The Daily Beast
During a pivotal scene in The Master, Paul Thomas Anderson’s engrossing psychological drama based (in part) on the life of Scientology founder L. Ron Hubbard, the charismatic mystic Lancaster Dodd (Philip Seymour Hoffman) is gazing at himself in the mirror. His cunning wife, Peggy (played by the oft-bubbly Amy Adams), has been sensing an animal-like attraction between her husband and an unstable drifter, Freddie Quell (Joaquin Phoenix). In order to mitigate his urges, she unzips his trousers, locks eyes with his reflection, and gives him a furious hand-job. “Cum for me,” she says.
And this masochistic sex act, delivered by none other than the princess from Enchanted, is just the tip of the … iceberg.
Whereas last year, amid all the priggish costume dramas, the only film during awards season that got movie-going audiences all hot and bothered was the NC-17-rated Shame, which featured its star Michael Fassbender urinating on camera and engaged in a raunchy three-way sex scene that included a rare “tossed salad,” this year’s batch of Oscar hopefuls boasts a plethora of sex acts ranging from the impressive to the downright bizarre. Call it the Fifty Shades of Grey effect.
Over the summer, audiences gagged at the sight of Gina Gershon forcibly fellating a chicken leg situated in the crotch of a psycho killer, played by Matthew McConaughey, in William Friedkin’s impressive dark comedy, Killer Joe. And in another McConaughey film, the male-stripping extravaganza Magic Mike, randy viewers were treated to a close-up shot of Big Dick Richie (True Blood hunk Joe Manganiello) inflating his gigantic penis in a pump.
This year’s crop of fall film releases courting Oscar can be divided into two distinct categories: hand-jobs and the handicapped. ...