Pride is a 2014 UK comedy drama by Matthew Warchus.
Starring Bill Nighy, Imelda Staunton and Dominic West.
U.K. gay activists work to help miners during their lengthy strike of the National Union of Mineworkers in the summer of 1984.
The Ankara Governor's Office has banned the movie screening event of a LGBT group which was to have been held in the capital city on June 28. The office claimed such events can incite hatred and enmity among different fractions of the society,
from which danger can arise. The office said:
It has been evaluated that the events could incite hatred and enmity among different groups of people based on class, racial, religious and sectarian differences.
It also cited public sensitivity and possible security risks from groups who could react against the LGBT event and people attending the movie screening.
The ban came after the Ankara Communist LGBTs community announced they would screen the 2014 British LGBT -related historical comedy-drama film Pride at the Nazim Hikmet Cultural Center on June 28.
Slamming the governor's office's ban, the Communist LGBTs group said the decision ignored and refused to see LGBT members as equal citizens of the society.
Inxeba (The Wound) is a 2017 South Africa / Germany / Netherlands / France gay romance by John Trengove.
Starring Nakhane Touré, Bongile Mantsai and Niza Jay.
Xolani, a lonely factory worker, travels to the rural mountains with the men of his community to initiate a group of teenage boys into manhood. When a defiant initiate from the city discovers his best-kept secret, Xolani's entire existence begins
Award-winning movie Inxeba's reclassification as pornography has been overturned by the High Court in Pretoria' on the grounds that it was procedurally unfair and unlawful.
However, Judge Joseph Raulinga has stressed that Inxeba (The Wound)' which depicts a homosexual relationship between two men at an initiation school' violated the rights to dignity of Xhosa people. Furthermore' he said' if cultural beliefs and
practices are to be considered' the film is harmful and disturbing and exposes 16-year-olds to the sexual conduct depicted in the film.
The film included language that was degrading to Xhosa women and further exposes women to societal violence, such as rape. It contains harmful scenes that could cause tensions within the Xhosa community and even within the broader African
community. By implication, it has an effect on the rights of the Xhosa traditional group' he said.
Throughout his judgment' Raulinga stressed that the Inxeba filmmakers' rights to freedom of expression could not override the rights to dignity of Xhosa people.
Morality campaigners from Christian Concern have whinged at Sainsbury's for placing copies of a popular erotic romance film in full view of children entering the chain's supermarkets.
A few religious customers were absolutely horrified to find Fifty Shades Freed displayed at kids' eye line in store entrances. featuring cardboard display pictures of lead characters Christian Grey and Anastasia Steele in the
same clinch as the movie poster.
Helen Burgess of evangelical interest group Christian Concern said she was absolutely horrified when she saw the display. She said:
Most of us who follow the news know that the 18-rated Fifty Shades Trilogy is clearly porn, with all kinds of distasteful, demeaning and actually dangerous sexual activity in it.
The display was right in the entrance, with a big image of the front cover at children's eye level.
I was so shocked that I asked to see the store manager.
I could cry when I think about the assault on children's innocent minds and pure hearts.
Whilst the film has caused some discussion in more recent times, it is important not to gloss over parts of our history that make us feel uncomfortable. Rather than censoring a subject, a viewing could form a basis for discussion about the deeper
themes in the film.
Despite detractors claiming the film is racist, there are only three slight racial epithets used in the entire 130-minute-long show - and one is directed against the Irish. Another slur was quickly slapped down by another character, while the
third was a soldier being called a dozy Welshman because he forgot his rifle.
The classic movie portrays the Zulu warriors as honourable combatants, whose overwhelming numbers are only narrowly defeated by the indefatigable British Empire forces.
The film has a bit of a history of being censored and banned. BBFC cuts were required for the original 'U' rated cinema release in 1964. Then when released in Apartheid South Africa in 1964 the film was banned for black audiences (as the
government feared that its scenes of blacks killing whites might incite them to violence), apart from a few special screenings for its Zulu extras in Durban and some smaller Kwazulu towns.
Brawl in Cell Block 99 is a 2017 USA action crime thriller by S Craig Zahler.
Starring Jennifer Carpenter, Vince Vaughn and Tom Guiry.
A former boxer-turned-drug runner lands in a prison battleground after a deal gets deadly.
The BBFC has just passed a video with a 15 rating for strong violence, threat, language, injury detail, sex and drug references after 44s of BBFC category cuts with some cuts substituted for:
2018 Universal video
The DVD and Blu-ray has already be released in uncut 18 rated DVD and Blu-ray form. It is not yet clear where this cut 15 rated version will be used.
The BBFC commented:
Distributor chose to reduce or remove moments of stronger. sadistic violence and injury detail in order to achieve a 15 classification. An uncut 18, in line with previous versions of the work, was available.
Kissing Candice is a 2017 Ireland / UK drama by Aoife McArdle.
Starring Ann Skelly, Ryan Lincoln and Conall Keating.
17 year old Candice longs to escape her seaside town and finds solace in her imagination. When her disillusionment calcifies into an obsession with a troubled stranger, she becomes entangled with a dangerous local gang.
THE Irish Film Classification Office (IFCO) has upheld an 18 rating for an Irish film by a debut director Aoife McArdle despite the film being given a 15 rating in the UK.
Kissing Candice is a youth oriented film about a young girl in a border town who first dreams of and then meets a young boy who's connected to a gang that is terrorising her town.
The film premiered at the Toronto International Film Festival and has been shown at other youth-orientated festivals.
Wildcard Distribution is the Irish distributor for the film and its managing director Patrick O'Neill has said that the company was surprised when it was given an 18 cert:
We just thought the rating was a little harsh for the film, we just thought something along the lines of a 15A or a 16 would have been more in keeping with the content of the film.
IFCO's 18 rating has the consumer advice: contains scenes of strong drugs abuse, strong violence and language and strong sex references.
The UK's BBFC was less severe in its rating of the film, giving it an uncut 15 rating for very strong language, strong threat, drug misuse.
Kissing Candice is released in Irish cinemas on 22 June
Two pre-roll ads seen on YouTube in late December 2017 and early January 2018 for the 15-rated (PG-13 rated in the US) horror film, Insidious: The Last Key . Both ads featured a number of scenes in quick succession and tense sound effects:
a. The ad opened with a shot of a house in the dark and then showed a young woman walking through it. She was shown looking at some medical instruments on a table before being thrown backwards by a force. She was then depicted lying on the floor
screaming whilst a humanoid creature with claw-like fingers probed at her throat. Further scenes included a creature hanging upside down, the same woman screaming on a hospital bed and a clawed hand emerging from a sleeve. Another female
character said, People who need help with hauntings come to me, but this house is my family's house. I'm going to find it and I'm going to finish it. In the final scenes of the ad a male character said, Lisa there's someone right in front of
you. Lisa replied, I don't see anything. A hand was shown reaching out to her in the dark and then a sudden shot of a grinning creature with fanged teeth was shown next to a woman.
The ad was seen before a video of songs from Frozen, a video about how to build a Lego fire station and a video of the children's cartoon PJ Masks.
b. The ad opened with a young woman lying on a floor immobile, bloodied and distressed while a humanoid creature crept towards her and then probed at her with claw-like fingers and pierced her skin. At the same time another female character
said, People with matters that can't be explained, come to me. But this one is different. This was my family's house. A male character than stated, I'm going to count back from five, four, three, two and a number of brief scenes were shown,
including a woman's eyeballs turning to white, a huddled female figure on the floor in the dark, a woman lying on a bed screaming and a screaming woman appearing and then disappearing behind someone. In the final scene of the ad a woman was
shown slowly opening a suitcase and a creature suddenly leapt from it.
The ad was seen before two Minecraft videos.
The ASA received five complaints, three of which were from parents who said their children saw the ads and two from adults who said they had found the ads distressing. They objected that:
the ads were irresponsibly targeted because they were seen before videos which were of appeal to children; and
the ads were unduly distressing.
Columbia Pictures Corporation Ltd t/a Sony Pictures Releasing UK said they had targeted the ads on YouTube to an adult audience, by excluding audiences below 18 years and preventing the ads being shown before content with unknown audiences. They
said their agency had also added a layer of safety by using further YouTube targeting, including content exclusions such as content that was suitable for families, over 1,000 negative keywords exclusions including keywords with appeal to children,
over 40 negative topic exclusions including religion, politics, news and children's content, and they opted out of all display network content to ensure they had control over websites and apps with audiences aged under 18 years.
YouTube said that advertisers administered their own campaigns, and were responsible for determining the appropriate targeting, and could control what types of users saw their campaigns and against what types of content they did not want their
campaigns to appear. They said advertisers could target specific demographics, excluding anyone who was not logged-in with a declared or inferred age of over-18.
ASA Assessment: Complaints upheld
1. & 2. Upheld
The ads were for a 15-rated horror film and featured a series of clips from the film. The ASA recognised the complainants' concerns that both ads were seen before content on YouTube with particular appeal or interest to children, including videos
of songs from Frozen, of the cartoon PJ Masks and videos relating to Minecraft and Lego. We considered that the ads were unsuitable for children because they were excessively frightening and shocking, and were likely to cause fear and distress,
most notably the scenes with the woman on the floor screaming and in distress while the humanoid creature approached her and clawed at her throat, and in which the creature's face appeared suddenly.
We noted that three complainants also believed the ads were unduly distressing for adults and two stated that they had suffered particular distress from viewing the ads. We understood that ad (b) had been cleared for TV with a post 11 pm
scheduling restriction by Clearcast, which indicated that it contained the strongest allowable content of a graphic or distressing nature for TV. Ad (b) featured in particular a close-up shot of the humanoid creature's claw piercing the woman's
throat, and built suspense with sound effects and screaming, and a voice-over countdown, at the end of which a creature suddenly jumped out of a suitcase. We considered that ad (a), although slightly less graphic, contained a similar level of
frightening content. Furthermore, both ads contained other content which was shocking in nature. Several scenes featured the sudden appearance of the creature's face or a woman with white eyeballs, together with tense sound effects.
We considered that the ads may have been appropriate to show before limited content on YouTube with similar themes and imagery that was intended for adults. However, when seen by the complainants the ads were juxtaposed against unrelated content
such as Minecraft videos. They also were not skippable until five seconds into the ads and did not contain any warning regarding their content. We therefore considered that the ads, in that context, were likely to cause excessive fear or distress
for some adults without justifiable reason, because they were unexpectedly shocking and frightening.
We understood that Sony Pictures Releasing UK had identified and restricted the YouTube content before which the ads should not be shown, in particular putting in place topical and demographic exclusions on content with appeal to children or with
unknown audiences. However, the ads had appeared before various videos that were highly likely to be of appeal or interest to children, and we noted that one of the complainants viewed ad (b) when they were not signed in to YouTube. The ads were
also likely to be unduly distressing to some adults in the context in which they appeared. For those reasons, we concluded that the ads had not been targeted appropriately and were likely to cause undue distress, and therefore were in breach of
We told Sony Pictures Releasing UK to ensure that future ads that were unsuitable for viewing by children were appropriately targeted, and that similar future ads were targeted appropriately to ensure they did not cause undue distress to their
likely audience without justifiable reason.
Love, Simon is a 2018 USA gay drama by Greg Berlanti.
Starring Katherine Langford, Nick Robinson and Jennifer Garner.
From the producers of The Fault in Our Stars comes the relatable and heartfelt coming-of-age film LOVE, SIMON. Everyone deserves a great love story, but for 17-year-old Simon, it's a bit complicated. The gay teenager hasn't come out yet, and
doesn't know the identity of the anonymous classmate he's fallen for online. Resolving both issues will be a hilarious, scary, life-changing adventure.
The film was banned by the film censors of the Central Board of Film Certification on the day of its release. The CBFC has said little so far beyond noting that the film was banned for gay content.
The film contains no explicit content although there is a kiss between the two lads.
In the UK the cinema release was passed 12A uncut for moderate sex references, infrequent strong language.
In the US the film was rated PG-13 for thematic elements, sexual references, language and teen partying
Update: Film censor says that the ban is not down to him
CBFC chairperson Prasoon Joshi has completely denied that the CBFC has banned on Love, Simon. He said that an adults-only CBFC 'A' certificate has been given to Love, Simon four months ago, on February 6, 2018 after 2 cuts described as minor.
Another source from the CBFC says, This is one more attempt to use the censor board to gain publicity for a film.
However it is has not been made clear an alternative reason for the film being pulled from cinema s at the last moment.
Show Dogs is a 2018 USA comedy by Raja Gosnell.
Starring Stanley Tucci, Natasha Lyonne and Will Arnett.
Max, a macho, solitary Rottweiler police dog is ordered to go undercover as a primped show dog in a prestigious Dog Show, along with his human partner, to avert a disaster from happening.
The studio behind new family comedy Show Dogs has agreed to a last-minute edit in response to morality groups and bloggers claiming that the film might suggest to children that sexual molestation is something that should be silently endured.
Global Road Entertainment have now confirmed they would be cutting two scenes that some have deemed not appropriate for children. The scenes in question are thought to involve Max, a police rottweiler who has his genitals groped by cop Will Arnett
as part of his training to go undercover at dog shows. Initially, Max is upset by the intrusion, but is instructed to go to a zen place. Global Road said:
The company takes these matters very seriously and remains committed to providing quality entertainment for the intended audiences based on the film's rating. We apologise to anybody who feels the original version of Show Dogs sent an
inappropriate message. The revised version of the film will be available for viewing nationwide starting this weekend.
In the US, Morality in the Media, now going by the name National Center on Sexual Exploitation, flagged the film for the similarity of tactics used with Max and abusers grooming children, telling them to pretend they are somewhere else and that
they will get a reward for withstanding the discomfort.
In the UK, the film was seen by the BBFC some weeks ago and was passed PG uncut. The UK and Irish distributors intend to stick with the BBFC/IFCO approved uncut version. A spokesman for Entertainment One said:
We are taking the BBFC/IFCO guidance on this matter in the UK and Ireland and will be releasing the original version that has been censored and reviewed.
The BBFC said in a statement that:
The scenes in question are entirely innocent and non-sexual and occur within the clear context of preparation for and judging in a dog show. We regard the comments made about the film as suggesting 'grooming' as a misinterpretation of the scenes
Meanwhile in New Zealand, Chief Censor David Shanks made the unusual decision to call the film in for review following a number of complaints. Normally, films rated G or PG arrive in New Zealand without requiring a localised classification. Shanks
said in a statement:
We understand the film's distributors are currently re-editing this film in response to public concern. We can confirm that the version distributed in New Zealand will be classified, regardless of any edits made prior to release, the office said
in a statement.
Open Letter to Australian Cinemas: Don't screen Show Dogs movie
We are writing to you in regards to the children's film Show Dogs, due for release 5 July. Upon its release in the US, it attracted substantial criticism from parents and child advocates over concerns of grooming children for sexual abuse.
The film tells the story of a police dog going undercover at a dog show. There are reportedly several scenes in which the dog, Max, has to have his genitals inspected. When he is uncomfortable and wants to stop he is told to go to a zen place.
When he submits and allows his genitals to be touched, he is rewarded by advancing to the next level of the show.
In response to the global backlash, the production company withdrew the film, promising to re-cut it to remove the scenes in question. The film has been re-released, however the scenes remain, with only the encouragement to go to a zen place
(essentially, to dissociate) being removed. The meaning remains intact, that unwanted sexual touching is to be endured and may be rewarded.
The film sends a disturbing and dangerous message to children about sexual touching. In Australia, one in five children are thought to be victims of sexual abuse. This film undermines efforts in prevention and education to address the scourge of
child sexual abuse.
Collective Shout: for a world free from sexploitation is calling on Australian cinemas to take a stand against child sexual abuse and refuse to screen the film. We hope that cinemas will be prepared to take a role of leadership in the community,
to stand up for the rights of children and refuse to profit from this film.
...In common with the internet, this lightning take-up of VHS bypassed barriers built to meet the threat outlined by the
Council of Irish Bishops in 1927. They warned:
The Evil One is ever setting his snares for unwary feet. At this moment his traps are chiefly the dance hall, the bad book, the indecent paper, the motion picture, the immodest fashion in female dress - all of which tend to destroy the virtuous
characteristics of our race.
The Free State quickly appointed its first film censor, James Montgomery, who worked tirelessly to turn back the tide of foreign filth. Montgomery proudly boasted:
I know nothing about films but I do know the Ten Commandments.
And so it remained into modern times, with the Nanny State taking a firm hand in protecting the Irish people from themselves. While Dustin Hoffman and Anne Bancroft were being nominated for Oscars for The Graduate in 1968, Irish cinema audiences
were watching a version in which the seduction scene between the two - the pivotal point on which the whole movie hinges - was ripped out to protect public morals.
A letter to the Guardian responding to an article inspired by faked animal cruelty in Lars von Trier's upcoming The House That Jack Built:
Anne Billson asserts that the British Board of Film Classification (BBFC) still cuts non-faked animal abuse, although it is more lenient on arthouse than horror . The article goes on to cite Sátántangó (1994) and Oldboy (2003) as examples of our alleged leniency towards "arthouse" films, in contrast to our long history of intervention with
The Mountain of the Cannibal God (1978) and Cannibal Ferox (1981). I am afraid this statement is incorrect and no preferential treatment is given to "arthouse" films.
Sátántangó was only classified uncut after we received detailed assurances from the film-makers regarding how the scenes with the cat were prepared and filmed in such a way as to avoid cruelty to the animal involved. Those assurances were
consistent with the onscreen evidence. Oldboy was classified uncut because the Cinematograph Films (Animals) Act 1937, which is mentioned in the article, only applies to "protected animals" as defined by the Animal Welfare Act 2006.
Currently invertebrates, such as octopuses, are not covered by the 2006 act and we therefore had no grounds on which to intervene.
By contrast, The Mountain of the Cannibal God and Cannibal Ferox both feature scenes of animal cruelty that are clearly real, that involve vertebrate animals and that certainly appear to have been deliberately orchestrated by the film-makers.
Indeed, the makers of those films have confirmed that this is the case.
Creators of Sesame Street are suing the production company behind The Happytime Murders, claiming the mainstream comedy that features ejaculating puppets and other sexual puppetry routines is appropriating its brand.
Sesame Workshop, creators of the kids show, alleges that the misuse of its brand is intent on confusing the public and infringes on it intellectual property rights. The company has initiated a lawsuit as a result of a trailer with explicit,
profane, drug-using, misogynistic, violent, copulating and even ejaculating puppets, along with the tagline 'NO SESAME. ALL STREET'.
The Happytime Murders, set for an August, is a murder mystery revolving around puppets who exhibit raunchy behavior.
Update: Judge not impressed by Sesame Street claims
Manhattan federal Judge Vernon Broderick has rejected a request by the Sesame Workshop for a temporary retraining order to halt ads for the upcoming comedy Happytime Murders, including a YouTube trailer with the tagline, No Sesame. All
Broderick ruled that the STX film -- directed by Brian Henson, the son of the late Jim Henson, whose Muppets have been central characters in the children's mainstay since its inception in 1969 -- was geared toward an entirely different audience
than Sesame Street. He also found that the trailer's No Sesame. All Street tagline was intended to differentiate the raunchy adult film from the wholesome educational show featuring Big Bird and Oscar the Grouch. The judge added:
I find the use of the tagline to disclaim -- albeit in a short and pithy manner.
The Akal Takht, the highest seat of authority of Sikhism in India, has formed a 21-member film censor board and claimed that its
clearance will have to be taken before making any movie on the Sikh religion and culture. Giani Gurbachan Singh, the Akal Takht head claimed:
The decision was taken because of controversies over films on Sikh gurus and distortion of Sikh history in movies. Any film that plans to portray any sequence related to Sikh gurus, their kin and Sikh history will have to seek clearance from the
Sikh Film Censor Board.
Over the past few years, the Shiromani Gurdwara Parbandhak Committee has been demanding that at least two of its members be included in the Central Board of Film Certification (CBFC), India's official film censor.
Unlike the CBFC, which comes into play after a film is complete and before its release, the Sikh board has said its approval will have to be taken for the script of any feature film, documentary, animation and play based on the Sikh religion.
The House That Jack Built is a 2018 Denmark / France / Germany / Sweden horror thriller by Lars von Trier.
Starring Matt Dillon, Bruno Ganz and Uma Thurman.
USA in the 1970s. We follow the highly intelligent Jack over a span of 12 years and are introduced to the murders that define Jack's development as a serial killer. We experience the story from Jack's point of view, while he postulates each
murder is an artwork in itself. As the inevitable police intervention is drawing nearer, he is taking greater and greater risks in his attempt to create the ultimate artwork. Along the way we experience Jack's descriptions of his personal
condition, problems and thoughts through a recurring conversation with the unknown Verge - a grotesque mixture of sophistry mixed with an almost childlike self-pity and psychopathic explanations. The House That Jack Built is a dark and sinister
story, yet presented through a philosophical and occasional humorous tale.
Lars von Trier's The House That Jack Built premiered at the Cannes Film Festival Monday night. Variety's Ramin Setoodeh reported that 100 viewes exited in protest, while others on social media estimated half the film-goers departed early.
It's disgusting, one woman said on her way out. Maybe something to do with the depicted mutilation of women and children.
The film screened out of competition but it was the day's major festival draw for visiting critics and press, some of whom tweeted that the vile, vomitive footage should not have been made. Nonetheless, the crowd saluted von Trier with a 10-minute
Matt Dillon stars as the namesake knifeman, gunman, bludgeoner, and strangler. Set during the 70s, the film tracks five deaths 204 including characters played by Uma Thurman and Riley Keough Jack brags that he has lived a punishment-free
life, but he fantasizes about notoriety: David Bowie's Fame plays as he cues one victim to scream, and drags another body, wrapped in plastic, attached to his van's bumper.
It appears that the Johnny Depp psychological horror thriller from 2004, of Secret Window, an adaptation of a Stephen King book, proved too much for The Horror Channel who censored it for the early evening showing on this Sunday night.
The jump cut is to when Depp's character finds his mutilated and very dead dog outside his wooden cabin wrapped under a sheet. All we see is a very quick 5 second jump cut and a micro flash to the dog, instead of seeing its head and then slightly
later full body shot under the sheet at 24 mins 57 secs lasting until 25 mins and 2 secs (NTSC timings).
Surprising cut since The Horror Channel often shows bloody trailers throughout the day of far worse scenes of new films going to be shown for the next month as well as current films.
Maybe suspicions of a BBFC influenced animal cruelty cuts policy here on said channel?
The Annenberg Public Policy Center (APPC) at the University of Pennsylvania have claimed in a report that parents would prefer
to PG-15 to a PG-13 for Hollywood movies featuring gunplay. The researchers write:
Parents are more willing to let their children see intense gun violence in PG-13 movies when the violence appears to be "justified," used in defense of a loved one or for self-protection, than when it has no socially redeeming purpose, a
new study finds.
But even when the gun violence in PG-13 movies appears justified, parents think that the movies are more suitable for teens age 15 and up, two years older than suggested by the movie industry ratings board's PG-13 rating. Parents thought movies
with unjustified but bloodless gun violence were more appropriate for 16-year-olds, the study finds.
The study, Parental Desensitization to Gun Violence in PG-13 Movies , by researchers at the Annenberg Public Policy Center was
in the journal Pediatrics on May 14 and will be in the June issue. Lead author Daniel Romer, research director of the Annenberg Public Policy Center (APPC), said:
"The findings suggest that parents may want a new rating, PG-15, for movies with intense violence," "Violent movies often get a PG-13 rating by omitting the consequences of violence such as blood and suffering, and by making
the use of violence seem justified. But parents of teenagers say that even scenes of justified violence are upsetting and more appropriate for teens who are at least 15."
The rise of gun violence in PG-13 movies
Past studies by APPC researchers found that gun violence in the most popular PG-13 movies has more than doubled since the rating was introduced in 1984, and now exceeds the gun violence in comparable R-rated films. In the earliest years of the
PG-13 rating, less than a third of the 30 top-grossing movies were rated PG-13 but recently more than half were PG-13. In past research on the growing acceptance of gun violence in PG-13 films, APPC researchers found that parents appeared to
become desensitized to violence as they watched successive movie clips.
The current experiment was designed to understand whether parents became more accepting of the movie violence because they were being emotionally numbed to it or whether the justification for the violence influenced them. Could justified violence
be less upsetting than unjustified violence? And could parents who repeatedly saw the kind of bloodless, justified violence featured in PG-13 movies become so accustomed to it that they experience a kind of "normative desensitization"
that leads to greater acceptance of its viewing by children?
In an online experiment, the APPC researchers showed movie clips to a national sample of 610 parents who have at least one child between the ages 6 and 17. Parents viewed a series of four 90-second clips of either justified or unjustified violence
from popular movies. The scenes of justified violence came from the PG-13 movies "Live Free or Die Hard" (2007), "White House Down" (2013), "Terminator Salvation" (2009), and "Taken" (2008). The clips of
unjustified violence came from the PG-13 movies "Skyfall" (2012) and "Jack Reacher" (2012) and the R-rated films "Sicario" (2015) and "Training Day" (2001).
Scenes from the R-rated movies were edited to remove graphic and potentially upsetting consequences such as blood and suffering to mimic the effect of PG-13 movies. (PG-13 means parents are strongly cautioned that some material "may be
inappropriate for children under 13." The more restricted R rating means viewers under 17 must be accompanied by a parent or adult.)
Parents less upset by justified violence
Instead of being emotionally desensitized, parents grew increasingly upset as they watched the succession of movie clips, whether the violence was justified or not (see figure above). But parents were less upset by the justified violence and more
lenient in deciding the appropriate age for a child to watch it. Most of the parents said the movies with justified violence were suitable starting at age 15, while the movies with unjustified violence were appropriate starting at age 16 (see
One exception: The parents who were frequent moviegoers were the most permissive, saying that movies with unjustified violence were suitable for 13-year-olds.
As parents watched the series of movie scenes of unjustified gun violence, they became more restrictive on the appropriate age for viewing, the study found. But that wasn't true with the justified scenes of violence, where parents' opinion of the
appropriate viewing age held steady. The researchers also found that when watching the successive justified movie clips, parents increasingly regarded the gun violence itself as justified.
Media violence and children
The American Academy of Pediatrics has been long concerned about the effects of media violence. In a statement in 2016, the academy pointed to a body of research showing that viewing violent media content can influence some youth to become more
A recent study by Ohio State University researchers found that children 8 to 12 years old who saw scenes of a PG-rated movie with guns played longer with a real gun and pulled the trigger more often than children who saw a movie without guns.
"Despite such evidence, we still don't know whether repeatedly seeing movies with justified violence teaches children that using guns is OK if they think it's justified,"
"Hollywood is exploiting the movie rating system by leaving out harmful consequences like blood and suffering from PG-13 films. By sanitizing the effects of violence, moviemakers are able to get a PG-13 rating and a wider audience for their
films. But this gun violence may be just as brutal and potentially harmful to young viewers."
Lost in the Fumes is a 2017 Hong Kong documentary by Nora Lam.
Starring Cres Chuang, Bamboo Chu-Sheng Chen and Leon Dai.
Edward Leung was an average student before he unexpectedly finds himself at the focal point of two Legislative Council elections. While winning over 60,000 votes in the By-election would have guaranteed Edward a seat in the next round, his ticket
to LegCo is forfeited when the regime imposes extra measures in the nomination process. Having once claimed that 'be it crawling or creeping in, I will become a councillor', he can now only take the sidelines and put the backup Baggio Leung into
the race. On the other hand, Edward finds his free days numbered as he faces three counts of rioting charges for taking part in the Mong Kok Protest. Once an eloquent rising star in politics, now he may as well be a doomed prisoner. As the
oath-taking controversy and the disqualification saga unfold, Edward retreats from the spotlight and decides to leave for further study in the United States while chaos continues to reign over Hong Kong politics.
Thanks to its politically provocative subject matter, Lost in Fumes , a documentary made by a 22-year-old on a minuscule budget, has become Hong Kong's hottest ticket in the past six months. But because of that same subject matter, no commercial
film exhibitor in the city has been willing to touch it.
The film's fate has renewed fears in Hong Kong's entertainment sector about the continued erosion of freedom of speech. Since November, it has been playing to packed houses at Hong Kong's Art Centre, at colleges and universities and in impromptu
underground community screenings. But the film's subject, Edward Leung's political stance -- which falls somewhat outside the local mainstream and is viewed by the ruling Communist Party in Beijing as a serious threat to its sovereignty over Hong
Kong -- has meant that most local business leaders would rather run a mile to avoid being associated with the film for fear of social or political reprisal.
The film's director, Nora Lam commented:
Self-censorship is a more serious issue than it appears in Hong Kong. There is nothing written and no law as yet restricting what people can say, so theoretically we still have freedom of speech, she notes. But people are afraid of the
consequences, and this fear is more far-reaching than official oppression.
Before a movie is released in German theaters, the Freiwillige Selbstkontrolle Fernsehen ( FSK) decides on an
age rating so as to protect children from 'harmful influences'.
The FSK is based on voluntary self censorship to buffer the local film industry from controversy and state censorship. The organisation is based in the German Film House in Wiesbaden. Around 280 volunteers review thousands of films every year and
decide which age groups to show - from age 6, age 12, age 16 or 18.
FSK's 280 volunteers have no connection to the film industry. They pursue different professions, but have experience in dealing with children and adolescents, and know their stages of development. FSK spokesman Stefan Linz told DW:
Five days a week, we carry out investigations in various committees.
The basis for the work of the FSK is the German Youth Protection Act, which provides for different age ratings for media. The color white means that there are no restrictions for a movie. For the age group of six to twelve years is yellow. Green
requires parenting for ages of six or twelve. From the age of 16, the category is blue, while red indicates that a movie is not considered suitable for young people under the age of 18.
The law also defines the rules of assessment of media. For example, a film may not be shown to children of a certain age group if the examiners believe that it could affect their development as self-responsible and socially competent people. Linz
Of course this is totally abstract to the assessment of content that could potentially be problematic. But not only can we say that about us, but about all forms of protection of minors around the world, especially the portrayal of violence,
sexuality, the use of drugs, alcohol and nicotine, bad role models and antisocial behavior or threats to others.
The origin of the FSK dates back to the postwar period. At that time, the Allies strove to denazify all social and social aspects in Germany, and to build the then West Germany as a democratic state with freedom of expression. Representatives of
the German film industry, who had come back from exile, together with American occupation authorities in 1948 built a voluntary self-control system for the film industry after the model of the American system of that time.
From these initiatives finally the FSK was born, which gave its first film evaluation on 18 July 1949. The film Intimitäten by Paul Martin (1944) was not suitable for young people under 16 - and may not be shown on some religious holidays.
In the former GDR, all films were controlled by socialist authorities, until after the reunification of the new states joined the FSK.
German age guidelines differ those of the USA. For example the German film Toni Erdmann , which was produced in 2016 and became a worldwide hit and received an Oscar nomination, was rated R by the MPAA in the USA. This stipulates that young
people under the age of 17 are only allowed to watch the movie when accompanied by an adult. The rationale was: The film contains heavily sexualized content, graphic nudity, violent language and short scenes of drug abuse. In Germany, the FSK
judged the same film as suitable for adolescents from the age of 12, this restriction being justified by a somewhat strange, emotionless sex scene without intercourse. The aspects cited by MPAA , that is, language, drugs and nudity, played no role
for the FSK - despite a rather extensive naked party scene.
According to Stefan Linz, the differences between age ratings by the FSK and MPAA are explained by cultural attitudes. In particular, Germans and Americans have a completely different attitude to nudity. While there has long been a large naturist
scene in Germany, public nudity in the US is still considered scandalous.
The FSK does not classify nudity in itself as problematic, says Linz, referring to documentation on nudist communities that have been released for all ages. However, FSK is less generous when nudity in a movie has a sexual meaning or occurs in a
Linz is also of the opinion that attitudes to linguistic usage also differ in the German and English-speaking world. However, this aspect also points to differences in the approach of FSK and MPAA. In the eyes of the American institution, the
repeated use of sexual terms as a swear word justifies an age restriction.
By contrast, in the FSC, numerical ratios are irrelevant when assessing language. Instead, more emphasis is placed on the specific context. Who speaks like the swear word? When a couple of bad words fly back and forth between friends, for example
in hip-hop circles, that has a very different meaning than if the same nasty word is used in a discriminatory or even directly offensive manner, says Linz.
In 2002, the movie Harry Potter and the Chamber of Secrets caused a change in the rules. From then on, children between the ages of six and twelve were allowed to watch films for children from the age of 12 if accompanied by a parent.
Spectre is a 2015 USA / UK action adventure thriller by Sam Mendes.
Starring Daniel Craig, Christoph Waltz and Ralph Fiennes.
A cryptic message from Bond's past sends him on a trail to uncover a sinister organization. While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE.
The BBFC has detailed cuts to Spectre in a new case study. The BBFC explains:
Columbia submitted Spectre to the BBFC in August 2015, for advice on whether it was likely to meet the BBFC Guidelines criteria for 12A. At this stage the film had no title sequence, end credits were missing and some special effects work was
unfinished, but the Senior Compliance Officers (then Senior Examiners) who viewed it noted it was largely complete. The BBFC advised that a 15 rating seemed the most probable outcome, citing strong bloody detail during a scene of eye-gouging and
further bloody detail in the aftermath of the suicide of a terminally ill man.
The distributor chose to reduce or remove elements of these scenes. BBFC staff viewed a re-edited version and advised that, now without strong bloody detail, the film was likely to be classified at 12A.
The eye-gouging in the version seen for advice showed a man embedding his thumbs in a victim's eye-sockets, the withdrawal of the thumbs, and sight of the bloody injury aftermath. The 12A version of the film retained only an establishing shot of
the thumbs being inserted, together with a reverse angle shot from behind the victim's head, with thumbs emerging slightly bloody.
The original suicide scene in the version submitted for advice showed a man place a gun underneath his chin and fire, with a spray of bloody mist. Two subsequent shots showed what might have been interpreted as brain tissue hanging down from the
back of his head. In the 12A version of the film, the suicide took place off-screen, and the injury detail was reduced.
Spectre also features a scene of torture in which Bond is strapped to a chair while a villain pierces his head with a micro-drill. The scene features no graphic sight of blood or injury detail, and instead uses sound and Bond's facial expressions
to suggest his pain. A broadly similar torture scene is present in a previous Bond film -- Casino Royale , also rated 12A -- and, given the lack of detail, and the audience's expectation that Bond will survive such threats, the BBFC considered
the scene to be within the 12A Guidelines for depictions of violence.
Rafiki is a 2018 Kenya / South Africa drama by Wanuri Kahiu.
Starring Patricia Amira, Muthoni Gathecha and Jimmy Gathu.
Rafiki, which means friend in Swahili, is adapted from the 2007 Caine Prize-winning short story, Jambula Tree, by Ugandan writer Monica Arac Nyeko. It follows two close friends, Kena and Ziki, who eventually fall in love despite their
families being on opposing sides of the political divide.
The first Kenyan film to debut at the Cannes Film Festival has been banned in Kenya due to its lesbian storyline.
The Kenya Film Classification Board (KFCB) claimed the film seeks to legitimize lesbian romance. KFCB warned that anyone found in possession of the film would be in breach of the law in Kenya, where gay sex is punishable by 14 years.
The film's director Wanuri Kahiu told the BBC: I really had hoped that the classification board would classify it as an 18. Because we feel the Kenyan audience is a mature, discerning enough audience.
The film, which will be shown in Cannes next month,
Cinema films in the Indian state of Kerala are soon set to display a statutory warning when showing scenes
that depict violence against women.
This comes after the Kerala State Human Rights Commission issued a directive to the regional office of the Central Board of Film Certification (CBFC), asking the board to include a statutory warning that violence against women is punishable under
the law, when showing scenes that portray crimes against the gender. The Commission claimed that showing violent sexual crimes on screen could influence youngsters and hoped that displaying the statutory warning may create a positive impact.
Regional officer of CBFC, A Prathibha, told TNM that the board is open to complying with the Commission's directive. He said:
We have informed the CBFC Chairman about the directive and hope to arrive at a decision within 30 days. Since we agree with the Commission's observation that a warning that such acts are punishable must be displayed, I am certain the Chairman
will issue a favourable order soon,
However, he added:
We don't have a clear picture as to how to implement this.
The Little Vampire is a 2017 Netherlands / Germany / Denmark / UK family animation comedy by Richard Claus and Karsten Kiilerich.
Starring Rasmus Hardiker, Amy Saville and Jim Carter.
UK: Passed U for mild comic violence, threat, very mild bad language after 29s of BBFC category cuts for:
2018 cinema release
The BBFC commented:
Company chose to remove a scene of potentially dangerous imitable behaviour involving electricity in order to achieve a U classification. An uncut PG was available.
The story of Rudolph, a thirteen year old vampire, whose clan is threatened by a notorious vampire hunter. He meets Tony, a mortal of the same age, who is fascinated by old castles, graveyards and - vampires. Tony helps Rudolph in an action and
humor packed battle against their adversaries, and together they save Rudolph's family and become friends.
The first film screened in Saudi Arabia for 37 years was Black Panther albeit a little shorter than the
version playing in the rest of the world due to the censorship of a kiss at the end of the film.
Unsurprisingly movies screened in Saudi cinemas will be subject to approval by government censors. Still, it's a distinct improvement over a total cinema ban. Many Saudi clerics still view Western movies and even Arabic films made in Egypt and
Lebanon as sinful.
US-based AMC, one of the world's biggest movie theater operators, only two weeks earlier signed a deal with Prince Mohammed to operate the first cinema in the kingdom. AMC and its local partner hurriedly transformed a concert hall in the Saudi
capital, Riyadh, into a cinema complex for Wednesday's screening.The new movie theater also came equipped with prayer rooms to accommodate the daily Muslim prayer times.
Screenings are gender segregated in a manner customary at restaurants and cafes. Screenings will generally have a seating area for women who may be accompanied by male relatives, and another area for men only. Some screenings could be designated
as solely for woman+families or for men only.
The cinema won't open to the public for a few days as the first screenings are private, invitation-only events.
Tom Jones is a 1963 UK comedy adventure by Tony Richardson.
Starring Albert Finney, Susannah York and George Devine.
The BBFC has just made the unusual decision to waive animal cruelty cuts. In this case the cuts were to a cockfight.
The BBFC does seem more likely these days to waive cuts to animal cruelty shown to be staged, but maybe this case is different in that the BBFC commented in 2003 that cuts to Tom Jones were r equired to sight of real animal cruelty
The BBFC has also uprated the age classification from the previous PG rating to a 12 rating this time.
An upcoming BFI release will feature the Theatrical Version and shorter Director's Cut and have both just been rated 12 for moderate sex references, violence, language
Passed X uncut by the BBFC for 1963 cinema release. BBFC have required animal cruelty cuts for all releases from 1971 until 2018 when the cuts were waived for home video release. The film exists in a longer original version and a shortened
Director's Cut. Both versions are available MPAA Unrated and so without censor cuts in the US.
In the early 1960s, at the height of the British New Wave, a movement whose gritty realism they had helped establish, director Tony Richardson and playwright John Osborne set out for more fanciful narrative territory. Tom
Jones brings a theatrical flair to Henry Fielding s canonical eighteenth-century novel, boisterously chronicling the misadventures of the foundling of the title (Albert Finney, in a career-defining turn), whose easy charm seems to lead him astray
at every turn from his beloved, the wellborn Sophie Western (Susannah York). This spirited picaresque, evocatively shot in England s rambling countryside and featuring an extraordinary ensemble cast, went on to become a worldwide sensation,
winning the Oscar for best picture on the way to securing its status as a classic of irreverent wit and playful cinematic expression.
Update: Re the BBFC and faked/real animal cruelty
16th April 2018. Thanks to Jon
There was a foreign-language film from a few years back called A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE, and that features scenes of a simian being experimented on and electrocuted!
The scenes had been faked by clever CGI and animatronics, but if you've seen the film, and didn't know that the cruelty was faked, it looks horrendously real, and abhorrent!
The film received a 12A rating (for disturbing images ) and the BBFC DIDN'T mention anything in the BBFC Advice about the cruelty. When I emailed them about it, they said as long as the cruelty is fake, they can and will pass it!
If animal cruelty has been faked, and the BBFC are shown evidence to backup that fakeness, then it can be passed, at any rating.
Unfreedom is a 2015 USA / India crime romance by Raj Amit Kumar.
Starring Victor Banerjee, Adil Hussain and Bhanu Uday.
In New York arrives a violent and angry man imprisoned by his brutal past, Mohammed Husain. His mission - to kidnap and kill a peaceful Muslim scholar, Fareed Rahmani. On the other side of the world, Leela Singh, a homosexual girl in New Delhi,
kidnaps her bisexual lover, Sakhi Taylor. Her mission - to marry her lover and live happily ever after. In a brutal struggle of identities against unfreedom, four characters, in two of the world's largest cities, come face to face with most
gruesome acts of torture and violence. The choices they make when they are most cornered in life, expose the blemished reality of contemporary world.
Almost three years after Unfreedom was banned in India by the Pahlaj Nihalani-led Central Board of Film Certification (CBFC), on the grounds that it would ignite unnatural passions, the film has been acquired by Netflix and can be watched by the
streaming service's subscribers.
After the film was refused certification by CBFC, the makers appealed at the Film Certification Appellate Tribunal (FCAT), only to be refused again.
Talking about the film's release by Netflix, director Raj Amit Kumar said in a press statement:
I am glad that Unfreedom finds such a popular platform like Netflix after the ban in India and the efforts of censorship guardians in India to stop the film. It also exposes the hypocrisy and divide between reality and fantasy of censorship
system in India. There is no way they can control and censor content in digital age, yet, they try their best to choke filmmakers like me who have something relevant to say that makes them feel threatened.
Cannibal Ferox is a 1981 Italy horror adventure by Umberto Lenzi.
Starring Giovanni Lombardo Radice, Lorraine De Selle and Danilo Mattei.
UK: Passed 18 for strong bloody violence, gore after some previous cuts waived but still with 1:55s of BBFC compulsory cuts for:
2018 Argent Films video
The BBFC commented:
Compulsory cuts required to sequences of real animal cruelty.
The previous submission to the BBFC was in 2001 when the video ended up with about 7 minutes of cuts. Just 6s of these cuts were formally required by the BBFC but the BBFC concurred with 6:51s of pre-cuts.
The 2001 BBFC cuts were:
Cut required to sight of small animal on end of rope banging against side of a jeep
From IMDb, the 2001 pre-cuts were:
Removed scene of coati being eaten by a snake whilst the adventurers look on.
Removed scene of a monkey being attacked by a jaguar.
Removed scene of iguana fending off snake
Removed scenes of Pat & Mike tormenting a native girl about being a virgin and then threatening to hurt her with a knife drawn across her naked breasts
Removed scene of live turtle having its head an legs chopped off.
Removed scene of Mike removing a native's eye with a knife.
Shortened scene of Joe getting speared and his innards becoming a cannibal feast.
Removed scene of Mike being castrated with a machete and then the natives eating the tasty morsel.
Removed flashback to Mike's ex-girl being kicked in the head.
Removed scene of a crocodile being killed and devoured by natives
Removed scenes of Mike's hand being chopped off.
When Zora Kerowa is killed, this edited version plays as though she has disappeared, never once showing either the actual event of the aftermath of the famous "hooks through the breasts" death.
After having his skull sliced off, cuts to natives eating his brains.
And previous to that, the video was banned on pre-cert VHS as one of the most notable of the video nasties.
Anthropologists take a trip to the jungles of Colombia to study native cannibals. Instead, they find a band of drug dealers, using the natives to harvest coca leaves. After awhile, the natives are tired of being tortured slaves, and turn on their
masters, as well as the anthropologists, thus filling the screen with gruesome splatter!
Night of the Living Dead is a 1968 US horror film by George A Romero. With Duane Jones, Judith O'Dea and Karl Hardman.
UK: The Restored Theatrical Version was passed 15 uncut for strong injury detail, threat, violence: UK: The Work print titled Night of Anubis was passed 15 uncut for:
2018 Sony/Criterion [Restored Version + Workprint] RB Blu-ray at UK Amazon
Cut by the BBFC for 1969 cinema release. Uncut by the BBFC afterwards but there are several variant versions. Uncut and MPAA Unrated in the US. A shortened workprint was found and restored for 2018 Criterion Blu-ray release.
For 2018 release the BBFC has updated its previous consumer advice from moderate horror and violence to strong injury detail, threat, violence
George Romero said at the Monster Mania horror convention that a once-lost 16mm work print has finally been found. The work print turned up when elements were being gathered for a brand new restoration of the film.
Movie-Censorship.com takes a look at the workprint just released with Night of the Living Dead. There are a few extra clips in the workprint but the major change is a 10 minute scene that is in the move, but not the workprint
It seems that original distributors asked for a version without a 9 minute scene that takes place at the jump cut in the basement. This includes the largest zombie scene in the film. However the 10 minute scene was in place by the time of the
Night of the Living Dead - Added Value - Disc 2 [Additional Material]
Night of the Living Dead [Additional Material, Audio Commentary With Russell Streiner, Vincent Survinski, Judith O'dea, Bill Hinzman, Kyra Schon and Keith Wayne]
Night of the Living Dead [Additional Material, Audio Commentary With George Romero, Karl Hardman, Marilyn Eastman and John Russo]
Night of Anubis [Additional Material, Night of the Living Dead]
A Depraved Classic of Adult Anime Returns to the Big Screen
Originally released in the US in 1993 to much puzzlement and shock, a rare 35mm print of Urotsukidoji: Legend of the Overfiend will screen at Nitehawk (136 Metropolitan Avenue, Williamsburg, Brooklyn) on April 6 and 7.
The occasion generates a recap of censorship history in the US and UK:
The film's notoriety lies in its extreme violence and visceral visuals. The film's women get the worst treatment; female students are lecherously lensed, starting with scenes of half-clothed locker room horseplay and continuing in excessive
up-skirt shots. Maimed and mutilated female bodies randomly litter the background of other scenes. Perhaps the most prominent atrocities are the repeated scenes of rape, with the film's most infamous attack featuring phallic tentacles accosting
and probing an unwilling victim. This tentacled violation, which occurs in an early scene, is often cited as the representative moment of this feature-length depravity.
Urotsukidoji was initially released in three parts, between 1987 and 1989, as an original video animation (or OVA), ie it was not made as a broadcast TV series.
The first part was released in the US edited into a feature length film after 30 minutes of censor cuts for material deemed too extreme for the US. It ended up being rated NC-17. The film gained a reputation as the cinematic obscenity that forged
the stereotype that All Anime Is Naughty Tentacles .
Last August, the American Heart Association and 16 other health and medical groups bought
trade ads and sent a letter to the six major movie studios represented by the Motion Picture Association of America, urging them to apply an R rating to any motion picture with tobacco imagery submitted for classification after Friday. The only
exceptions would be biographical films about people who smoked or when the film depicted the dangers of smoking.
But with the June deadline here, Chris Ortman, vice president of corporate communications for the MPAA, declined to comment.
Health campaigners always seem to think that their pet issue is the most important thing in the world and to hell with any other opinion. If R ratings are doled out indiscriminately, parents will simply lose faith with the ratings and ignore them.
Film ratings need credibility so if parents see examples like 101 Dalmatians being R rated, they will soon concur that R ratings can safely be ignored.
Seven U.S. senators sent a letter on Monday to the MPAA to take action to restrict depictions of smoking, including e-cigarette use, in youth-rated movies.
The letter, citing a University of California, San Francisco study claiming that nearly six in 10 PG-13 movies depict tobacco use. The senators wrote:
Although the evidence connecting smoking imagery to youth smoking initiation is strong, MPAA has yet to take meaningful action to discourage tobacco imagery in films or effectively warn viewers and parents of tobacco's presence in a movie. Our
nation's dramatic decline in youth tobacco use is a tremendous achievement, but on-screen depictions remain a threat to this progress and threaten to re-normalize tobacco use in our society. We cannot afford to lose any ground in this area.