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In hindsight it’s perhaps unsurprising that the Wachowskis – then Andy and Larry, now Lilly and Lana – were both able and willing to subvert the Hollywood orthodoxy regarding gender and sexuality. If the twist such a plot gives to the film noir's traditions is obvious, the execution is elegant and subtle, with Gina Gershon as Corky offering a peppering of whip-smart irony that might be expected from the recent star of Showgirls (another film whose teasing critique of American culture has only come to be appreciated with time). The Wachowski siblings’ directorial debut tells the story of Corky, a charismatic ex-con who begin an affair with the wife of a mafia money-launderer and together the pair hatch a plan to make off with a big bag of the abusive husband's cash. Devil in a Blue Dress, One False Move and Jackie Brown brought race into the equation to interrogate her social and moral motivations.īound made her a lesbian. Basic Instinct made her the movie's outright star. The Last Seduction made her into a hard-bitten antihero. The 90s were noted for a slew of uber-cool neo-noir films that took it upon themselves to give the old formula a new twist – which in a number of instances meant the addition of some thought and depth to the classic figure of the femme fatale. Ironically for a film whose worst moments now seem awkwardly regressive, American Pie’s greatest impact – outside of additions to the lexicon – was to nudge the teen comedy away from the laddishly leering blueprint of the 80s and towards something that, for all its unchaste obscenity, was markedly more wholesome.

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But unlike its legion of forgettable imitations (Eurotrip, Can’t Hardly Wait) American Pie’s degradation was delivered with endearment, warmth and good humour, all duly reflected back at the movie by a beholden audience who recognised a pitch-perfect portrait of teenage sexual cluelessness when they saw it. As is customary for the genre, Jason Biggs and his motley crew of also-rans were inflicted with a wealth of indignities in the form of ingested bodily fluids, public pant-wettings and, worst of all, unsolicited sex tips from dad. But, certain reservations aside, the key to the film’s success and enduring appeal is the obvious affection in which it holds its central characters. Which isn’t to say that that film which popularised the term “milf” has aged impeccably: its central set-piece features a girl obliviously stripping for a lecherous online audience. Its legacy can be seen in Superbad, The Inbetweeners, Blockers and Booksmart.

Unlike the hastily written straight-to-video fodder to which the high-school sex comedy tended to lend itself, American Pie did not confuse low budget with low quality or bad taste with bad morals and making a twentyfold profit at the cinema alone, it redesigned the template for the raunchy romcom. Paul Weitz’s tale of randy adolescents was hardly breaking new ground – Ivan Reitman’s Meatballs predates it by 20 years – but it revived and revamped a genre that had long since gone limp. Two decades after Jim Levenstein embarked on his rash attempt at making sweet love to a pastry-based dessert, American Pie remains both a milestone and a barometer for the gross-out teen comedy. Photo credit: Universal Pictures - Getty Images American Pie (1999) This was lewd, thrilling, throwaway nonsense – right? But most interesting is the genre’s treatment of women, which in most cases was a straightforward updating of the femme fatale – the unchaste evildoers of film noir – but in some instances was a bit more thoughtful.Īt first glance, and indeed for many years after its release, Basic Instinct looked like it belonged in the first camp, with the plot revolving largely around the difficulty had by Michael Douglas in investigating Stone’s trashy novelist for a debauched murder while trying (in pitiful vain) to resist her seductive efforts.

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There were various reasons behind the sudden explosion of the erotic thriller: the loosening of censorship restrictions, the proliferation of cable TV and the rise of the video-rental market.

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In the six years after Fatal Attraction was released in 1987, we got Sleeping With The Enemy, Poison Ivy, Single White Female, Bitter Moon, Body of Evidence, Sliver, Disclosure and The Last Seduction – plus countless quickly forgotten imitations (Wikipedia lists no less that 207 erotic thrillers in that period).īut the most infamous, most flocked-to – and very probably the best – was Paul Verhoeven’s 1992 forincation-fest, which introduced Sharon Stone as Hollywood’s steam queen. Hollywood tends to work in trends, but rarely as frenzied or short-lived as this.

The late 80s and early 90s saw the quickfire rise and fall of one of cinemas most fascinating subgenres: the erotic thriller. Photo credit: Columbia TriStar Basic Instinct (1992)

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