BAFTA predictions, 2020.

My predictions last year were decent, especially in how I anticipated that we'd give Best Film to Roma, a move that was not mirrored by the Academy Awards, who went for Green Book.

Thus, as is a tradition on my blog, I'd try my hand at predicting tonight's British Academy Film Awards! Remember, the below is who I think will win, which very rarely overlaps with who I think actually should win.

Best Film: 1917

Sadly, I think this uninspired Dunkirk rip-off will triumph, even though it's not a patch on Dunkirk, and feels like watching someone play a computer game for 2 hours. I see BAFTA falling for the 'made to look like it was filmed in one shot' gimmick, and even more sadly, the Oscars to do the same next week.

Screen Actor Guild predictions, 2019.

Here are the list of nominations, if you wanted to play prognosticator as well! I'm only predicting the film categories, as, as my Golden Globe predictions showed, I don't know much about TV. Haha.

Best Actor: Rami Malek, Bohemian Rhapsody

Best Actress: Glenn Close, The Wife

^^ With both the leading categories, I feel if Malek and Close win tonight, then they're favourites for the Oscar. Either American Hustle co-star Christian Bale (for Vice) or Bradley Cooper (A Star is Born) could beat Malek, and as for Close, she should be looking out for competition from Lady Gaga and Olivia Colman.

Best Supporting Actor: Mahershala Ali, Green Book

If Mahershala Ali wins tonight, he'll be on track to win Best Supporting Actor at the Oscars twice in three years. The last time we had a double winner in a short space of time was by Christoph Waltz, in 2010 and 2013, for the same category, except he won for acting in two Quentin Tarantino films, playing fairly similar roles [except one was a villain, and the other, a sympathetic character]. Ali has mixed it up with two different directors and two very different roles.

Best Supporting Actress: Amy Adams, Vice

The current frontrunner for Best Supporting Actress, Regina King, wasn't nominated for the SAG (apparently there were screener issues) or the BAFTA (who inexplicably chose to nominate Margot Robbie's shameless Oscar-begging as Elizabeth I instead). So that frees up the category for Amy Adams to win tonight, although I feel Rachel Weisz will probably win the BAFTA, thus making the Supporting Actress race quite exciting!

By the way, Amy Adams is also up against Emma Stone in the 'Best Actress in a TV Movie or Limited Series' category, for Sharp Objects and Maniac respectively, and I'm predicting/hoping Adams triumphs over Bugeyes there as well!

Best Ensemble: Black Panther

The Favourite and Roma, which led the Oscars with the most nominations this week, didn't get nominated in this category. Instead, we have three films that fared well with audiences (Black Panther, Bohemian Rhapsody and Crazy Rich Asians) and BlacKkKlansman and A Star is Born. A Star is Born might be the obvious choice, given I'm not predicting Bradley Cooper or Lady Gaga to win tonight, so it might be a good place to honour them. But I'm gonna predict with my heart and go guess Black Panther - Wakanda forever!

Film review: TERMINAL (Vaughn Stein, 2018)

A waitress talks to a dying man. Two bickering assassins await orders on their next hit. And a quirky janitor lurks around a dilapidated train station. These seemingly disparate goings on in an anonymous neon-lit British town are all somehow linked, and slowly the plot pieces together in Vaughn Stein’s crime caper that plays out as a terrible Quentin Tarantino rip-off.

Battle of the Sex Scenes

This blog is rated 12A for moderate sex references.

Despite the BBFC constantly palming me off with less-than-satisfactory templated e-mails of little substance whenever I pose them a query, I always seem to come back for more.

Perhaps this is because my brain is so film classification-geared, that I’m hungry to have movie discourse of any kind, and the BBFC did act on my Call Me by Your Name e-mail earlier this year, showing that they are receptive to suggestions, once in a blue moon.

My most recent e-mail to them was about Battle of the Sexes, rated 12A for infrequent moderate sex. The oh-so-informative extended insight reads:

In one scene, two women have sex; however, there is no strong detail.

My attempt at writing a BBFC report for BEAST (2018)

It was William Shakespeare who remarked ‘brevity is the soul of wit’, and with regards to that quote in many walks of life (for example, intolerable guys who’s arrogance would make Gaston from Beauty and the Beast appear modest droning on about how oh-so-clever they are for having passed their CFA exams), The Bard was not wrong.

15 rated films with male-to-female usages of the c-word

This blog is rated 15 for implied very strong language and descriptions of domestic violence and brutality.

About twice a year, I’ll curiosity-watch a film purely because Mark Kermode has gone in on it in his reviews. Last year, I watched Ron Howard’s The Dilemma for this precise reason, and Kermode was right; it was a tonal mess with jokes that went down like a lead balloon.

Fun with chalk and blackboards at the Odeon Covent Garden.

The Odeon Covent Garden has always had terrific film introduction game. Usually, a screen is devoted to one film only, but I've noticed they've recently mixed it up a bit more, so there's more variety in the films they show.

Here are two introductions that tickled me, whether it be for the font, wording used, or in the latter case, the creative way they squeezed five film titles onto one board!

Of course, this BBFC nerd's eye was drawn to how, coincidentally, all five of these films were 15-rated! Although one of them really ought not to be.

Best and Worst Dressed of the Oscars, 2018.

Obviously, fashion and looks are subjective, so this is by no means the gospel. And I'm not even gonna pretend that bias and love for certain performers (and disdain for others) did not creep until my rankings. I'm prone to playing favourites and being hella petty to those I dislike a la Miles Teller when he tweeted 'congratulations to Moonlight!'

The Dunkirk twinks Harry Styles and Fionn Whitehead weren't invited to the Oscars, but had they been, I'm sure they would have made the Best Dressed Males List.

So, without further ado...

Best dressed women

07. Beanie Feldstein

Jonah Hill's younger sister's dress reminds me, funnily enough, of Jonah's Superbad co-star Emma Stone's gorgeous City of Stars dress that she wore to the 2017 Golden Globes. Only a darker, more gothic version. Black is a slimming colour, and the winged eye make-up, wavy hair and dangly earrings complete the outfit nicely.

Oscar predictions, 2018

Sick Oscar graphic credit: Vulture. Guess the films represented!

BAFTAs so beige.

So, the BAFTAs were on Sunday, and such were the uninspired, bland, going with the crowd wins, that I really didn't feel motivated to do a debrief post, because it would consist almost entirely of me whining (and, as Jennifer Lawrence's essay on how underpaid she was for American Hustle demonstrates, complaining is never a good look).

But, some time has elapsed (to quote Frozen, 'it's funny how some distance, makes everything seem small'), thus, I will share my thoughts on the ceremony and what it means for the Oscar race (spoiler alert: nothing. We've become predictors rather than influencers).

I was ecstatic for Brit Daniel Kaluuya, who won the Rising Star Award. This prize is voted for by the British public and essentially weathervane of who the audience likes best. Given that cinemagoers are the people who make film stars who they are, it's not a bad prize to win.

Thoughts on the 2018 BAFTA nominations

On Tuesday, I woke up to the blandest bunch of BAFTA nominations ever. Each year, the British Academy – which have recently morphed into a glorified Oscar prognosticating body – find new ways to disappoint me, but this year, there were extenuating factors which meant that they did so with more panache than ever.

Film

Call Me by Your Name

Darkest Hour

Dunkirk

The Shape of Water

Three Billboards Outside Ebbing, Missouri

Thoughts on the 2018 Golden Globes.

Here be the list of winners. My thoughts:

- Yay for Sersh! She is an amazing actress, who I’ve been following avidly ever since she amazed as Briony in 2007’s Atonement. It’s amazing to think that at just 23, she’s already being regarded as ‘overdue’, but that’s a testament to how good she is. I really thought Saoirse should have won the Oscar for 2015’s Brooklyn, and, although I’ve not yet seen Lady Bird, judging from the quality of everything else she’s done, I have no doubt she’s incredible in it. 

I’m also so relieved Margot Robbie’s shameless Oscar-begging didn’t prevail. Margot is more of a ‘celebrity’ than Saoirse, and the Golden Globes are renowned for favouring the more glamorous stars. But so, so happy that in this case, Saoirse Ronan’s inimitable talents transcended star-seeking!

- Related to this, well done to Greta Gerwig, who’s directorial debut, the female-ccentric Lady Bird, won Best Film – Musical or Comedy. I can’t wait to watch it!

Thoughts on the 2017 Screen Actor Guild Nominations.

The SAG nominations were announced yesterday and they concretised some actors’ positions in the Oscar race, whilst throwing doubt on others. Here be my thoughts on the film categories (I don’t watch enough TV to be able to comment on those).

Outstanding Performance by a Female Actor in a Leading RoleJUDI DENCH / Queen Victoria – “VICTORIA & ABDUL” (Focus Features)
SALLY HAWKINS / Elisa Esposito – “THE SHAPE OF WATER” (Fox Searchlight)
FRANCES McDORMAND / Mildred – “THREE BILLBOARDS OUTSIDE EBBING, MISSOURI” (Fox Searchlight)
MARGOT ROBBIE / Tonya Harding – “I, TONYA” (Neon)
SAOIRSE RONAN / Lady Bird McPherson – “LADY BIRD” (A24)

Dame Judi Dench is the surprise nominee here, who takes what many had predicted would be Meryl Streep’s slot (although the complete omission of The Post altogether has led some to speculate that it probably screened too late for SAG voters, who post their ballots in early), means that there are more English actresses here (Dench and Hawkins) than American ones (McDormand). 

Margot Robbie’s shameless Oscar-begging appears to have paid off (whenever a beautiful woman de-glams, awards bodies shower them with awards) and she’s likely to be nominated for the Oscar in this category along with Hawkins, Ronan and McDormand, leaving fifth place up for grabs.

Album review: REPUTATION (Taylor Swift)

A month shy of turning 28, Taylor Swift has been around the block and suffered a few knocks to her standing (not to mention her heart) for her troubles. Her sixth album comes at some time when some self-reflection is much-needed.

With a title like ‘Reputation’, she’s certainly cognisant of that artefact. It would be trite to dub her 15-track album as a ‘confessional’, as she’s always been very forthcoming about wearing her heart on her sleeve, and channelling her painful life experiences into song-writing inspiration, but there's a salient self-awareness in this album that was perhaps lacking in her previous work.

Bungsy's Girlcrush List, 2k17.

I haven't done one of these lists for over three years, and I think it's fair to say my taste in women has generally evolved, whilst some of the lady crush staples still remain. 

Some choices from previous years which now make me cringe when I look back include Cara Delevingne (in my defence, this was before she assailed my eyes as an actress and played to her strengths as a model), Kaya Scodelario (still fit tbf, but just kinda annoying) and Emma Stone (still cute, still talented, but I will now forever sideye her for the yellowface in Aloha debacle). 

I imagine when I look back at this list in a few years, I will be equally cringed out.

So, without further ado, Emmabung's Girlcrush List, 2017!

10. Ariana Grande

'Problem' is a piece of song-writing genius, an ace and catchy song has guided me through all manner of turbulent times. I have so much time for Ari's 4-octave vocal range, and I also dig how despite being baby-faced and having Bambi eyes, she has a hyper-sexualised image. The seductive way she peers up from the heart-shaped sunglasses in the 'Bang Bang' music video: swoon.

10 Fittest Ladies in Film, 2013.

I had a lot of fun screencap-and-gif-searching for this blog post! The top four, of which three women are in joint second place, has the highest calibre of beautiful women since I started posting this list!

10. Marine Vacth,  Jeune et Jolie 

10 Fittest Women in Film, 2015.

I had so much fun doing the 2016 hotties list, I thought I'd do the same, going back each year!

 10. Anna Kendrick, Pitch Perfect 2

10 Fittest Women in Film, 2016

I prefer Margot Robbie not covered in white facepaint and acting like a deranged loon, and Rooney Mara’s character in Lion was pure bleh, so neither of my go-to girlcrushes make it on this year’s list, bizarrely.

Obviously my list might differ slightly from your average bloke's, but I’m rating these ladies’ attractiveness with a female gaze [or so I like to think].

10. Felicity Jones, Rogue One

Four recent releases that got a PG-13 in the States but a 15 here.

I was in Birmingham for a conference this week and saw two films there alone, thus making v.g. use of my Odeon Limitless card!

Having seen those two films (The Shallows, Lights Out), I’ve now seen four movies (those two and Nerve and Suicide Squad), all released fairly recently, that got rated a PG-13 by the MPAA and, rather than get the rating that is roughly equivalent over here, the 12A (which about 90% of US PG-13s get), they were slapped with the older sister rating, the 15.

I thought I’d be super-nerdy and discuss my thoughts on the BBFC’s decision to rate them 15, rather than the actual quality of films themselves.

Lights Out: 15 for strong supernatural threat, bloody images.

My verdict: 15.

Far from being one of the scariest 15s I’ve seen, but there were a lot of jump moments, some funny, but some very intense which would have been just a bit too terrifying for a 12A. The main antagonist was also too creepy in appearance for 12 year olds and under to stomach.

Nerve: 15 for risky imitable behaviour.

My verdict: 15.

The film portrays teenagers being egged on to do increasingly more daring and ill-advised things for money, and that fact that some of these really dangerous acts don’t have negative consequences (eg, lying on a train track as a train crosses, or driving a motorcycle at perilously high speeds without sight [Dave Franco in motorcycle gear tho. Swoon]) could potentially send out the wrong message to impressionable pre-teens, which the 12A rating would have allowed them watch. Thus, agreed with the BBFC on this one.

The Shallows: 15 for sustained threat, bloody injury detail

My verdict: 12A.

To paraphrase a defender’s protestations after his clumsy foul has led to conceding a penalty, ‘Never a 15!!!’ This survival movie, about a young Medical school dropout (Blake Lively, surprisingly decent) and her battle with an aggressive shark, felt more vaguely unsettling, rather than relentlessly frightening. There were some moments where her vs the shark felt a bit touch-and-go, but the focus on the resourcefulness of Lively’s character gave me faith that she wasn’t going to go down without a fight; I didn’t feel the threat really was ‘sustained’.

Also, the injury detail, whilst grisly, was no worse than what Matt Damon had to address in The Martian, a 12A.

Suicide Squad: 15 for sustained threat, moderate violence

My verdict: undecided.

Don’t get me wrong, I’m very happy it got a 15, because it meant I got to enjoy Suicide Squad in relative peace (the cinema was full when I saw it because I watched it the day it was released to maximise the number of hits I’d get for my review for it. I’m cool like that).

But in terms of precedent, the 12A-rated 10 Cloverfield Lane made me a lot more nervous than this film did, and I also thought the tone of Christopher Nolan’s Dark Knight was bleaker than Suicide Squad. Plus the BBFC rating for that 12A title featured ‘strong violence’, so if strong violence is allowed in a 12A (The Kite Runner, another 12A, has strong violence), then moderate violence shouldn’t be really flagged as a 15 category-defining issue, no? #pedanticChinawoman

On the other hand, I do think the scenes between Joker and Harley were a little disturbing, particularly when she voluntarily jumps into a vat of acid to pledge her love to him; the juxtaposition of Kehlani’s seductive vocals on ‘Gangster’ with the disquieting visuals perfectly capturing Harley's brainwashed mental state (Margot Robbie in glasses tho. Swoon). I guess Jared Leto’s Joker’s unhinged grin when he was torturing people contributed to the 15 certificate and may go someway to explaining why The Dark Knight wasn’t a 15 – Heath Ledger’s Joker committed acts of violence and murder, but those acts were more functional rather than Leto’s, who definitely had an element of relish to his acts.

So yeah, sitting on the fence on this one.

In conclusion, I fervently agree with the BBFC on two of their 15s, strongly disagree with one, and don’t know about the final one.

I previously mentioned 10 Cloverfield Lane; I’d like to highlight again that that was far too scary for a 12A (even if it did get a PG-13 in the States, but a lot of our 15-rated horrors are also PG-13, showing that the two certificates don’t directly align in the category of threat). Here is a film that definitely could have done with being one certificate higher; if any movie merits the ‘sustained threat’ rubric, it was 10 Cloverfield Lane, which filled me with dread from beginning to end.

Yet the BBFC, bafflingly, claimed the threat in 10 Cloverfield Lane was purely ‘moderate’. They also assigned ‘moderate threat’ to the 12A rating to Star Wars: The Force Awakens, somewhat laughably. Those two films were not at all comparable in the fear stakes.

The IFCO, the Irish film board, rated that a 15, as well as Suicide Squad, Lights Out and Nerve 15s, and The Shallows a 12A. Looks like me and the IFCO are in closer alignment when it comes to these five films!

10 Sexiest Female Performances in Film.

I just unleashed my inner Kevin Spacey in American Beauty / Jonah Hill in The Wolf of Wall Street. Spoiler alert: I wasn't thinking about Mena Suvari or Margot Robbie when carrying out the act.

Aaaaaaaaanyway, that line of cryptic 12A-rated innuendo (the kind of innuendo this blog specialises in) is basically the perfect gateway for me to list my top 10 sexiest female performances in movies, as both Mena and Margot grace said list. What follows are 10 ladies who, in my eyes, just oozed sex appeal in their cinematic turns. So much sex appeal that it had me questioning my preferences, in fact.

Basically this is an excuses for me to fawn over my girlcrushes, old and new. I'm a tad transparent.

10. Marilyn Monroe, The Seven Year Itch

Marilyn Monroe's character in The Seven Year Itch doesn't even have a proper name; she's just called 'The Girl', in Billy Wilder's playful comedy about a married man who's wife and son leave town he finds himself more than a little tempted when his gorgeous neighbour falls, quite literally, into his lap. 

The Girl is a role which makes the most of Marilyn Monroe’s god-given physical assets, and the scene where a gust of wind from the subway grate blows her dress is still, to this day, one of the most iconic in film.  

(I even bought a dress of my own because I thought it looked a bit like the one Marilyn wore in this film haha. I snagged a photo with Arsenal’s captain, Per Mertesacker, in it, so there you go! I have Marilyn Monroe to thank for that).

09. Eva Green, Casino Royale

Eva Green’s breakthrough role came in Martin Campbell’s reboot of the 007 franchise, and she was handed a formidable task: to play the woman who steals James Bond’s heart, and her ensuing breaking of it leads to his womanising ways. 

Green is completely up to the challenge. Her (apropos, given her surname) bewitching emerald eyes are absolutely stunning, and her natural beauty is enhanced by a cleavage-bearing wardrobe and some lines so smooth they would put the spy she seduces to shame.

08. Kristen Stewart, On the Road 

Despite the common consensus that Kristen Stewart is a terrible actress, I actually disagree. I don’t think she’s bad (that’s a descriptive that is reserved for the likes of Emma Watson and Cara Delevingne), rather, just limited in the roles she can play, but if handed one that plays to her strengths, as the part of Marylou in On the Road does, she excels (her performance in this film actually made my top 10 acting performances of 2012 list).

Here, she’s the flighty, up for it sexpot with a libertine spirit to match travelling companion and sort-of boyfriend Dean Moriarty’s (Garrett Hedlund), a car thief who has a few wives he’s casually abandoned up and down the country to go on a road trip to nowhere in particular.

The story is told from Dean’s friend Sal Paradise (Sam Riley)'s P.O.V, and it’s quite apparent he fancies the fascinating Marylou to pieces. His crush on his mate’s missus is mirrored by the audience, and the illicit boiling pot of emotions and urges makes for a fascinating, erotically charged journey with the three friends.

07. Ziyi Zhang, 2046

The sort-of-but-not-quite sequel to In the Mood for Love sees Tony Leung's Chow Mo-wan, having had his heart broken in the previous film, deciding that the best way to forget his ex is by having meaningless sex... and lots of it. 

One of these notches on his bedpost is Ziyi Zhang's Bai Ling, a flirtatious high-class call girl who's forward exterior masks inner vulnerability and, as with the vast majority of girls, a need to be loved. 

This need is not satisfied by Chow, who regards all womankind with contempt following his ordeal in In the Mood for Love. Ziyi Zhang is exceptional; the perfect illustration of a person who lets their walls down in the  misguided hope that the object of their affections will reciprocate their affections. 

The sensual 2046 has a distinctly otherwordly feel, but the emotional honesty of Ziyi's performance renders the experience a very human one. 

06. Mena Suvari, American Beauty 

Ah, the modern day Lolita.

American Beauty, Sam Mendes' masterpiece about middle-aged malaise, sits just outside of my top ten films of all-time, and is my favourite 18-rated film. It follows Kevin Spacey's Lester Burnham, a sexually frustrated man trapped in a loveless marriage, has a job he despises and a teenage daughter who hates his guts.

So far, so White People Problems. But one day, attending his daughter's cheerleading recital, his head is turned by her nubile friend Angela (Mena Suvari). He soon becomes obsessed with Angela, and spends many a night fantasizing about her covered in rose petals, both a literal ('American Beauty' is a breed of rose) and metaphorical representation of the title of the film.

Mena Suvari is stunning in this film. Looks-wise, you can definitely see why a middle-aged bloke would lust after her, especially when she gets predatory around Lester. I read the script to American Beauty because I was just so enamored with Alan Ball's excellent writing in it, and the screenplay described her as 'blonde, blue-eyed, all-American girl', and to that end, Suvari certainly fits the bill. But as the film goes on, we learn that she, like Ziyi Zhang in 2046, is overcompensating for something with her coquettish behaviour. Insecurity, perhaps. Or just a desperation to feel 'special'.

I find this element of fragility in female characters fascinating. To quote Lana del Rey, 'this is what makes us girls'. American Beauty is a sensational film because whilst it has the naughty stuff, this is counterbalanced by a very astute observation that behind bold sexual exterior, Angela is still a delicate girl. 

05. Rita Hayworth, Gilda 

The second character on this list who was one of Tim Robbins' Andy's posters in his prison wall in The Shawshank Redemption!

Rita Hayworth's vampish Gilda shimmies across the stage in a wide range of figure-hugging silk dresses, her curves accentuated with shiny, bold belts. Her performance outshines ever the sparkliness of her belts, as she exudes sultry elegance in every frame. Her character is jaded, cynical and has no qualms with using and abusing any men she comes across, but one smouldering look from her and it's not hard to see why she has men going gaga for her. Her chemistry with Glenn Ford's Johnny (who, in a classic display of life imitating art, she would later bed in real life) is sizzling and their exchanges demonstrate perfectly that fine line between love, hate, and how easy it is for the two to fuse.

Game-playing  Battle of the Sexes has never looked so good.

04. Mila Kunis, Black Swan

I wasn't a huge fan of Darren Aronofsky's bloated drama Black Swan, about Nina (Natalie Portman), a ballerina who would do anything to get the lead in the production of Swan Lake. But Mila Kunis is a complete babe in it. Nina's ballet instructor, played with brilliant sliminess by Vincent Cassel, tells her to become a better dancer, she needs to embrace her immoral side, pointing her in the direction of Mila Kunis' Lily.

Lily is viewed through Nina's jealous gaze, and we come to regard her in the same light as the protagonist: with a combination of envy, annoyance and morbidly curious lust. The latter comes to a fore when the two, on an ecstasy trip, make love, in one of the most erotically charged sex scenes in cinema, where at one point, Kunis, with her head between Portman's legs, looks up at her lover, and her big hazel eyes look absolutely amazing.

Building up to that scene, like Nina, are drawn to Lily, wanting to find out more about her, whilst not letting on that we've got her on our radar. The curious casting of Portman and Kunis, who don't look dissimilar, really brings out the difference in their two personalities; Nina, the obsessive-compulsive who is obsessed with getting every piece of choreography down to a T, and Lily, who is more than happy to live her life and go where the wind blows and isn't really fussed about dancing, which paradoxically, gives her dancing a quality that Nina's lacks.

Furthermore, what I thought was clever about Kunis' portrayal of Lily is that she presents her character as appearing to be a friendly, fun-loving girl, yet Nina feels completely and utterly threatened by her. Whether this discomfort towards Lily is justified, or a product of Nina's deteriorating mental condition, well, that forms much of the basis of the trippy, second-guessing vibes of Black Swan. And I've definitely been there in terms of having a girl I'm both intimidated by, yet am also in weird awe of.

Mila Kunis has been a staple on my yearly girlcrush lists. She looks incredible in every film I've seen her in (Forgetting Sarah Marshall, Friends with Benefits, Ted to name a few titles), but in Black Swan there's a darkness to her performance and character that elevates her sex appeal to an 11.

03. Emmanuelle Béart, Manon des Sources

In Manon des Sources, Béart's Manon has elements of Amy Dunne, in that her character is principally motivated by revenge, for the mistreatment her father received from Yves Montand's character that led him to pass before his time. But unlike Amy, she's a rather more genteel presence and ultimately, such is her natural grace and poise, that revenge doesn't consume her. 

The enchanting Manon is perved on by the dim-witted nephew of her enemy, played by Daniel Auteuil (whom Béart would marry in real life in 1993) in one scene, where she dances naked, and unlike most nude scenes in films, it's an innocuous scene, where Manon is completely at one with nature.

Emmanuelle Béart has played more sexual characters in plenty of other films, but her natural prettiness, and the slightly unusual quality to her looks made her a great fit for the role of shepherdess, and hence is my chosen entrant on this list. One would expect such a photogenetic woman to be too glamorous for such a role, but Béart sells it.

02. Linda Fiorentino, The Last Seduction

No list of Sexiest women in movies would be complete without the quintessential femme fatale!

20 years before Rosamund Pike bought Amy Dunne to life, Linda Fiorentino blazed the trail for conniving cows in cinema. If Ziyi Zhang and Mena Suvari's characters are summed up by the Lana del Rey song 'This is What Makes Us Girls', Fiorentino's anthem would be 'I Fucked My way Up to the Top'.

Her Bridget Gregory knows what she want and boy, does she know how to get it. Her cavalier attitude to sex is both scandalous and titillating 22 years on, never mind back in 1994, but watching her calculated sexuality is a real ride. And I'm not just talking about the all the dicks she rides.  

Her man-eating ways are epitomised in this oh-so-cool exchange, made all the more audacious given it takes place just after she's screwed her next hapless prey, thirsty Mike (Peter Berg) against a fence.

Bridget Gregory: You're my designated fuck.
Mike Swale: Designated fuck? Do they make cards for that? What if I want to be more than your designated fuck?
Bridget Gregory: Then I'll designate someone else. 

#ByeFelicia

01. Margot Robbie, The Wolf of Wall Street

A blonde bombshell opened the list, so it seems only apropos that a blond bombshell closes it!

It makes sense, that in The Wolf of Wall Street, a film about excess: the excess of money, cocaine, hookers, Leonardo DiCaprio's eponymous Wolf, Jordan Belfort, should get the hottest wife.

But Margot isn't just the hottest woman in the movie. She's the hottest woman in all movies.

When Margot walked across the screen in The Wolf of Wall Street wearing nothing but stockings and stilettos, my jaw dropped; I'd never seen such an unabashed, untamed display of female sexuality on the screen before. 

Her sleek body was, and still is, the most perfect example of the female form I've ever seen. Slim waist, long, tanned legs, sun-kissed skin. Then there's the face: huge yet distinctively cat-shaped eyes, lips you could nibble on all day (her juicy lips were particularly prominent in smudged red lipstick in Suicide Squad, too)... unf. 

Margot Robbie was only 22 years old when she filmed The Wolf of Wall Street, and it was quite daring for her to bare all in her first established film role, but both she and savvy film director Martin Scorsese (my favourite film director, just so you know) knew what they was doing.

In fact, in the end, it wasn't so much a question of whether Margot could handle a full-frontal nudity scene.

The real question is whether we handle her.