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Irreversible Tunnel Rape Scene Monica BelluciThink of the most powerful movie scenes you can remember? The scenes that shocked and grabbed you. The moments that punched you in the gut. The takes that made you fall in love with Cinema. My guess is that they’re not from a kids film?!?!? For me, there’s something more raw, powerful and hard-hitting about the scenes and themes in 18-rated film that lesser certificates fail to match. Despite this, it feels like there are almost no 18-rated movies being released in the UK any more.

In Britain we have the following certificates for cinema-screened movies, issued by the BBFC (British Board Film Classification)

U: Universal – everyone can watch
PG: Parental Guidance
12A: Children under 12 must be accompanied by an adult
15: Fifteen years and older
18: Eighteen years and older

The Exorcist Regan Head TurnBetween 2003 and 2013 the number of films released in UK cinemas jumped from 587 to 994; a raise of 59%. U-rated films went from 60 (10% of all films) to 127 (13%), 12A went from 153 (26%) to 321 (33%) yet the number of 18-rated films has gone from 56 (9.5%) to 68 (6.8%). Of the 28 UK box office number 1 movies this year so far, only one – The Wolf of Wall Street – was an 18; and the last 18 before then was Dredd back in September 2012.

Fargo WoodchipperIn reality, most of what comes out would be broadly categorized as either kids/family films (PG/U), teen/comedy films (12A), and thriller/horror films (15-18). Despite this, distributors seem hell-bent on cutting 18s down to 15s, 15s down to 12As, and 12As down to PG. It’s frustrating because you pay good money to see a film that’s been censored by the distributors to maximize the bums on seats – but the studios release the DVD as the higher certificate anyway.

Battle Royale Suicide Pact Poison FoodMost notoriously, The Hunger Games dropped 7 seconds of ‘gore’ to limbo under the 12A bar. Doesn’t sound bad? Think how much more powerful it would have been with a little bit of blood or some realistic swearing in there! I zoned out of the ‘fighting’, as you saw someone hack into an opponent, and raise their weapon which was clean and shiny. Rubbish! Sure, it didn’t have to be another full-blown Battle Royale, but don’t sanitise it this much – at the end of the day, it’s kids killing kids!

Die hard Dead Henchman ho ho ho now I have a machine gunA Good Day to Die Hard was another movie that was intentionally cut from a 15 to a 12A – by removing some violence and swearing. This is a franchise that started life as a genre-topping hard-18 action thriller, which has been diluted down to a family-friendly romp. You know what I say to that? “if you’re not a part of the solution, you’re a part of the problem. Quit being a part of the fucking problem!!”

These films aren’t alone – Jack Reacher lost some violence to drop from a 15 to a 12A. Woman in Black was a 15 that got trimmed down to a 12. Robocop & Total Recall, both originally ultra-gory 18s were re-made as 12As. Machete was an 18, Machete Kills – 15… I’m sure you get my drift

Dawn of the Dead iconic zombieBut it’s not all bad news. Nebraska last year should have been a 12A, but for the term C*cksucker being deliberately left in by the director – Alexander Payne, step up and receive your bravery medal. And then there’s Airplane! A film that has been a PG for over 20 years, but was recently has been uppded to a 12A for the sexual references – I guess I picked the wrong day to look up film certificates.

Where did all the brash, bold, action-packed, risqué, sexy, and ballsy film-making go? And why the fudge are the Jackass Movies all rated 18?!?!?!?!

The Woman in Black: whilst figuring out a reclusive widow’s estate, a young lawyer  awakens a nasty ghost that terrorises the local town. Everything is inherently creepy; it’s a timeframe that we associate with ghosts, the setting is the classic cut-off haunted house, crazy weather, and there’s just something uneasy about staring/possessed/haunted children. It’s well-ececuted with lots of suspense and randomly placed big/noisy jumps; nothing groundbreaking, but very effective. Despite being a tad young, Radcliffe – and his sideburns – do well given there’s a lot of non-speaking sections, and Hinds truly lights up the scenes he’s in. The woman herself is better when not seen, and after the dig-up, the film loses its old-skool fear as the ghost’s behaviour becomes more ‘modern horror’. Being a pansy, for a film rated 12A, this had me in knots all over the place with some truly unbearable moments – it’s definitely not for kids. All characters also suffer from classic horror tropes; why go chasing ghosts, why go back to the house, why dot the townspeople refuse to re-locate? But these are probably better unanswered. Like Hammer itself, The Woman in Black is it’s a classic genre picture, very british, and good to see back on the silver screen.

Score: 6.5/10