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Movie Review

Star-filled satire Don't Look Up skewers targets big and small

Alex Bentley
Dec 10, 2021 | 12:30 pm
Star-filled satire Don't Look Up skewers targets big and small
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Writer/director Adam McKay, who spent most of his career making comedy for comedy’s sake, has made one of the more interesting pivots in Hollywood, turning his comedic eye on real world topics. He took on the financial system in 2015’s The Big Short and the Bush/Cheney presidency in 2018’s Vice, using satire to make larger points.

At first blush his new film, Don’t Look Up, wouldn’t seem to be in line with the previous two. It centers on two astronomers, Dr. Randall Mindy (Leonardio DiCaprio) and PhD student Kate Dibiasky (Jennifer Lawrence), who make the shocking discovery that a previously uncharted comet is on a course to hit Earth. They quickly try to get word out about the impending disaster, starting with a meeting with President Janie Orlean (Meryl Streep), and then move on to a press tour when the president doesn’t seem to take the threat seriously.

It’s during that tour that McKay’s real goal with the film starts to crystalize, as Mindy and Dibiasky’s urgent message to the world gets filtered through a variety of outlets, each of which have their own goals that don’t necessarily align with that of the astronomers. The deeper they get, the more it becomes clear that having the public believe in a fact in this day and age is next to impossible.

Journalist David Sirota, who’s worked on a number of political campaigns, including Bernie Sanders’ 2020 presidential run, is given a story credit on the film, which should tell you something about where it is heading. Through a thinly-veiled lens, it gives commentary on the current state of science, politics, the influence of money on politics, media, social media, discourse in general, all-encompassing corporations, and more.

The more McKay skewers what life is like in the modern world, and the last two years in particular, the funnier the movie becomes. Each of the people Mindy and Dibiasky encounter are ridiculous in their own way, but they’re also scarily believable in a world where a former reality TV host and his family became leaders of a country.

And thank goodness the movie is so funny, because if you think too much about the implications of the characters and plot developments, you might start crying. That’s especially true of the film’s discussions around science, which ring all too true in a world where efforts to keep people healthy, including a life-saving vaccine, are being debated as good or not.

The cast of the film is top-notch, and they all came with their A-games. DiCaprio, Lawrence, and Streep maintain their Oscar-level reputations, and other great performances dot the film’s landscape, including those by Rob Morgan, Cate Blanchett, Tyler Perry, Jonah Hill, Melanie Lynskey, and Mark Rylance. The cast is such that somehow Timothée Chalamet is relegated to second-tier status.

McKay has carved out a special role in Hollywood, one where he seems to know how to tackle weighty topics without making his films feel heavy at all. Don’t Look Up may just be the best movie about the COVID era without ever mentioning the disease.

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Don't Look Up is now playing in theaters. It debuts on Netflix on December 24.

Meryl Streep in Don't Look Up.

Meryl Streep in Don't Look Up
Photo by Niko Tavernise/Netflix
Meryl Streep in Don't Look Up.
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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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