I think a valid argument could be made that the Motion Picture Association of America has, in many ways, diminished cinematic potential for the American film-maker. Destroyed it? No. But when a movie has to adhere to stringent guidelines that alter the creative process of a film, something is lost. Imagine being a baker and only having Sweet-and-Low at your disposal, or being a mechanic and having your socket wrenches stolen. It leaves the artist with one less tool in his metaphorical tool belt, and changes the way his masterpiece must be created. Maybe that’s a bit of a stretch; after all, the use of violence, sex, and profanity are by no means the only elements of a film, but it’s undeniable that, when used appropriately and artistically, they can help create context, character, intensity, and believability. Many films have been made that land right on the cusp of greatness, and fall just barely short, largely due to parameters set by the films’ rating. They are by no means BAD films, but if allowed more artistic embellishment they could have been SPECTACULAR films. Therefore, I give you 15 Movies That Would Have Been Better With an R-Rating.
Pacific Rim
Easily the
best big-budget blockbuster film of the summer of 2013, the only way to make
this film better would have been to grant it the freedom of an R rating. The
film is set in the 2020s, when Earth is at war with the Kaijus, colossal monsters
which have emerged from an interdimensional portal on the bottom of the Pacific Ocean.
To combat the monsters, humanity unites to create the Jaegers: gigantic
humanoid mecha,
each controlled by at least two pilots, whose minds are joined by a neural
bridge. The film boasts truly spectacular special effects and totally badass
battle sequences spanning vast backdrops of ocean. While most films of this
genre are cookie-cutter city-destroying monster movies, Pacific Rim breaks the
mold by presenting a unique concept that can most aptly be described as
Godzilla meets Star Wars…meets Transformers. With the freedom an R rating
brings, Pacific Rim could have peppered in some grittier violence into the mix
of already awesome action sequences, making the film that much more Herculean.
The Monuments Men
It’s hard to defend a film that was given poor reviews as
consistently as The Monuments Men was. The less-than-favorable critical
reception was likely due to how intensely boring the movie was at many parts,
and its intense-boringness is most certainly due to the fact it’s a WWII-era
war flick that has to work within the parameters of its PG-13 rating. The film
follows an allied group tasked with finding and
saving pieces of art and other culturally important items before their
destruction by Hitler during World War II.
While the premise isn’t that of your typical war film, it’s also lacking the
elements that make most war films successful. The Monuments Men boasts almost
no battle scenes or gritty war violence and eventually boils down to a film
about old geezers wandering around the European countryside looking for stolen
paintings. That being said, I think the film had enormous potential, and I don’t
think its lack of success can entirely be blamed on George Clooney (director
and star). Think Saving Private Ryan, Platoon, Glory, Last of the Mohicans. What
makes them great? Their believability, authenticity, and integrity. How was
this achieved? By creating a movie that accurately portrays the look, feel, and
mood of its given conflict, and to do this almost assuredly requires the film
to have an R rating, because unfortunately WWII-era Germany and the Jungles of
Vietnam during 1965 weren’t exactly appropriate for children ages 15-and-under.
Accepted
Accepted is
a 2006 comedy film
directed by Steve Pink.
The plot follows a group of high school graduates who create their own
"college" after being rejected from the colleges to which they
applied. While being raucously hilarious as-is, the film did a serious
injustice to itself by having to adhere to its PG-13 parameters. With a style
and subject matter reminiscent of Animal House and Van Wilder, this film boasts
a pretty unique plot and isn’t just your typical college-set film filled with shenanigans
and partying, as the previously-mentioned films are. While the LOL’s are consistent throughout the
movie, the freedom to make the film more true to the college experience would
have made it all the more funny.
Pearl Harbor
Speaking of WWII-era war movies that had enormous potential
and ended up being spectacularly terrible, remember Pearl Harbor? This version
of the infamous attack was brought to you by Michael Bay and Jerry Bruckheimer,
and is a dramatic reimagining of The Blitz,
Japanese
attack on Pearl Harbor and the subsequent Doolittle
Raid. The first major flaw of this project can probably be
attributed to whoever had the idea of handing over creative control of a
historically-significant war film to the creative geniuses behind Armageddon. The second major flaw was
trying to make this film inside the guidelines of a PG-13 rating. As previously
discussed with The Monuments Men, believability and authenticity are the key
elements to a successful war film, and unfortunately that usually means blood
and gritty war violence. If there was a third major flaw to this film, it was
probably a script that consisted of 10% historical war-drama (as was
advertised) and 90% laughable chick-flick.
Disturbia
Disturbia is a 2007 teen thriller slasher film that is partly inspired by Alfred Hitchcock's Rear Window, directed by D. J. Caruso. Starring the now controversy-laden Shia LeBouf, this film hails from the era of his pre-douchebag status, back in the day before he sported a 5 o’clock shadow and an unwarranted sense of entitlement. Despite being in a class of usually B-list suspense movies, the artistic team behind Disturbia actually did a pretty good job. It’s interesting, sometimes funny, and often pretty scary. That being said, it’s apparent that the film had to operate in a way that made it appropriate for its intended teen audience. While it does keep you on the edge of your seat, it doesn’t sport any Cabin in the Woods-esque violence, Saw-esque gore, or Hitchcock-esque intensity that could have brought it from good to great.
Meet the Parents
Probably Ben Stillers biggest success of his filmography,
Meet the Parents actually offers a masterclass in how to make a hilarious PG-13
comedy. However, that still doesn’t mean that it wouldn’t have been an even
BETTER R-rated comedy. The film stars Ben Stiller and Robert DeNiro and
chronicles a series of unfortunate events that befall a good-hearted but
hapless nurse while visiting his girlfriend's parents. As previously stated,
this film is consistently hilarious even with its modest rating. The comedic
chemistry between Stiller and DeNiro is palpable, and could most accurately be
branded as “slapstick”. However, with a few dirtier jokes tossed into the mix,
this films hilarity would certainly know no bounds.
John Q
Who remembers this movie? As expected, there aren’t many
metaphorical raised hands. Despite being a well-crafted hostage thriller, this
movie didn’t register as much more than a blip on the cinematic Richter scale. The
film follows John Quincy Archibald (Denzel
Washington), a father and husband whose son is diagnosed with an enlarged
heart and then finds out he cannot receive a transplant
because HMO
insurance will not cover it; therefore, he decides to take a hospital full of
patients hostage until the hospital puts his son's name on the recipient's
list. Most critics and cinephiles attribute this movies lack of success to the
blatant criticism of the healthcare system that lies at the core of its
storyline. While this may be true, the PG-13 rating didn’t help matters much
either. Unlike great hostage flicks like Dog Day Afternoon, Inside Man, and The
Negotiator, John Q just wasn’t very convincing. A good hostage thriller will
make you scared of the hostage taker and/or scared to be a hostage, and to do
this requires the use of cinematic elements that would probably land the movie
an R-rating (like the aforementioned great hostage movies have).
Robin Hood
One of five pair-ups between Russell Crowe and legendary
director Ridley Scott, Robin Hood tells the well-known story of
archer-turned-outlaw Robin Longstride, who steals from the rich and gives to
the needy. As with several other movies on this list, Robin Hood was an
excellent film even with a PG-13 rating.
Despite its historical accuracy being sometimes questionable (most
notably the last 30 minutes of muddled Magna Carta material), Robin Hood
featured excellent acting performances by Crowe, Cate Blanchett, Mark Addy, and
the iconic Max von Sydow. The costumes and makeup are superb, the
cinematography is top-notch, and the action is pretty intense. Give the film an
R-rating however, and those action scenes and battle sequences would be more
reminiscent of the other fantastic Crowe/Scott matchup Gladiator, and the film would climb up one more rung on the ladder
of baddassery.
The Green Hornet
Another movie that’s hard to defend, The Green Hornet is
widely considered to be one of the worst superhero flicks among the ranks of
the past 15 years’ surge of Marvel and DC comic pictures (not to be confused
with The Green Lantern, which earned similar critical scorn). Following the
death of his father, Britt Reid (Seth Rogen), heir to his father's large
company, teams up with his late dad's assistant Kato to become a masked crime
fighting team. This film stands alone amongst its comic cohorts, however, in
that it added an edge of reoccurring comic relief that you don’t find in
Spiderman, Thor, and X-Men. Unfortunately, its attempts at humor (along with
the oddball plot and relatively weak acting) fell flat, largely due to the
films PG-13 rating. Give this movie an
R-rating, and pair that up with Rogen’s usual hilarious comedic styling’s, and
this movie would have stood apart from other superhero movies as a funny, edgy
comic book pillar that gave a fresh makeover to a widely-loved hero.
Empire Records
One of the most popular coming-of-age movies of the 80’s/90’s,
Empire Records follows a group of record store
employees over the course of one exceptional day. The employees of this
independent music store try to fight off becoming a large chain, all while
learning about each other. The film is pretty much unanimously-loved by all,
and whose only debatable flaw might be its rating. The film does a pretty good
job of showcasing the life of a teenager during the time period, but given the
freedom of more immature sexual humor and obscenity, would it not be even MORE
believable? No teenager censors themselves that much.
The Great Debaters
Another Denzel Washington piece that, while being an
all-around decent piece of cinema, didn’t quite live up to its potential, in
large part to its PG-13 rating. A drama based on the true story of Melvin B.
Tolson, a professor at Wiley College Texas. In 1935, he inspired students to
form the school's first debate team, which went on to challenge Harvard in the
national championship. What makes this film great is that it proves an
inspiring, emotional story based around a college debate team, something that’s
usually complete void of inspiration or emotion. What made this film not so
great was that it made almost no attempts at embracing the racially divided
southern culture of the 1930’s. While it did highlight the segregation in the
schools and public facilities, what was lacking was a showcase of the intense
racial and social inequalities amongst the actual population. While
illustrating this would surely necessitate the use of racial slurs and violence
(likely giving it an R-rating) it would have propelled the film into the ranks of
other period pieces that painted an accurate portrayal of black prejudice like
Driving Miss Daisy, Malcom X, and Mississippi Burning.
Finding Forrester
This film being his second-to-last movie before his retirement (immediately followed by The League of Extraordinary Gentleman, which earned even less critical acclaim), I’m sure Sean Connery was hoping to go out with more of a bang. Finding Forrester tells the story of a black American teenager, Jamal Wallace, who is invited to attend a prestigious private high school. By chance, Jamal befriends a reclusive writer, William Forrester (Sean Connery), through whom he refines his natural talent for writing and comes to terms with his identity. We’re so used to immediately associating Sean Connery as the iconic James Bond that we often forget that he’s also capable of fantastic dramatic performances, and not just bedding Bond-girls and shooting at Oddjob. Few of his films prove this quite like Finding Forrester, in which he constructs a character that’s inspiring, towering, but ultimately flawed and scared. Given its PG-13 rating, however, the film lost the inner-city Brooklyn feel that would have rounded it out as a gritty, emotional drama that surely would have won more praise from audiences. Still a fantastic film, nonetheless.
This film being his second-to-last movie before his retirement (immediately followed by The League of Extraordinary Gentleman, which earned even less critical acclaim), I’m sure Sean Connery was hoping to go out with more of a bang. Finding Forrester tells the story of a black American teenager, Jamal Wallace, who is invited to attend a prestigious private high school. By chance, Jamal befriends a reclusive writer, William Forrester (Sean Connery), through whom he refines his natural talent for writing and comes to terms with his identity. We’re so used to immediately associating Sean Connery as the iconic James Bond that we often forget that he’s also capable of fantastic dramatic performances, and not just bedding Bond-girls and shooting at Oddjob. Few of his films prove this quite like Finding Forrester, in which he constructs a character that’s inspiring, towering, but ultimately flawed and scared. Given its PG-13 rating, however, the film lost the inner-city Brooklyn feel that would have rounded it out as a gritty, emotional drama that surely would have won more praise from audiences. Still a fantastic film, nonetheless.