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Movie Review

New Beauty and the Beast is no belle of the ball

Alex Bentley
Mar 16, 2017 | 4:17 pm
New Beauty and the Beast is no belle of the ball
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The idea of Disney producing “live action” remakes of their classic animated movies makes sense in general terms. Childhood nostalgia is a huge draw, and since Disney possesses the biggest back catalog of any animated film studio, they’d be throwing away money if they didn’t try to entice moviegoers with “new” versions of the films they know and love.

However, the new product should also offer something substantially different, otherwise you run the risk of jilting the very fans for whom the film is being made. The updated Beauty and the Beast is certainly great to look at, but once you get beyond the superficiality of seeing animated characters as real or computer-generated, the movie contains very little that sets it apart from the original.

Sure, they try to add in a few things to modernize the story. Belle (Emma Watson) has put her book smarts to practical use, creating a type of washing machine. A brief backstory for why her mother is no longer in the picture for her and her father (Kevin Kline) is introduced. And LeFou (Josh Gad), the right-hand man of Gaston (Luke Evans), is made more explicitly gay, though whether that’s an improvement is questionable.

Despite that, the film feels like a fuzzy copy of the movie you know and love. The story still takes the exact same twists and turns, highlighted by the familiar songs that all seem just a touch off. And because there’s nothing surprising about anything in the film, it’s purely an exercise in hitting all the beats you need to hit in order to trigger the right memories.

The most enjoyable part of the film ends up being the performances of the main three actors. Taken on their own, Watson, Dan Stevens as the Beast, and Evans are a pleasure to watch. Watson makes for an appealing Belle, and her history as Hermione in the Harry Potter films imbues a little something extra onto the character. Evans is as perfect a Gaston as you could imagine, making him the ideal foil for Belle and the Beast.

But other choices take away from those performances. Having stars like Ian McKellen, Ewan McGregor, Emma Thompson, Stanley Tucci, and Audra McDonald voice the enchanted items at the Beast’s castle is fun in theory. But since they don’t appear in the flesh for 99 percent of the film, their presence is essentially useless.

And then there’s the much ballyhooed/controversial idea of LeFou being undeniably gay, as opposed to the “wink wink” hints of the original. It’d be one thing if he were given a respectable side story to semi-explore that aspect. But he remains a buffoon, and the ham-handed scenes expressing the gayness of him and another character are so unsubtle and clichéd that they belong in an '80s sitcom, not a modern-day movie.

The animated fare that Disney serves up year after year is still second-to-none, but Beauty and the Beast shows that they’re still very hit-and-miss when it comes to live action. You may think you want to go see it, but you’d be better off firing up the DVD of the animated version for the 100th time.

Dan Stevens and Emma Watson in Beauty and the Beast.

Dan Stevens and Emma Watson in Beauty and the Beast
Photo courtesy of Walt Disney Studios
Dan Stevens and Emma Watson in Beauty and the Beast.
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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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