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Movie Review

Bad Moms makes us want more movies about women behaving badly

Alex Bentley
Jul 28, 2016 | 4:28 pm
Bad Moms makes us want more movies about women behaving badly
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After Bridesmaids burst onto the scene in 2011, the surprise hit featuring mostly women seemed to portend a new breed of movies that would not only give women more opportunities to be stars, but would also allow them to behave as badly as men have for decades. And yet, apart from the career of Melissa McCarthy, few films have followed suit, a strange thing in an industry usually built on copycats.

So, it’s no small thing to see a movie like Bad Moms make it to the theaters. Its main actors — Mila Kunis, Kristen Bell, Kathryn Hahn, Christina Applegate, and Jada Pinkett Smith — are all well known, but none is considered a can’t-miss star. That could change after this barn burner of a movie that lets them cut loose in ways they never have before.

The film, written and directed by the two men who wrote The Hangover, centers on Amy (Kunis), a young mother of two preteens who’s juggling demands from her kids, husband, and job. After a series of too many stressors, she finds solace in the form of Carla (Hahn) and Kiki (Bell), two fellow moms who are also sick of the pressure put on them by their families and others.

The trio proceeds to throw caution to the wind, blowing off work and family duties during the day and boozing it up at night. Set to a slew of contemporary pop and hip-hop songs, the scenes of them going crazy are an absolute blast to watch, as they do and say things that are a far cry from the usual actions of women in movies.

The caveat in this case is that you have to ignore the cheesiness and improbabilities of the story in order to fully enjoy the movie. Amy’s husband (David Walton) is portrayed as a doofus and a cheater of the highest order, thus allowing her to not feel guilty exploring her wild side, including a fling with a single dad (Jay Hernandez). And the movie hardly addresses exactly what all the kids are doing while the threesome is off having fun, so it’s best not to think about it too much.

And, really, it doesn’t matter. This is a movie that will have moms of all ages — and everyone else — howling with laughter, as it allows them to indulge in a bit of wish fulfillment without actually worrying about being bad moms themselves. While it’s not the most insightful movie about motherhood, it does contain enough knowledge to not make it seem completely preposterous either.

Kunis, Bell, and Hahn are great together, each bringing something different to the table. It’s Hahn who garners the most laughs, as her I-don’t-give-a-crap character says and does what she wants at all times, no matter the circumstances. Applegate and Pinkett Smith, frustratingly, are one-dimensional villains, but you end up hating them so much that it’s hard to argue they don’t play them well.

Women are a highly underserved section of society when it comes to movies, as they are usually given romantic comedies and little else. Bad Moms proves that, when done well, movies of all types can appeal to women. Studios just have to be willing to try.

Mila Kunis, Kristen Bell, and Kathryn Hahn in Bad Moms.

Mila Kunis, Kristen Bell, and Kathryn Hahn in Bad Moms
Photo courtesy of STX Productions
Mila Kunis, Kristen Bell, and Kathryn Hahn in Bad Moms.
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Movie Review

New film I Want Your Sex somehow makes kinky activity boring

Alex Bentley
Jul 31, 2026 | 12:45 pm
Cooper Hoffman and Olivia Wilde in I Want Your Sex
Photo courtesy of Magnolia Pictures
Cooper Hoffman and Olivia Wilde in I Want Your Sex.

Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut - Three Bewildered People in the Night - in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest - his first film in 12 years - he’s putting it right there in the title, I Want Your Sex.

Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention - and failing at even that.

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I Want Your Sex is now playing in select theaters.

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