The ordinance is designed to prevent harmful effects of adult-oriented businesses and discourage criminal conduct, according to a staff report. The category includes adult arcades, adult bookstores, adult viewing booths, adult cabarets, adult movie theaters, adult modeling studios and other similar facilities, and adult hotels and motels that show sexually explicit materials.
a-f, c-fos expression patterns following single (a, b) or two sequential (c-f) social interactions. Boxed areas are enlarged to right of each panel. Blue, Topro-3 nuclear counterstain. Red, c-fos cytoplasmic transcripts (cRNA probe); yellow dots, nuclear c-fos transcripts (red cRNA plus green intron probe signals). Scale bars: 10 μm. g, Percentage of total cells expressing c-fos after the 2nd behavior (nuclear signal) that also expressed c-fos after the 1st behavior (nuclear + cytoplasmic signal) (One-way ANOVA with Bonferroni correction). *P
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a, b, Percentage of cells excited (red) or inhibited (blue) during encounters with male (a) or female (b) mice. c, Numbers of cells exhibiting statistically significant changes in firing rate (see Methods online) towards males or females. d, Firing rate changes for all 104 recorded cells, averaged over entire encounter with males or females. e, Firing rate changes averaged over all 104 recorded cells, during various behavioral episodes. Gray, behavior not applicable (N/A) to the stimulus animal.
ROBERT McCHESNEY: Everything on MTV is a commercial. That's all that MTV is. Sometimes it's an explicit advertisement paid for by a company to sell a product. Sometimes it's going to be a video for a music company there to sell music. Sometimes it's going to be the set that's filled with trendy clothes and stuff there to sell a look that will include products on that set. Sometimes it will be a show about an upcoming movie paid for by the studio, though you don't know it, to hype a movie that's coming out from Hollywood.
DOUGLAS RUSHKOFF: Meanwhile, at the cineplex, amped-up efforts, like Cruel Intentions, were bringing unprecedented sexual sophistication to teen movies. One of the biggest teen hits of 1999, Cruel Intentions is the story of two spoiled step-siblings. She promises to sleep with him if he will sexually humiliate her rival.
NEAL MORITZ: I mean, I definitely want to push the envelope with my movies because, to me, if you're making the same thing that everybody else is making, then you don't have much chance of getting people to come to your movies. And for me, I love making movies, and the only way I'm going to get to be able to keep making movies is by making movies that do business.
NEAL MORITZ: A movie like I have, Cruel Intentions, where we go off and we make it for $12 million, we do $40 million here, we do $60 million overseas, there's $100 million in the box office, plus all the ancillary markets, whether it be videocassette or cable or all these other markets. You know, there's tremendous streams of revenue coming in.
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?️ The best World War I movies? The 50 best World War II movies? The 100 best movies of all-time? The 101 best action movies ever made
The battles behind Francis Ford Coppola's surreal war movie are well-documented: the nightmarish, multiyear shoot; star Martin Sheen's heart attack and recovery; a cackling press corps that sharpened its knives for a turkey of epic proportions. Coppola would have the last laugh. So much of the vocabulary of the modern-day war picture comes from this movie, an operatic Vietnam-set tragedy shaped out of whirring helicopter blades, Wagnerian explosions, purple haze and Joseph Conrad's colonialist fantasia Heart of Darkness. Fans of the Godfather director, so pivotal to the 1970s, know this to be his last fully realized work; connoisseurs of the war movie see it (correctly) as his second all-out masterpiece.
Stop snickering: There's a real reason why this sci-fi actioner is so high on our list. Never before (and probably never again) had the monied apparatus of Hollywood been so co-opted to make a subversive comment about its own fascist impulses. Director Paul Verhoeven cackled all the way to the box office as giant bugs were exterminated by gorgeous, empty-headed bimbos; when Neil Patrick Harris showed up near the end of the movie in a full-length Nazi trench coat, the in-joke was practically outed. Source novelist Robert Heinlein meant his militaristic tale sincerely; meanwhile, the blithe destruction of humankind on display here could only be intended as a sharp critique, both of soldiering and of popular tastes. Return to it with fresh eyes.
Rediscovered in 2006 with the fanfare usually reserved for unearthing a lost classic (which was pretty much the case), Jean-Pierre Melville's cool-blue portrait of French Resistance fighters makes a beautiful case for honor among wanted men. Back-room beatings and drive-by shootings spark a mostly conversational film about the sacrifice of spies. Melville's reputation had previously rested on chilly, remote gangster pictures like Le Samouraï (1967), but to see his canvas widened to national politics was a revelation. And the reason the movie had been ignored in the first place? Fashionable French critics had dismissed it as too pro-De Gaulle. What comes around...
The director, Anthony Mann, was best known for his Westerns that pinned heroes in uncomfortable, craggy environments. When he tried his hand at a combat film (this was his first), he set the action in a Korean no-man's land where an American platoon led by Robert Ryan finds itself stranded. The result was an uncommonly tough movie for the Ike era.
Pervy Dutch director Paul Verhoeven is better known for Basic Instinct and Showgirls, but war movies are his true métier. In this deliciously plotted WWII survival tale (a comeback of sorts for the Hollywood exile), a hotcha Jewish singer becomes a spy, a freedom fighter and a bed partner of Nazis. Talented Carice van Houten commits fully.
Famously, this was Richard Nixon's favorite film, a potent counterbalance to the voices of the protesters and a manly peptalk of righteousness. (It wasn't enough to help the President with his problems.) George C. Scott is magnificent in the title role, railing iconically in his opening monologue before a huge American flag.
No proper war-movie list would be complete without an entry from the revered Polish filmmaker Andrzej Wajda, who produced a masterful trilogy that included A Generation (1955) and Ashes and Diamonds (1958), along with this Cannes prize-winner. It's the first film to (brutally) portray the sewer-based Warsaw Uprising against the the Nazis.
To audience members in love with the sea, this movie, taken from three of Patrick O'Brian's popular Napoleonic War novels, will rank much higher. At its heart is the Kirk-Spock relationship between Russell Crowe's fearless captain and Paul Bettany's thoughtful doctor. The naval battles are an action fan's wet dream.
Gregory Peck had already arrived as a magnetic onscreen presence by the time this minutely detailed WWII Air Force drama gave him his most ambitious role to date, as a stern disciplinarian whose leadership transforms a bomber unit into a well-oiled machine. The ultimate praise: The movie was required viewing at military-service academies for decades. 2ff7e9595c
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