My 10 Favourite Performances in an 18-Rated Movie.

I watched The Canyons this week, a Kickstarter-funded movie about the sexual jealousy and betrayal between a hedonistic movie producer and his glamorous girlfriend (Lindsay Lohan). The fact that the film was low-budget was apparent in the shoddy production value, lazy script and daytime TV-esque performances, but Lindsay Lohan was genuinely brilliant, even more so if you consider she had to deliver laughably bad lines and make them plausible. The high quality of her performance jarred with everything else about the film, which was extremely cheap and trashy, but at least it inspired me to do another list: favourite 18-rated performances.

Certain directors seem to be drawn to darker content than others, so it's no surprise that this list features multiple entries from films from three directors: two Fincher-directed performances (both fierce women who like a bit of revenge), two Quentin Tarantino-directed performances, and three Martin Scorsese directed-performances. But not the two seminal Robert de Niro turns (Taxi Driver, Raging Bull) that you might expect to see.

Very honourable mentions: Emily Watson in Breaking the Waves, Christoph Waltz in Inglourious Basterds, Daniel Day-Lewis in Gangs of New York, Uma Thurman in Kill Bill Vol. 1  and Pulp Fiction, Dennis Hopper in Blue Velvet (another spirit animal of mine. I jest. Or do I?), Lindsay Lohan in The Canyons, Léa Seydoux in Blue is the Warmest Colour, Leonardo DiCaprio in The Depahted, Dominique Swain in Lolita and Jonah Hill in The Wolf of Wall Street (heard he gets his penis out in a pool party scene or something).

10. Ray Liotta, Goodfellas

1990. director: Martin Scorsese. Rated 18 for strong violence.

09. Bel Powley, Diary of a Teenage Girl

2015. director: Marielle Heller. Rated 18 for strong sex.

08. Rooney Mara, The Girl with the Dragon Tattoo 

2011. director: David Fincher. Rated 18 for strong sexual violence and sex.

07. Leonardo DiCaprio, The Wolf of Wall Street 

2013. director: Martin Scorsese. Rated 18 for very strong language, strong sex and hard drug use.

06. Sharon Stone, Casino

1995. director: Martin Scorsese. Rated 18 for strong violence. Not like a Scorsese film to have strong violence, now is it?

05. Mélanie Laurent, Inglourious Basterds

2009. director: Quentin Tarantino. Rated 18 for strong bloody violence.

I idolised her back in 2010, and I still idolise her now. Au revoir, Shoshanna!

04. Michael Madsen, Reservoir Dogs

1992. director: Quentin Tarantino. Rated 18 for strong bloody violence, torture, strong language & sex references 

03. Kevin Spacey, American Beauty

1999. director: Sam Mendes. Rated 18 for strong language, once very strong, strong sex, violence & drug use 

It's interesting I had Dominque Swain as Dolores 'Lolita' Haze in my honourable mentions list, for this film, one of my top 15 of all-time, has heavy Lolita overtones running throughout. Even Kevin Spacey's character's name, Lester Burnham, is an anagram of 'Humbert Learns'.

And the top two, which was an absolute no-brainer...

02. Adèle Exarchopoulos, Blue is the Warmest Colour

2013.  director: Abdellatif Kechiche. Rated 18 for strong sex and very strong language.

01. Rosamund Pike, Gone Girl

2014. director: David Fincher. Rated 18 for strong bloody violence and very strong language.

Surprise!

When Film Posters Lie: Crimes Against Billing Orders.

Today, I watched The Place Beyond the Pines, Derek Cianfrance's ambitious morality tale of how an encounter between bank robber (Ryan Gosling) and rookie cop (Bradley Cooper) affects their lives long after the meeting. I wasn't exactly sold on it; the three acts in the movie deteriorated monotonically, with the most gripping set pieces all being at the start of the film. The final act of the film focuses on the interaction between the two characters' sons, and the scenes between Emory Cohen and Dane DeHaan felt like a blasted mumbling contest.

Overall, I was mightily disappointed with The Place Beyond the Pines; there were some good elements: Bradley Cooper was as nuanced and as convincing as I've seen him (I usually can't take him seriously because he's appeared in some godawful Jennifer Lawrence collaborations and both of them bring out the worst in each other, especially when David O. Russell is involved), and the scenes between Ben Mendelsohn and Gosling were nicely done. Based on their chemistry together, I can see why Ryan Gosling chose to cast the Australian in his own movie, Lost River, 2 years later. You even get a tiny glimpse of Mendelsohn's terribad dancing, one of the few redeeming features of Lost River, in this movie.

But another gripe that I had with The Place Beyond the Pines that was no real fault of the filmmakers themselves was the sheer inaccuracy of the billing of Ray Liotta in the film poster. The way Liotta is credited here gives the (misleading) impression that he's the fourth main character in the film. He ain't. Gosling and Cooper are the co-leads, then Eva Mendes, then Dane DeHaan and then Emory Cohen. Ben Mendelsohn features in the first and third acts, so he would take sixth precedence. Being generous (and it would be being very generous), Ray Liotta is the seventh main character in the film. At best.

I mean, don't get me wrong, I can see why they did it. Although DeHaan and Emory Cohen are now gaining status and their acting technique has definitely improved (Cohen put his mumbling Brando impression to far better use as an adorable suitor of Saoirse Ronan in 2015's Brooklyn and you know he was good because I don't even begrudge him stealing Domhnall Gleeson's thunder), they weren't that well known in 2013, when the film was released. Whereas Ray Liotta is properly famous, not least for his iconic performance as Henry Hill in Goodfellas. So they were riding on the fame of his name. Fair enough, given the calibre the star they had on their castlist (Liotta's combination of charisma, screen presence and intense-eyed gaze renders him one of my favourite actors).

An even more brazen case of erroneous billing of an actor immortalised by a Martin Scorsese picture would be the combination of the name order and the appearance of a photo of Jonah Hill in the Hail, Caesar! poster. The fact that he's one of the five pictured could let you think he's one of the five main characters. He ain't. His role in Hail, Caesar! is genuinely that of a cameo, lasting less than a minute. As a huge Jonah Hill fan who's two main draws to this picture were the Coen brothers and him, I felt mightily short-changed.

As with Emory Cohen and Dane DeHaan getting trampled over in the Place Beyond the Pines poster, the biggest loser here is Alden Ehrenreich, who stole the show in Hail, Caesar! and if there were any justice in the world, would be in the running for a Best Supporting Actor nomination for what was a warm performance as a rodeo-come-actor who struggles with his lines of on point comic timing. Ehrenreich's role was the size that I had thought Jonah would be getting. Boy was I wrong about that, but it seems bizarre that the best thing about the film doesn't even get his picture on the poster.

Obviously, worse things have happened, and the world will keep spinning. And I can't begrudge Hollywood studios for trotting out their big names ahead of the lesser-known chaps, even if they had more prominence in the film. Money does talk, after all. And in both Ray Liotta and Jonah Hill's case, they succeeded at tricking me. By misrepresenting the magnitude of the actors' screen time in their respective movies on the film posters, the films' distributors lured me into watching the film under false pretences. I'm just too much of a Marty Scorsese fangirl for my own good, goddamnit!

But I'm not in the mood to be fooled for a third time this year by film posters. All I'm saying is, if Jonah Hill isn't actually the lead when I see War Dogs, I won't be best pleased.

Youth in Revolt (Miguel Arteta, 2009)

Nick Twisp (Michael Cera) is a horny teenage youth with a twist - he wishes to be a writer, lives by the songs of Frank Sinatra, appreciates the films of Fellini, wryly observing the lives of his divorced parents - his father, who lives with a much younger, blonder model, and his mother, who takes whatever men/f-buddies she can get. Under all his witticisms, he just wants to fit in. Whilst accompanying his mother and her current lover on a trailer park holiday, he sets his eyes on Sheeni (Portia Doubleday), whom, to him, is perfection. They have a sweet but short-lived Summer fling (a strictly first and second base one, which Twisp's virginity remains intact from), but Nick wants it to last forever. Adopting a double persona as Francois, his badass alter ego, Nick sets to doing all he can in order to get thrown out so he can go live near Sheeni. At the start of the film, Nick had noted "In movies, the good guy gets the girl. In reality, it's usually the prick", and sets about righting this for once. He is, to all intents and purposing, fighting for her love.

Youth in Revolt plays, at times, like a cross between Superbad and Fight Club, what with the plot revolving around a teenager's quest to lose his bunginity, as well as the fact that he (in his mind) constructs another, cooler vision of himself, one who has the balls to do the things that he normally dare not. It is R-rated (15 in the UK), but not terribly explicit or rude, it just doesn't hold back on the cursing and has a few sex jokes that would go beyond what would be allowed at a 12. There are some hilarious comedic sequences-  one in particular involving the protagonist's bad attempt to fake his own death, but on the whole, the film is funny in a downbeat, quiet way. The quirky style of the film is complemented with performances by indie stars Steve Buscemi and Ray Liotta, both who own the camera for the brief moments they are in.

My main concern with Youth in Revolt was that I was simply never convinced that Sheeni reciprocated Nick's (admittedly extremely strong) feelings. It doesn't help, of course, that Portia Doubleday isn't a very good performer, but on the whole, I found her character cold, confused and a little annoying. Part of the joy of Youth in Revolt is enjoying all the escapades to Nick's climb to his destination, and not necessarily the destination, but I couldn't help but feel throughout the film that Sheeni wasn't a worthwhile one. (Though perhaps that doesn't matter, and what matters is that Nick thinks it is). All that said, I did very much enjoy the adorable animated sequence that played through the credits involving the two.

Michael Cera, who warmed hearts in Juno and Superbad, is completely at home in the role of dorky teenage boy, and once again, he steals the show - and my heart - here. His Nick Twisp certainly has a warped, bordering on psychotic idea of what it means to fight for someone's love but there's an everyday quality to Cera's acting and looks that renders him totally likeable, no matter what the creepy scenario he finds himself in. If it weren't for Cera, I may have found the film annoying and not all that funny, but thanks to him, it mostly manages to be bright, sweet and engaging. Cera is definitely one to keep an eye on; mark my words, that lad'll go far.