Nicole Kidman agreed to submit to the whims of Stanley Kubrick, a notoriously exacting director who wanted to create an explicit depiction of a married couple’s descent into infidelity. Kubrick edited the film, which received an NC-17 designation from the MPAA, then had it digitally altered so previously nude actors would appear clothed during an orgy sequence. After the director died in March 1999, Warner Bros., which was distributing the movie and wanted to make sure it had the best possible chance of seeing a profit, had it reedited further to conform to an R rating. This rankled movie critic Roger Ebert, who chastised the studio for not taking the opportunity to help legitimize the NC-17 rating by having it associated with a star like Cruise.

Instead, studios have remained wary of the label, and few films are released bearing the rating. Blue is the Warmest Color, released in 2013, was a rare exception. The film, about a love affair between a French teenager and her older female partner, won the Palme d'Or in Cannes and was shown in one New York theater that ignored the rating and allowed teenagers to purchase tickets.

15 Facts About Bill & Ted’s Excellent Adventure on Its 30th Anniversary

MGM
MGM

In 1989, a couple of slackers from San Dimas, California hopped inside a time-traveling phone booth and gathered a gaggle of key figures from the past so they wouldn’t fail their high school history class. In 1991, they were at it again. Now, 30 years after Keanu Reeves and Alex Winter first cemented their place in sci-fi history as the lovable duo, the long-awaited threequel—Bill & Ted Face the Music—has been officially confirmed. Here are 15 things you might not know about the most excellent original film.

1. Bill and Ted were born in an improv class.

The idea for the characters of Bill and Ted came about in 1983, when UCLA classmates Ed Solomon and Chris Matheson formed a student improv workshop with a few of their peers. “One day, we decided to do a couple of guys who knew nothing about history, talking about history,” Solomon recalled to Cinemafantastique in a 1991 interview. “The initial improv was them studying history, while Ted’s father kept coming up to ask them to turn their music down.” (Solomon played Ted, Matheson was Bill.)

2. Originally, it was Bill & Ted & Bob.

When the skit originated, there was a third character, Bob. But “Bob” wasn’t as into it as Solomon and Matheson, so the trio became a duo.

3. Bill wanted to be Ted and Ted wanted to be Bill.

It’s hard to imagine anyone but Keanu Reeves playing Ted Logan, or another actor besides Alex Winter in the role of Bill S. Preston, Esq., but each actor actually auditioned for the opposite role. But when Solomon and Matheson saw their audition tapes, they thought the opposite would work better. In an online chat with Moviefone, Reeves claimed that he didn’t even know their roles had been switched until after he had been cast. “I got a call saying that I got the part,” Reeves recalled. “So I went to the wardrobe fitting… assuming I was playing Bill, and I get there and Alex Winter, who eventually played Bill, went to the wardrobe fitting thinking he was playing Ted. Then we were informed that that wasn't the case.”

4. Pauly Shore also wanted to be Ted.


Getty Images

Pauly Shore was among the hundreds of actors who auditioned for the role of Ted. In 1991, Shore hosted an MTV special, Bill & Ted’s Bogus Premiere Party, in which Shore corners Reeves in a back room to talk about his failed audition. Lucky for America, Shore did go on to find fame apart from Bill & Ted, and bring the phrase, “Hey, Bu-ddy!” into the popular lexicon.

5. No, Bio-Dome is not Bill & Ted's threequel.

Speaking of Pauly Shore ... For years, rumors circulated that the script for 1996’s Bio-Dome—starring Shore and Stephen Baldwin—was actually written as the third film in the Bill & Ted franchise. In 2011, Winter laid this rumor to rest when he told /Film that the story is “total urban legend as far as I know. No one involved in that movie had anything to do with Bill & Ted. So unless they were just going to try and reboot the franchise with that concept and different actors, I can’t see a connection.”

6. Keanu Reeves and Alex Winter weren't quite nerdy enough.

The casting of Reeves and Winter posed a problem for the script. “Bill and Ted were conceived in our minds as these 14-year-old skinny guys, with low-rider bellbottoms and heavy metal T-shirts,” Solomon told Cinefantastique. “We actually had a scene that was even shot, with Bill and Ted walking past a group of popular kids who hate them. But once you cast Alex and Keanu, who look like pretty cool guys, that was hard to believe.”

7. George Carlin was a happy accident.


Getty Images

In a 2013 Reddit AMA, Alex Winter called the casting of George Carlin (as Rufus, Bill and Ted’s mentor) “a very happy accident. They were going after serious people first. Like Sean Connery. And someone had the idea, way after we started shooting, of George. That whole movie was a happy accident. No one thought it would ever see the light of day.”

8. The time machine was originally a van.

In Solomon and Matheson’s original script, it was a 1969 Chevy van that served as Bill and Ted’s time machine. But in the course of rewriting the script for Warner Bros., who showed early interest in producing the project, there was concern that a motor vehicle as time machine would ring too closely as a rip-off of Back to the Future, which arrived in theaters in 1985. It was director Stephen Herek who suggested a phone booth, as he thought it could lend itself to something akin to a roller coaster in the visuals. (The phone booth’s similarity to Doctor Who’s TARDIS was apparently not a big concern to the studio.)

9. Some Nintendo lover has that phone booth.

As part of a promotion for 1991’s Bill & Ted's Excellent Video Game Adventure, Nintendo Power magazine gave away Bill & Ted’s phone booth as a contest prize. The lucky winner was one Kenneth Grayson, who Reddit tracked down for an AMA in 2011. Grayson spent much of the chat answering questions about whether or not any X-rated activities had ever taken place in the phone booth.

10. The script was written in four days. By hand.

In 1984, Solomon and Matheson wrote the script over the course of just four days. They wrote it by hand, on note paper, during a series of meetings at a couple of local coffee shops. The 2005 box set, Bill & Ted’s Most Excellent Collection, features some of their handwritten notes.

11. Sci-fi wasn't part of the plan.

Keanu Reeves, Dan Shor, and Alex Winter in Bill & Ted's Excellent Adventure (1989)
MGM

Though Matheson is the son of legendary sci-fi writer Richard Matheson, author of I Am Legend, he didn’t intend for Bill & Ted to be a science-fiction movie. “I try to consciously fight it, out of a desire to break away, but maybe I have a predilection toward that because of my dad,” Matheson told Starlog Magazine of the inevitable fantasy elements that emerged. “He’s a great writer and craftsman, and always has suggestions.” In fact, it was the elder Matheson’s idea that the time travel story be its own movie. “We were going to write a sketch film, with this as one of the skits, but my dad said, ‘That sounds like a whole movie,’” Matheson recalled, “And he was right!”

12. Bill and Ted almost traveled straight to television.

Shortly after principal photography on the film was completed in 1987, the film’s financiers, De Laurentiis Entertainment Group, went bankrupt. A straight-to-cable release was the most likely path for the time-traveling comedy until Orion Pictures and Nelson Entertainment bought the rights in 1988 for a 1989 release. Because of the delay to theaters, references to the year—which had been filmed as “1987”—had to be dubbed for 1988, resulting in a few scenes where the actors’ lips don’t quite match the sound.

13. Their journeys continued in a variety of media.

In addition to the 1991 sequel, Bill & Ted’s Bogus Journey, the Bill & Ted franchise includes 1990’s Bill & Ted’s Excellent Adventures, an animated series for which Reeves, Winter, and Carlin provided the voices. It lasted for one season. The title was revived as a live-action series in 1992, which included none of the original cast and ran for just seven episodes. In 1991, Marvel Comics launched Bill and Ted’s Excellent Comic Book, written by Evan Dorkin.

14. Back in the late 1980s, you could eat Bill and Ted.

As a tie-in to the animated series, you could—for a short while—actually start your morning with a bowl of Bill & Ted’s Excellent Cereal, which was touted as “A Most Awesome Breakfast Adventure.”

15. Bill and Ted will ride again.

Over the past several years there has been a lot of buzz about a third Bill & Ted movie coming to theaters. In 2011, Winter tweeted that the script had been completed and that he was getting ready to read it. When asked about the possibility of a threequel in 2013, Reeves told the Today Show, “I'm open to the idea of that. I think it’s pretty surreal, playing Bill and Ted at 50. But we have a good story in that. You can see the life and joy in those characters, and I think the world can always use some life and joy.” Several references to the possible project have been made since then, and it's now been confirmed that the third film, Bill and Ted Face the Music, is currently in pre-production.

According to The Hollywood Reporter, via a report from the Cannes Film Festival, Matheson and Solomon co-wrote the script and Dean Parisot (Galaxy Quest) is attached to direct. Reeves and Winter will, of course, be reprising their roles, which "will see the duo long past their days as time-traveling teenagers and now weighed down by middle age and the responsibilities of family. They’ve written thousands of tunes, but they have yet to write a good one, much less the greatest song ever written." Excellent!

6 Times There Were Ties at the Oscars

getty images (March and Beery)/ istock (oscar)
getty images (March and Beery)/ istock (oscar)

Only six ties have ever occurred during the Academy Awards's more than 90-year history. The Academy of Motion Picture Arts and Sciences (AMPAS) members vote for nominees in their corresponding categories; here are the six times they have come to a split decision.

1. Best Actor // 1932

Back in 1932, at the fifth annual Oscars ceremony, the voting rules were different than they are today. If a nominee received an achievement that came within three votes of the winner, then that achievement (or person) would also receive an award. Actor Fredric March had one more vote than competitor Wallace Beery, but because the votes were so close, the Academy honored both of them. (They beat the category’s only other nominee, Alfred Lunt.) March won for his performance in horror film Dr. Jekyll and Mr. Hyde, and Beery won for The Champ (writer Frances Marion won Best Screenplay for the film), which was remade in 1979 with Ricky Schroder and Jon Voight. Both Beery and March were previous nominees: Beery was nominated for The Big House and March for The Royal Family of Broadway. March won another Oscar in 1947 for The Best Years of Our Lives, also a Best Picture winner. Fun fact: March was the first actor to win an Oscar for a horror film.

2. Best Documentary Short Subject // 1950

By 1950, the above rule had been changed, but there was still a tie at that year's Oscars. A Chance to Live, an 18-minute movie directed by James L. Shute, tied with animated film So Much for So Little. Shute’s film was a part of Time Inc.’s "The March of Time" newsreel series and chronicles Monsignor John Patrick Carroll-Abbing putting together a Boys’ Home in Italy. Directed by Bugs Bunny’s Chuck Jones, So Much for So Little was a 10-minute animated film about America’s troubling healthcare situation. The films were up against two other movies: a French film named 1848—about the French Revolution of 1848—and a Canadian film entitled The Rising Tide.

3. Best Actress // 1969

Probably the best-known Oscars tie, this was the second and last time an acting award was split. When presenter Ingrid Bergman opened up the envelope, she discovered a tie between newcomer Barbra Streisand and two-time Oscar winner Katharine Hepburn—both received 3030 votes. Streisand, who was 26 years old, tied with the 61-year-old The Lion in Winter star, who had already been nominated 10 times in her lengthy career, and won the Best Actress Oscar the previous year for Guess Who’s Coming to Dinner. Hepburn was not in attendance, so all eyes fell on Funny Girl winner Streisand, who wore a revealing, sequined bell-bottomed-pantsuit and gave an inspired speech. “Hello, gorgeous,” she famously said to the statuette, echoing her first line in Funny Girl.

A few years earlier, Babs had received a Tony nomination for her portrayal of Fanny Brice in the Broadway musical Funny Girl, but didn’t win. At this point in her career, she was a Grammy-winning singer, but Funny Girl was her movie debut (and what a debut it was). In 1974, Streisand was nominated again for The Way We Were, and won again in 1977 for her and Paul Williams’s song “Evergreen,” from A Star is Born. Four-time Oscar winner Hepburn won her final Oscar in 1982 for On Golden Pond.

4. Best Documentary Feature // 1987

The March 30, 1987 telecast made history with yet another documentary tie, this time for Documentary Feature. Oprah presented the awards to Brigitte Berman’s film about clarinetist Artie Shaw, Artie Shaw: Time is All You’ve Got, and to Down and Out in America, a film about widespread American poverty in the ‘80s. Former Oscar winner Lee Grant (who won the Best Supporting Actress Oscar in 1976 for Shampoo) directed Down and Out and won the award for producers Joseph Feury and Milton Justice. “This is for the people who are still down and out in America,” Grant said in her acceptance speech.

5. Best Short Film (Live Action) // 1995

More than 20 years ago—the same year Tom Hanks won for Forrest Gump—the Short Film (Live Action) category saw a tie between two disparate films: the 23-minute British comedy Franz Kafka’s It’s a Wonderful Life, and the LGBTQ youth film Trevor. Doctor Who star Peter Capaldi wrote and directed the former, which stars current Oscar nominee Richard E. Grant as Kafka. The BBC Scotland film envisions Kafka stumbling through writing The Metamorphosis.

Trevor is a dramatic film about a gay 13-year-old boy who attempts suicide. Written by James Lecesne and directed by Peggy Rajski, the film inspired the creation of The Trevor Project to help gay youths in crisis. “We made our film for anyone who’s ever felt like an outsider,” Rajski said in her acceptance speech, which came after Capaldi's. “It celebrates all those who make it through difficult times and mourns those who didn’t.” It was yet another short film ahead of its time.

6. Best Sound Editing // 2013

The latest Oscar tie happened in 2013, when Zero Dark Thirty and Skyfall beat Argo, Django Unchained, and Life of Pi in sound editing. Mark Wahlberg and his animated co-star Ted presented the award to Zero Dark Thirty’s Paul N.J. Ottosson and Skyfall’s Per Hallberg and Karen Baker Landers. “No B.S., we have a tie,” Wahlberg told the crowd, assuring them he wasn’t kidding. Ottosson was announced first and gave his speech before Hallberg and Baker Landers found out that they were the other victors.

It wasn’t any of the winners' first trip to the rodeo: Ottosson won two in 2010 for his previous collaboration with Kathryn Bigelow, The Hurt Locker (Best Achievement in Sound Editing and Sound Mixing); Hallberg previously won an Oscar for Best Sound Effects Editing for Braveheart in 1996, and in 2008 both Hallberg and Baker Landers won Best Achievement in Sound Editing for The Bourne Ultimatum.

Ottosson told The Hollywood Reporter he possibly predicted his win: “Just before our category came up another fellow nominee sat next to me and I said, ‘What if there’s a tie, what would they do?’ and then we got a tie,” Ottosson said. Hallberg also commented to the Reporter on his win. “Any time that you get involved in some kind of history making, that would be good.”

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