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And that's fineā€”the female body is beautiful and nothing to be ashamed of. But female nude scenes are often written and directed by men, and created with a distinctly male gaze. Meanwhile, it's still a pretty rare occurrence to see a man's genitalia in films.

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Sign in. Watch our trailer of trailers. Ruth's been brainwashed by a guru in Delhi, India.

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Meg Ryan plays Frannie, an English teacher who stumbles on the young woman giving a mystery man a blowjob in a bar basement: the next day that girl will be found butchered. Stubborn and lustful, Frannie strikes up a heated sexual relationship with the investigating cop, Malloy Mark Ruffaloas she starts to feel she might be the future victim of a lurking serial killer. The intensity of this interaction feeds into the atmosphere of the rest of the film and has a destabilising effect on Frannie, who becomes increasingly unsure about her memory.

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Italian-American stallion Mark Ruffalo was slinging suds as a bartender before he got into acting and he still makes us want to order up a man-tini. And make it dirty! Way to crack the combination! During a playful moment with his woman, Mark shows off his butt and a bit of his peen, showing us that he means business.

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IN THE BUFF: Toronto is ablaze over Meg Ryan's steamy sex scenes in her new thriller "In the Cut," which debuted at the city's film festival, but the veteran of many a chaste romantic comedy insists she wasn't afraid of baring all for the camera. If anyone was uncomfortable with the nude scenes, it was co-star Mark Ruffalo. Ruffalo said director Jane Campion "wanted the character to be such a competent and confident lover that she kept yelling things like: 'You're not at school anymore.

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M eg Ryan is the owner of one of the most expressive mouths in cinema. Wide and admirably flexible, it's a mouth that seldom gives up its lines without a struggle. A gape here, a grimace there, and just when it's shaped itself into a gash of speechless disappointment, out pops a piece of exquisitely timed dialogue.

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Male directors, and their limited understanding of female sexuality, have been the ones to codify our expectations of contemporary erotic thrillers. With 's Fatal Attraction and 's Basic Instinctdirectors Adrian Lyne and Paul Verhoeven established many of the tropes we tend to associate with the genre: A woman -- often young, white, and skinny -- driven by her appetite for sex, violence, or both, becomes a source of desire, confusion, and ultimately torment for the film's traditionally masculine hero. Erotic thrillers tend to function as fearful reactions to the cultural aversion of expressive female sexuality, to the point of overrepresentation within these narratives.

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In the Cut is being marketed as a thriller, which is curious because the only thrilling things about it are the intense, unwavering mood director Jane Campion is able to sustain, the against-type, impressive performance by reformed cutie-pie Meg Ryan -- and the fact that despite extremely bad press coming out of the Toronto Film Festival, where the audience reportedly hissed at the ending, this is not really a terrible movie. Nor is it a really good one. Ryan, under blunt brown bangs, plays the sullen, sexually needy Frannie, a writing professor who seems to have some sort of paralysis preventing her from smiling.

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The reviews for Blue Valentine make it look like one of the best movies of the year. Now that it's lost its NC ratingit should get a big audience. But while the rest of America files into the theaters, I'm going to take a pass on peeking at Michelle Williams ' flesh.


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