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Super Superheroes

Batman v Superman reaches super status with knockout action

Alex Bentley
Mar 25, 2016 | 12:00 am
Batman v Superman reaches super status with knockout action
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Prior to seeing Batman v Superman: Dawn of Justice — and can a brother buy an “s” or a period for that title? — I was skeptical. Could director Zack Snyder and his filmmaking team make a coherent narrative out of their bald-faced attempt at keeping up with Marvel in the ongoing war for your moviegoing dollars?

The previous Superman movie, Man of Steel, was tone-deaf, laying waste to much of Metropolis and its residents without so much as a second thought. Ben Affleck’s taking over Batman’s cowl and cape from Christian Bale is also questionable. Could they really overcome their previous missteps and deliver an entertaining film?

The answer is yes, with a few caveats. Snyder and screenwriters Chris Terrio and David S. Goyer have created a world in which a rivalry between the two superheroes at least makes narrative sense. In fact, Batman’s anger at Superman (Henry Cavill) almost seems to be an apology from Snyder for Man of Steel, as it stems from Superman’s climactic fight with General Zod (Michael Shannon).

There’s little nuance to anything in the movie, as the filmmakers prefer to show their cards up front and let them fall where they may. Explanations for everything from Batman’s dinosaur voice to how close Metropolis and Gotham City are to each other are laid bare, leaving little mystery to anything in the story.

With multiple characters to serve, including Lois Lane (Amy Adams), Lex Luthor (Jesse Eisenberg), and Diana Prince/Wonder Woman (Gal Gadot), the danger existed that there would be too much going on for the film to be enjoyable. But the filmmakers keep things relatively simple, and the performances by the main actors are more than enough to sustain momentum.

The simplification of the plot does lead to more than a few “just go with it” moments, as characters luckily — magically? — turn up at the right place at the right time. But because it is a superhero movie, you need to be willing to turn up your sense of disbelief if you’re going to get any enjoyment out of it at all.

And somehow, much to my surprise, the on-the-nose nature of the film is superseded by the sheer entertainment value, especially the action scenes.

Two elements in particular stand out. Eisenberg is perfectly cast as Luthor, giving him an uneasy smarminess that makes the character one of the few reasons to smile in the movie. Meanwhile, Gadot doesn’t get a lot to do, but when it comes time for her big moment, it’s as iconic an entrance as anyone could hope for, replete with her own rockin’ theme music.

As for the two big guys, both Affleck and Cavill give solid, if not earth-shattering, performances. They’re hamstrung a bit by the limits of the story and their characters, so there’s never a feeling of rooting for one over the other. But they do nothing to embarrass themselves and prove that their continued inhabitation of the roles should be something to anticipate, not dread.

Yes, Batman v Superman is almost unrelentingly dark, making the two-and-a-half hour movie tougher to get through than the lighter-toned Marvel movies. But it ultimately earns its superhero stripes thanks to great performances and some truly knockout action scenes.

Ben Affleck and Henry Cavill in Batman v Superman: Dawn of Justice.

Ben Affleck and Henry Cavill in Batman v Superman
Photo by Clay Enos/ TM & © DC Comics
Ben Affleck and Henry Cavill in Batman v Superman: Dawn of Justice.
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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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