9½ Weeks is a cinematic masterpiece of unbridled romance, sex, and feelings only to be undone by a complicated series of basic human needs. That's why Zalman King was the high priest of erotic filmmaking. Kim Basinger has never acted this well in her entire career while Mickey Rourke is mesmerizing. Simply put, it's the number one erotic picture ever made.

"It is more deeply stirring to my blood than any imagining could possibly have been." Full of action and war, The Last of the Mohicans is a unique masterpiece with a love story to boot. Daniel Day-Lewis is at his sexiest and is complemented well by Madeleine Stowe. They have some of the best romantic scenes in any film. In response to her line "What are you looking at, sir?," Day-Lewis says, "I'm looking at you, miss."

Move over, Julia Roberts...Richard Gere shows what a high-priced escort is and, more importantly, how to do it well with class. American Gigolo is a fantastic neo-noir with lots of style. The Armani clothes that Gere wears, he introduces the brand in a big way. Lauren Hutton does an admirable job of keeping up with Richard Gere who's simply unbeatable.

Desperado is the Mexican version of Pulp Fiction with lots of style, interesting characters, and beautiful, action-packed scenes. I remember in 1995 when the film hit theatres, Antonio Banderas, who's at his sexiest, was all the rage and therefore became an instant superstar. The people were asking, "Who is that long, dark-haired Latino?" There are many well-shot scenes that are aesthetically beautiful.

Similar to Body Heat but much hotter, Wild Things is a steamy, stylish neo-noir thriller with terrific performances. Promising to shock the first-time viewers, Wild Twists sounds more like it because there's an endless supply of them. On the other hand, the cinematography is top-notch and brings the most out of the Floridian ambience.

One of the most famous movie scenes of all time is when Burt Lancaster and Deborah Kerr embraced themselves on the beach while being engulfed by the water. It's simply breathtaking. If that's all anybody can remember about From Here to Eternity, then so be it. The performances, especially by Montgomery Clift, Burt Lancaster, and Frank Sinatra, are unforgettable.

Unusual and gripping for a cinematic experience, Purple Rain is Prince's magnum opus. The sex symbol was 26 when he composed the songs and starred in the movie. Some of the most famous songs are "When Doves Cry," "Let's Go Crazy," and "I Would Die 4 U." Because of Prince's electrifying presence, Purple Rain is a moving work of art.

One female reviewer mentioned the following reasons for liking the film: Yul Brynner, Yul Brynner in a loin cloth, Yul Brynner's body in a dark, rich suntan; Yul Brynner's body glistening with oil, Yul Brynner with his suntan oiled limbs stretched out and tied, Yul Brynner writhing around on a bed of hay, Yul Brynner strutting around like a jaguar, Yul Brynner in several seductive poses, and Yul Brynner's deep sexy man voice whispering sweet nothings, even if it's to the goofy blind Ixchel.

"I'm scared of walking out of this room and never feeling the rest of my whole life the way I feel when I'm with you." Because of Patrick Swayze and Jennifer Grey, Dirty Dancing is a timeless movie with memorable moments, fantastic music, and a killer intro, notwithstanding the strange mix of 50's/60's and 80's looks.

Sensually unusual, mysterious, and romantic, Como agua para chocolate, which is better known as Like Water for Chocolate, has one of the best cinematography ever. It's a magical film. What a brilliant direction by Alfonso Arau. Lumi Cavazos is perfect.

Because of the full range of colors, Bonnie and Clyde is a beautifully photographed film with impeccable acting performances. Warren Beatty and Faye Dunaway have chemistry that's impossible to duplicate. Their violent ending is unforgettable as well.

Kathleen Turner. William Hurt. Body Heat. The sultry neo-noir of the decade. The best part is the cinematography. Of course, comparisons with China Moon with Ed Harris and Madeleine Stowe are easily made, but this is the original, being Double Indemnity of the 80's. William Hurt and Kathleen Turner are magnificent. Both have turned in outstanding performances throughout their careers, but they'll forever be remembered for Body Heat.

It's impossible to divert your eyes away from Marlon Brando who oozes sex. To counter all of that is the poor Vivien Leigh who tries her best to not to be handled in such a crude way. Never again will acting be this good in a play-on-film as seen in A Streetcar Named Desire.

A sensual motion picture, Sex, Lies, and Videotape explores people's sexuality and their fears, misgivings, and apprehensions about it. James Spader (at his sexual best), Laura San Giacomo, Andie MacDowell, and Peter Gallagher give the performances of their careers. The dialogue is absolutely first-rate.

You won't find two more handsome guys in the same film than Paul Newman and Robert Redford for Butch Cassidy and the Sundance Kid. It's the most famous picture of their careers. The finale is brilliant when their characters are surrounded by the Bolivian army and they're ready to come out with their guns blazing.

The Unbearable Lightness of Being is an erotic classic with three unforgettable players: Daniel Day-Lewis as the serial womanizer; Lena Olin who's hot, hot, hot; and Juliette Binoche. Who can mess up with these thespians giving sexual best of their careers? If there's anything I love, it's the unique shots, hence the sexy foreign look.

Only Zalman King could pull this off. "Less is more" is the mantra. Lake Consequence is almost right up there with 9½ Weeks and Two Moon Junction. Thanks to his Greek looks, Billy Zane is hot, hot, hot. Joan Severance and May Karasun complement him well. Because they're beautiful-looking, the improbable sexual fantasy works, allowing them to get away with any questions about morality, hence the "vibe."

A Brooklyn paint store clerk by day and undisputed king of the dance floor by night, it's John Travolta's most famous, iconic movie role. When I think of a film that captures a lost period, it's this one. At that time, disco was strictly underground, but when the movie came out, the subculture just blew up and John Travolta, although already famous because of the TV show Welcome Back, Kotter, became an instant international superstar.

Look up the definition of the word "handsome," and you'll find a picture of Cary Grant. In top form, he never looked this good or had it better than John Robie aka The Cat who's by far the sexiest character of all Hitchcock films. Alfred Hitchcock's expertise is manifested through the well-written screenplay, exotic locales, perfect chemistry between Cary Grant and Grace Kelly, wonderful fashion designs by Edith Head, and resplendent cinematography of the French Riviera.

The screenplay is among the top ten ever. Listening to the dialogue has been a satisfying experience, so that's why Christopher Hampton won the Oscar for Best Adapted Screenplay. Also, the costume design and the in/exterior sets are excellent, scoring Oscar wins in both categories. John Malkovich, the star of the show, is Vicomte de Valmont. He has never been this so deliciously bad.

Carrying a theme that's similar in all Zalman King's films, Wild Orchid is about sexual awakening. It's clear that Mickey Rourke is in a different league. The way he behaves, the way he moves, the way he expresses himself, and the way he talks are prime examples of The Method school of acting. Simply put, Mickey Rourke is perfect.

The ending is poignant when Casper asked: "Jesus Christ, what happened?" Shocking, edgy, raw, and real, Kids is still a highly relevant picture. The situation depicted may be extreme, but there's a point being made. I love how the characters come to a full circle, beginning with Telly infecting Jennie with AIDS and ending with Casper getting the virus by raping Jennie.

On the Waterfront is one of the most important, influential films made. The best and the greatest ever, Marlon Brando is spectacular and is in a class of his own. Because of what he did, the landscape of acting had been forever changed. Any time I think of timeless movies with great performances, great scenes, and great lines, On the Waterfront is among them.

I say Color of Night is an underrated neo-noir picture. Bruce Willis was a better actor when he had hair. It's among his best stuff. He gets it on with Jane March in a hot and heavy way. Of course, the premise is trashy, and the group therapy involves true wackos such as Sondra Dorio and Richie.

There are few films that are as exciting and inspiring as Point Break. I bet if anyone watched the movie just once, he may have entertained some thoughts about changing his entire lifestyle. Bodhi perfectly describes the truth-seeking experience: "Pure adrenaline, right?!? The ultimate rush. Other guys snort for it, jab a vein for it...all you gotta do is jump." Sounds pretty simple, eh? Patrick Swayze did the skydiving stunts and is thus captivating. It's easy to realize it in Johnny Utah's eyes when he saw what Bodhi could do.

Brilliant writing, brilliant acting, and brilliant story. After sloshing around in the world of alcohol and therefore wasting his talent for years, Richard Burton makes the greatest comeback of all time by appearing in Equus as psychiatrist Martin Dysart by giving a fiery but focused performance. His riveting soliloquies are the stuff of greats. On the other hand, Peter Firth is unforgettable. It's a singular peformance.

Zalman King was the high priest of erotic filmmaking. His fingerprints all over Two Moon Junction are unmistakable. It's the best stuff for both Sherilyn Fenn and Richard Tyson who's the definition of a beefcake. They'll never do better for the rest of their careers. Zalman King excelled in an area that nobody has ever mastered: making the sexy scenes work.

"To survive a war, you gotta become war." So it goes in Rambo: First Blood Part II. Sylvester Stallone has never been more thrilling as he was in this film. It's the role that made him a worldwide icon. My favorite line of the movie is on the definition of expendable: "It's like someone invites you to a party and you don't show up. It doesn't really matter."

"It's just you and me now, sport." Forget The Silence of the Lambs. Manhunter is the original. Michael Mann's influence of Miami Vice is all over it. William Peterson is the driving force in this dark, brooding neo-noir. The combination of his beard and eyes are drop-dead sexy, and his way of doing things elevates the film as a whole. Dennis Farina also takes it to another level, giving the thriller a hard edge.

Perfect and sublime, Alain Delon is all that and more in Plein soleil (Purple Noon), giving one of the finest performances of his career. I have to love the exquisite photography of Italy: land and water. Complementing it is the beauty of three principal stars: Alain Delon, Maurice Ronet, and Marie Laforêt. They all have the vibe and are sumptuous-looking creatures.

"Hill country liquor, tidewater cooking, and North Carolina women." Ruby Gentry has all: story, writing, acting, lust, passion, intrigue, and revenge. This is Jennifer Jones at her sexiest, and countering this firecracker is the eternally handsome Charlton Heston. When they're together, the chemistry is electrifying. Any time Ruby is with the doctor or Jim Gentry, it's obvious that neither is in her league. But Boake Tackman...oh, boy.

Rob Roy is one of the best swashbuckling films made. The writing, the acting, and the stabs at primitiveness are uniformly excellent. Then, there's the larger-than-life Rob Roy against the backdrop of the Scottish Highlands. The sword battle at the end is perfectly choreographed and is thus the best ever. Tim Roth is unbelievable, garnering an Oscar nomination.

The editing work of the dogfighting scenes is the best in any film. There are many great movie moments: Tom Cruise on his bike while an F-14 Tomcat is taking off, when he arrives at the female instructor's house, the whole volleyball match with Rossovich flexing his muscles, the piano scene at Kansas City Barbeque, and an F-14 Tomcat buzzing the tower. Top Gun makes joining the U.S. Navy to be a fighter pilot a very cool thing to do.

China Moon is an outstanding stylish neo-noir of who's fooling who in the tradition of Body Heat and Double Indemnity. Instead of William Hurt and Kathleen Turner, it's Ed Harris and Madeleine Stowe stirring things up. As a bonus treat, Benicio del Toro takes the place of Mickey Rourke. Charles Dance is also excellent as the sinister philandering husband. The results are terrific with an absorbing plot and plenty of twists.

William Friedkin sure knows how to make exciting movies. There are many compelling elements in To Live and Die in L.A., and the biggest of them all is William Petersen's supercharged performance. Of course, Michael Mann saw so much talent that he had to have him again for Manhunter. Then, there's the young Willem Dafoe in a brilliant, chilling role as Eric Masters.

Like the costume design and in/exterior sets, the writing is very good, easily fooling me that it was adapted from an 18th or 19th century book when the novella was actually written in 1992. Even better is the acting with a lot of subtleties going on. Mark Rylance is perfect, Kristin Scott Thomas is stunning, and Douglas Henshall is deliciously nasty, dropping plenty of hints here and there.

Many films about the supernatural and telepathy tend not to work out, but Don't Look Now is heads and shoulders above them. It's a superb psychic thriller classic with a final chilling climax. The reason why is the terrific chemistry between Julie Christie and Donald Sutherland. The ten-minute sequence of them making love and getting dressed to go out stands as one of the best ever.

Two of the greatest scenes in cinema history are the first-ever music video that was originally choreographed by the King himself and Elvis forcefully kissing Judy Tyler which prompted her to say, "How dare you think such cheap tactics would work with me!" that was met with "That ain't tactics, honey. It's just the beast in me."

Reminding me of From Here to Eternity, it's a wonderful picture with well-developed characters and remarkable performances. Their chemistry is the key in making it a lasting success. The biggest asset is Louis Gossett, Jr., who becomes the first black Oscar winner for Best Supporting Actor. If some of his lines sound familiar, it's because R. Lee Ermey repeated them in Full Metal Jacket. The truth is Louis was coached by him in preparation for his role as Drill Sergeant Emil Foley.

The performances, the conversations, the style, and the cult feel are what Pulp Fiction is all about. John Travolta is perfect. Uma Thurman is brilliant with him. Their dance scene is timeless. Samuel L. Jackson is special and has the most unforgettable scene of his career.

Legends of the Fall is all about Brad Pitt's golden hair. It seems either of the following will happen: people die around him or he takes a long vacation break and comes back looking prettier than ever. Woe is me as Susannah Fincannon reaches for her nickel-plated .38 snubnosed revolver and shoots herself in the head after finally realizing she can't have him at all.

One of the greatest films in French cinema, À bout de souffle immortalized Jean-Paul Belmondo and Jean Seberg forever. The jump cuts are famous and many classic scenes are seemingly improvisational, but there's a James Dean quality that's exercised by the leading stars: infinite flexibility. It doesn't happen much in films.

El Mariachi is a stunner of a picture that's set apart from the others through its avant-garde camera work. What's also nice is the romantic tragedy as it suddenly happens at the end. Adding a lot of flavor to the film is the Mexican grittiness. The overall result is the hard-to-capture foreign quality that's more poetic than anything else.

Bill Duke shows what style is all about, and he does this with a big dose of neo-noir. Laurence Fishburne is the coolest ever when he glances at somebody with his sexy eyes. That's when he becomes special. At the same time, the story is filled with twists and turns in an intricate maze of drug dealing.

The writing is terrific, lending credibility to the characters' professions. There's a lot of paranormal activity going on, and nothing feels fake or contrived. The dreams, the professor's ulterior motive, and Lila's extrasensory perception through objects are seamlessly woven together. It's the last half-hour that gets things cooking until the climax when the murderer's identity is finally revealed.

Can anything be more exciting than Cobra? It's maybe the most aesthetic neo-noir picture made. Sylvester Stallone has outdone himself this time by creating one of the coolest characters in movie history through Marion Cobretti, the pride of the Zombie Squad. He takes on an army of killers, saving the best for last with the Night Slasher in an epic fight at the foundry.

Forget Clueless. The Crush is the only film of Alicia Silverstone's career that she, who makes her stunning debut at age 16, gives a fantastic performance. Cary Elwes is perfect as an everyday man with no assumptions about life. He's credible and somewhat naïve. The best part is the little innocent things that'll be troublesome down the road; it's a great snowball effect that Nick Eliot didn't see coming, therefore making for a captivating story.

Candyman is a slick, craftily made horror thriller with some of the most hypnotizing scenes. If there's anything to watch, it's Virginia Madsen's mesmerizing performance that makes the biggest difference in the storytelling. She's strong, assertive, and sensual as Helen Lyle. Reportedly the favorite role of his career, Tony Todd is effective as Candyman. Whenever Tony appears in a scene, he's bone-chilling.

Shot on location in Santa Cruz, California, The Lost Boys is an extremely stylish, sexy vampire picture that ranks one of the best in Joel Schumacher's oeuvre. Everybody is famous for appearing in it: Jason Patric, Corey Haim, Kiefer Sutherland, Jami Gertz, Corey Feldman, Brooke McCarter, Alex Winter, Jamison Newlander, Billy Wirth, and Chance Michael Corbitt.

A wonderful mystery thriller picture starring Rob Lowe and Meg Tilly, Masquerade is Body Heat meets Reversal of Fortune. This one contains so many outsmart-the-audience twists and turns that I kept trying to foresee what would happen next but failed to get anything correct. So, I'm pleased with the results.

Misunderstood by the public, Showgirls isn't about sex or nudity which is rather relegated to the background. Instead, the film is about themes. One of them is female empowerment. Another is putting women down because of their gender. Of all the characters, the best is played by Gina Gershon who's treacherous. As for Elizabeth Berkley, it's an outstanding job: unrestrained and raw with genuine acting throughout.

Featuring the best buddy cop pairs of all time, Danny Glover and Mel Gibson with Joe Pesci thrown in the mix, there are a lot of good scenes in Lethal Weapon 2, but the most memorable is the toilet bomb incident. The bar was set high by the original, and the sequel does well for measurement. I like the Afrikaner angle; it's different. Meanwhile, Patsy Kensit is a babe, making for the most memorable female of the franchise.

Directed by Dennis Hopper, The Hot Spot is a rare gem in the neo-noir category. There are a lot of elements that make it a throwback to the film noir era. Stuck between two females, Don Johnson's character is the perfect Philip Marlowe type only that he isn't a private dick.

Because of Tim Roth and Julia Ormond, Captives should be retitled as Captivating. Prison romance between inmate and staff is a big no-no, but it still wants to go down this route. However I'm supposed to feel about the issue is washed away by the electrifying chemistry between Tim Roth and Julia Ormond. Sure, there's a plot, and they predictably get into trouble, but who cares? These two are perfect for each other, and that's all it matters.

Urban Cowboy is the Saturday Night Fever of honky-tonk pictures. It's the relationship between Bud and Sissy, who are played well by John Travolta and Debra Winger, that makes this film a romantic classic. At the same time, it's cool to see the characters dress up as cowboys and mix in with the ambience of dance hall for the country and western flavor.

Risky Business is a classic 80's Tom Cruise picture and is the one that made him a household name. His character is better and more real than Dustin Hoffman's in The Graduate. Hence, it's easier to identify with him than Benjamin Braddock. On the other hand, Rebecca De Mornay is great.

Cat Chaser is a great, underrated neo-noir thriller with a seemingly incomprehensible plot. Shot on location in San Juan, Puerto Rico, and Miami, Florida, it's like Body Heat but in a different way. Abel Ferrara may have played with fire by making the story too complicated, but his handling turns out to be correct after all. Anthony B. Richmond's cinematography is a big treat as well.

The staticity of The Night and the Moment will understandably turn off a majority of the viewers, but those who brave through the two-person dialogue will find it charming. Films of this genre usually don't work because there's no breakup in the monotony through actions. What makes this a standout is the performances of Willem Dafoe and Lena Olin. It's rather amusing to see who is seducing whom.

Dark, brooding, combative, sexy, and absolutely talented, Oliver Reed, once upon a time, was the rage of British cinema. The most underrated Hammer Horror picture ever made, Paranoiac is a wonderful treat for fans and newcomers alike. Oliver Reed is drop-dead gorgeous in black and white, and it's hard to take eyes off him.

Tex is among top three films of Matt Dillon's career. When the two high school girls saw Tex at the mall and walked away, one of them said, "God, he is so cute." It's true. At age 18, there's no question that Matt Dillon was one of the best-looking young actors in Hollywood history. More importantly, he could act. It was all too easy for him.