Near Dark is a 1987 USA horror thriller by Kathryn Bigelow. With Adrian Pasdar, Jenny Wright and Lance Henriksen.
Passed 18 uncut by the BBFC for cinema release but was cut for VHS. The
cuts were waived for DVD. Uncut in the US
A young man reluctantly joins a travelling "family" of evil vampires, when the girl he'd tried to seduce is part of that group.
This is a masterpiece of a film from director Kathryn Bigelow. It has been described by Ms Bigelow as a story of two families, a daylight family and a night family; others have called it a cross between a
horror film, an action film and a western. It is a recorded fact that Ms Bigelow had wanted to make a western, but because westerns weren't popular at the time, it was decided to turn it into a horror film with a basic western feel.
This film is thoroughly enjoyable. One of the greatest vampire movies ever, though interestingly the term vampire is never used in the film itself.
A schoolgirl is raped by three low-lifes, and is then blackmailed by her attackers to keep her quiet. Desperate for revenge, she makes contact with a necromancer, who promptly takes
care of the boys using her magic powers.
Definitely a B movie but plenty of reviewers have enjoyed the film on these terms.
UK: The Unrated Director's Cut was passed 18 after 19s of BBFC cuts for:
2011 High Fliers video
The BBFC commented:
Cuts required to remove sexualised focus on the torture and sexual assault of a man by inserting a urethral sound into his semi-erect penis causing severe bleeding. Cuts made in line with BBFC Guidelines and policy, and the
Video Recordings Act 1984. [notably not mentioning the Dangerous Pictures Act]
Nekromantik is a 1987 West Germany horror by Jörg Buttgereit. With Bernd Daktari Lorenz, Beatrice Manowski and Harald Lundt.
Not released in the UK for fear of censorship from 1987-2014. Passed 18
uncut for DVD in May 2014.
A German motorway cleaner takes rotting bodies home to a lover who has a necrophilia fetish. This involves the skinning of a rabbit, use of a
metal pipe in conjunction with a condom, nudity, and graphic sexual scenes with dead bodies.
UK: Passed 18 uncut for strong sex, bloody
violence, sexual violence, necrophilia for:
The 1991 German horror film Nekromantik 2 was passed without cuts at 18, with scenes of sex and sexualized violence, including a scene in which a woman
decapitates a man she is having sex with, meaning that no lower rating could be considered.
Nemesis is a 1992 Denmark / USA action Sci-Fi thriller by Albert Pyun. Starring Olivier Gruner, Tim Thomerson and Cary-Hiroyuki Tagawa.
The Theatrical Version is MPAA R rated and is missing violence found in
several extended versions. The Director's Cut, the Japanese Version and UK Version all feature similar extended violence and a darker alternative ending, but it unclear as to which of these is the definitive version.
In the future, chaos is rampant as 'information terrorists' threaten to destroy order in society. Alex is a part-man-part-machine LAPD cop who is the best at what he does. When one of the terrorists calls him a
machine, Alex questions his humanity and decides to leave the force. His final assignment is to apprehend an old colleague who has stolen some data. However, there is more than meets the eye and Alex must question his allegiance.
US: The Director's Cut ior Nemesis 2.0 s MPAA Unrated.
2019 MVD Collectors Edition [Theatrical Version + Director's Cut + Extended Japanese versions] (RA) Blu-ray/R1 DVD Combo
at US Amazon
From IMDb. The Director's cut has more blood and violence. It leaves out some of the narration that detrimentally gives away plot details too early.
Japanese Extended Version
Japan: There exists an extended Japanese Version
From IMDb. The Japanese VHS features an alternate ending, containing an extended
scene with Germaine, and a surprise appearance by Farnsworth at the very end, but also misses the entire stop-motion fight sequence on the plane, even though the sequence with an (inexplicably) badly injured Alex in Einstein's lab is intact.
This cut of the film seems to be a hybrid of the theatrical cut and the extended version of the film,
containing some of the beats and extra action from the extended cut but also including the fight with the endoskeleton at the end of the picture.
US Theatrical Version
US: The cut Theatrical Version was rated R
The Neon Demon
The Neon Demon is a 2016 France / USA / Denmark horror thriller by Nicolas Winding Refn. Starring Elle Fanning, Christina Hendricks and Keanu Reeves.
The Daily Mail tried to stir up a censorial hoo-hah about the film, but
to no avail, the BBFC was untroubled by the international version of the film and passed it 18 uncut. However the film was cut in the US for an MPAA R rating.
aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.
UK: A cut version was rated R for disturbing violent content, bloody images, graphic nudity, a scene of aberrant sexuality,
From IMDb. The theatrical R-rated version and uncut version are different only in the second morgue scene as follows:
(A) Female genital nudity is depicted 1 hour 29 minutes and 0 seconds into the
film. In the R rated version (which played in US theaters), when Ruby was kissing the corpse (played by a female actress), the bottom of the frame showed the upper half of the vulva (inclusive of somewhat blurred labia, due to the camera focus on the
kissing). In the unrated version (NOT the theatrical version or the director's narrative - which both emulate the R rated version seen in US theaters), that same moment depicts VERY clear labial exposure (as in medical clarity, yet artistically
(B) Note that the unrated version also shows Ruby's hand brush along the genitalia as it sweeps up to the left breast (R rated version prolongs the cut-away to the Jessie fantasy shot), and also depicts Ruby bouncing on
the corpse as she reaches orgasm (while the R rated version shows only the close up of her face). The foley work and soundtrack during the unrated morgue scene are subtly but noticeably different.
UK: Passed 18 uncut for strong bloody images, necrophilia, sexual assault:
Never on Tuesday is a 1989 USA comedy drama by Adam Rifkin. Starring Claudia Christian, Andrew Lauer and Peter Berg.
Cut by the BBFC for 15 rated VHS due to to child protection law.
Matt and Eddie are two young men from the mid-west travelling to California to see the sights - primarily semi-clad women on beaches. They hop into their car and head off through the
desert on their quest. Hours from civilization the two are horsing around inside the car, lose control, and collide with the only car they've seen for miles. The driver of the other car is Tuesday, the most beautiful woman they've ever seen. Stranded in
the desert, Matt and Eddie fantasize about Tuesday while they wait for someone to stop and help them. A motley collection of humanity happen by, but few are willing to help.
UK: Passed 15 after 26s of BBFC cuts for:
1989 CBS/Fox VHS
Thanks to Scott. The BBFC cuts were:
- At 57 mins In fantasy open-air sex scene on bed with little girls dancing around it, remove all sight of girls dancing in same shot as man stroking bare breasts of woman sitting
astride him (Protection of Children Act 1987).
Never Take Sweets From a Stranger is a 1960 UK horror mystery thriller by Cyril Frankel. Starring Gwen Watford, Patrick Allen and Felix Aylmer.
Uncut by the BBFC for an X rated cinema release in 1960. Later uncut and 12 rated on 2017 Blu-ray. The US Theatrical Version was cut for dialogue.
nine-year-old daughter of the town's newly-appointed school principal, Peter Carter and his wife Sally, is playing in the woods with her 11-year-old friend Lucille, when Jean discovers she has lost her purse containing her "candy" money. Lucille tells
her she knows where they can get sweets for nothing, and leads her to an imposing mansion, from which the owner, Clarence Olderberry, Sr., a tall, gaunt man of 70 has been watching the girls from a window.
UK: A short version was passed 12 uncut
for child abuse theme and references, moderate threat for:
2018 Powerhouse Hammer Vol 2 [UK + US Theatrical Versions] R0 Blu-ray at UK
US: Uncut and MPAA Unrated for:
2018 Mill Creek Hammer Double Feature Vol 4 (RA) Blu-ray at US Amazon
UK: Passed X (16) uncut for:
1960 cinema release
US: The US theatrical version was cut for dialogue and re-titled Never Take Candy from a Stranger
US: Cut for the original US theatrical release:
2020 Mill Creek Hammer 20 Films Set (RA) Blu-ray titled Never Take Candy from a Stranger
at US Amazon #ad
The BBFC cut the 2009 cinema release by 8s for a 12A. Distributor
chose to cut sight of blood spurting in slow motion as a man and a woman are gunned down. An uncut '15' was available.
New York New York
New York, New York
Nea Yorki, Nea Yorki
New York New York is a 1977 USA musical music drama by Martin Scorsese. Starring Liza Minnelli, Robert De Niro and Lionel Stander.
All UK releases seem to include the full length version which has been 'A'
or PG rated. There are also two shortened versions running at at 136 and 153 minutes.
The day WWII ends, Jimmy, a selfish and smooth-talking musician, meets Francine, a
lounge singer. From that moment on, their relationship grows into love as they struggle with their careers and aim for the top.
UK: Passed PG uncut for mild language and emotional
2005 MGM [Special Edition + US Theatrical Version] R2 DVD at UK Amazon
The New York Ripper was
a great Italian horror film from Lucio Fulci, the film was filled with plenty of gruesome death scenes and lots of sleaze, sex and nudity in fact its probably one of the sleaziest Italian horror flicks ever seen.
old man finds a prostitute's severed hand under the Brooklyn Bridge the police decide to do a little investigating. It seems that the victim was heard speaking to a strange duck-voiced man. As the murders add up the police detective who's investigating
the case recruits a psychology professor to help find out who this Donald Duck voiced maniac could be
This is a typical Fulci flick which means that the plot gets thinner during the course of the film and the bad acting
which was adequate especially for this type of film could have been better but that's not important, if your a hardcore Fulci or exploitation fan then you'll obviously love this as the death scenes were quite brutal and very nasty.
One of Fulci's best.
US: A restored version is uncut and MPAA Unrated for:
2020 Blue Underground R0 4K Blu-ray/R0 Blu-ray Combo at US Amazon
Underground Limited Edition R0 Blu-ray/R0 DVD Combo at US Amazon
From IMDb. Two scenes are present in this extended version that have generally been omitted for editorial reasons from previous releases. However it has been mentioned that the restored scene outside the hospital is misplaced and
just ends up adding confusion
A brief conversation between Dr Davis and his secretary, and
a shot of Davis turning and watching Lt Williams driving off in his car outside the hospital.
UK: An extended version was passed 18 after 29s of BBFC cuts for
2020 Argent/Shameless R2 DVD
2020 Argent/Shameless VoD
2011 Argent/Shameless R0 Blu-ray
The BBFC commented:
Compulsory cuts were required to remove sexualised violence (a naked and bound woman's stomach and breasts being mutilated with a razor blade)
The version includes 3 minutes of footage not in the previous Shameless release and 15 seconds of footage not in the Blue Underground Blu-Ray. The BBFC cuts have been implemented by substitution and do not effect the running time.
Shameless have made great attempts to mask the cut best that they can. The still-offensive scene that the BBFC refuses to budge on, the death of the prostitute Kitty, is fairly apparent, but Shameless has done an admirable job in editing it so that
it doesn't stand out too sorely from the rest of the film.
The R-Rated lacks all of the sex scenes and shots of the genital area. The R Rated version retains the violence though.
UK: The shorter version was passed 18 after 34s of BBFC cuts for:
2007 Argent/Shameless R0 DVD
The BBFC commented:
Cuts were required to remove sexualised violence (a naked and bound woman's stomach and breasts being mutilated with a razor)
From IMDb & Mercury:
The BBFC did not ask for any additional cuts above those implemented in 22s for the 2002 release. In fact Shameless reckon that 19s were cut on BBFC instructions.
UK: The shorter version was passed 18 after 22s of BBFC cuts for:
2002 Protected/Vipco VHS
The BBFC commented:
Cuts required to detailed, close up sight of a woman's stomach, breast and nipple being cut with a razor blade
UK: The shorter version was banned by the BBFC for:
1984 cinema release
It was not only banned but all prints were famously escorted out of the country. At least that is the romantic notion of events. The BBFC explain the events that led up to this story in a more pragmatic way. See
case study from bbfc.co.uk :
If Ferman had merely written to the distributor confirming the decision to refuse a BBFC
classification, The New York Ripper may have simply been another work denied a release during the video nasties era. However, what Ferman did next meant The New York Ripper became something of an urban legend (which persists in cult and horror film
circles to this day).
The fact the UK distributor of Nightmares in a Damaged Brain had just received a prison sentence for his role in distributing his film made the potential for the distributor of The New York Ripper to become
embroiled in an obscenity case seem very real. Therefore Ferman decided it would be unwise for the BBFC to return the film to its distributor. Ferman was aware that the distributor could still release The New York Ripper on video tape (or seek local
authority approval for local cinema exhibition), in spite of the BBFC's judgement that any release of the film was at risk of comprising an obscene publication. To do so would not only risk the distributor being vulnerable to a charge of being found in
possession of an obscene work with intent to commercially supply, but could also potentially put the BBFC in the difficult position of having facilitated that supply.
Accordingly, Ferman took the unusual step of informing the UK
distributor that the BBFC would be re-exporting the submitted print to the original rights holders in Italy, also advising him that he should similarly dispose of any further copies of the film in his possession. The BBFC's actions took place in a time
and climate in which UK distributors were being convicted and even sent to jail for their involvement with similar films. However, it is easy to see how the legend developed that The New York Ripper was so uniquely powerful and offensive that every print
had to be escorted from the country. Some stories go so far as to suggest the film had been removed under armed guard.
The BBFC also notes that there was a debate at the BBFC about whether the film cut be cut instead of banned:
The title of The New York Ripper and the film's theme were also unfortunate given the UK planned release also coincided with heightened public sensitivity following the conviction of serial murderer Peter Sutcliffe (the
so-called Yorkshire Ripper').
Opinion was divided between the five Examiners who undertook the film's initial viewing, on 14 December 1983. Three argued the film could be cut for 18, while two felt it should be refused a
classification outright. Those who argued the film should be rejected, or refused a classification, did so for two reasons. Partly, they believed the level of cuts required would leave no viable product for the company to release, and partly because they
were concerned that the film's perceived misogyny might have a corrupting effect on viewers. There were further viewings, during December 1983 and January 1984, but no greater consensus emerged amongst examiners.
As a result, the
BBFC's Director, James Ferman - who himself favoured refusal of classification - referred the film to the BBFC's President, Lord Harlech. Lord Harlech concluded that:
Two years ago it might have been worth trying to
cut this very heavily for 18. But now, the law of obscenity would seem to catch this material squarely.
NF713 takes the form of an extended sequence in which a man tortures a woman psychologically, physically and sexually. The woman is bound and restrained
throughout and the man in question is in a position of absolute power and control over her. The man tortures the woman in order to make her confess her crimes against an unnamed 'State' but his ultimate aim is to break her down and make her fully
compliant, eradicating her individuality and making her a mere number, 'NF713'. The man employs a variety of techniques ranging from invasive questioning about her body and her sexual life to genital torture with forceps and electricity, makeshift
waterboarding, beatings and forced urination. The torture is unremitting and takes up the majority of the work's 73 minute running time. Throughout large sections the woman is naked or semi-naked and her nudity is focussed upon, particularly in the later
portions of the work. The work concludes with a series of black and white stills of the woman, bound and restrained.
In the BBFC's view, the primary purpose of NF713 is to sexually arouse the viewer at the sight of a woman being sexually
humiliated, tortured and abused. As such it constitutes a 'sex work', which is defined by the BBFC's Guidelines as a work whose 'primary purpose is sexual arousal or stimulation'. The focus on the woman's naked, humiliated body together with the
conventional BDSM aspects of the later part of the work lend credence to the view that sexual arousal is its primary intent, as do the closing series of black and white stills which strongly resemble conventional erotic fetish photography. The BBFC
operates a strict policy on sex works and does not issue classification to such works if they depict non consensual sexual activity (whether real or simulated), the infliction of pain or physical harm (whether real or simulated) or sexual threats,
humiliation or abuse that do not form part of a clearly consenting role-playing game. NF713focuses exclusively on these elements of non-consensual activity, pain, humiliation and abuse and takes the form of a dramatic scenario in which the viewer is
invited to believe that what is being shown is 'real'. Unlike many BDSM works it is not apparent that what is occurring is part of a consensual role play where the roles are clearly set out and, in any case, the Guidelines preclude the kind of strong
abuse on offer here, even if consent is established.
Even if one were to take the view that the primary purpose of NF713 is to explore the nature of torture in dramatic form, the work would still be in clear breach of the BBFC's Guidelines
and policies on sexual violence. The unbroken sequence of sexual torture and humiliation means that the work runs the risk (whether intentionally or unintentionally) of eroticising sexual violence and thereby causing harm to viewers. The work invites the
audience to relish sight of – and be sexually aroused by - a restrained and helpless woman being sexually molested, humiliated and tortured. Such a complete focus on sexual violence, together with the elements of eroticism provided by the nudity and
semi-nudity of the female victim, runs a real risk of eroticising sexual violence in a potentially harmful and dangerous manner.
The BBFC considered the possibility of cuts. However, given the extent of unacceptable material and the pervasive
theme of sexual violence and sexual threat, cuts were not considered a viable option on this occasion.
I've just spent the last few days being tortured and interrogated for Control & Reform Productions. The film is
called Enemy of the State [Since renamed to NF713] and it's the dark brainchild of China Hamilton and me.
It's somewhere between Closet Land and 1984 - but with no faking of the torture scenes. It's set in a non-specific
police state and I've been arrested for distributing anti-State pamphlets. As such, I no longer warrant a name; I'm simply NF-713. My soft-spoken interrogator gradually convinces me to cooperate through various kind and caring methods, as
he only wants to help me. Help comes in various forms, as does corrective treatment:
Bastinado, back whipping, breast whipping, electric shocks, hydrotherapy , medical torture, brainwashing, force-feeding… Except for the use
of a small whip in one scene, my bottom was actually spared. (How's that for a first?) I was wrecked by the end of the shoot, still crying after the cameras stopped rolling.
Niki Flynn also speaks at length about the BBFC rejection notice:
R is for "rejected"
The British Board of Film Censors has just examined my naked, humiliated body in exhaustive detail and declared it potentially harmful and dangerous.
While I'm not
too surprised the film didn't get an 18 certificate, I'm actually fairly disturbed by some of the alarmist language in the rejection note.
The note describes the unremitting torture inflicted throughout the film,
making it sound far worse and more graphic than it actually is. Frankly, in the cut submitted to the BBFC there is very little actual abuse shown and the focus is mostly on the psychological aspects of interrogation and the resulting Stockholm Syndrome.
But they felt its primary intent was to sexually arouse the viewer and as such it's a sex work and the non-consensuality makes it unsuitable for the British public, who are apparently likely to become rapists and torturers after viewing such a