Extremely sexually explicit comedy version of "babygirl" where the sub is actually the intern. Some few funny jokes and decently executed but overall a forgettable movie

Sex is one of those subjects that can be difficult to address on film. It can easily come across as shallow, silly titillation, as bawdy, shameless voyeurism, or as a veiled form of porn euphemistically garbed as a work of erotic art. What’s more, viewers going into theaters to watch offerings about this subject may have expectations that don’t reflect any of the foregoing examples or that don’t live up to what they anticipate, leaving many audience members frustrated and disappointed. But, every so often, a movie comes along that gets things right, as is very much the case with the new comedy from writer-director Gregg Araki. As the film’s title unabashedly proclaims, this release is unapologetically about what it says it is, at least superficially. In actuality, however, there’s much more to this offering than what it suggests, and that’s what helps to make this an insightfully worthwhile watch, sexual considerations notwithstanding. In essence, the film follows the outrageous exploits of an outspoken, freewheeling, perpetually thirsty erotic artist, Erika Tracy (Olivia Wilde), and one of her naïve, sheepish gallery assistants, Elliott (Cooper Hoffman), who engage in a wildly uninhibited relationship ostensibly built just on sex. In many ways, it’s a scenario in which submissive, clueless Elliott finds himself in way over his head. However, as a recent college graduate in need of work, he takes the job, which, despite the considerable demands of his indisputably dominant boss, ironically ends up being quite liberating and erotically fulfilling (especially since his cold, perpetually indifferent girlfriend, Minerva (Charli XCX), frequently leaves him and his needs unattended, prompting Elliott to engage in frequent acts of “self-satisfaction”). As time passes, though, relations between Erika and Elliott start to sour as he begins to take the nature of their relationship seriously (some might even say obsessively), something that she views as completely casual, easily dismissive and lacking in the same emotional intensity as her ever-hopeful would-be suitor. And this, in turn, causes Elliott’s life to fall apart on multiple fronts, even leading to specious suspicions involving murder raised by two perplexed, stone-faced detectives (Johnny Knoxville, Margaret Cho). What’s perhaps most fascinating about this film, though, is the many issues it examines through the lens of sex. The relationship between Erika and Elliott may begin with and be rooted in sex, but it raises questions about such matters as honesty, trust, control and obsession, as well as the relationship dynamics of dom-sub sexuality. The narrative also introduces passing but relevant observations about generational social attributes and how they’re reflected through sexuality, just like virtually all other aspects of life. This makes for an incisive, smartly written movie, one far different from what one might expect (and from conclusions one might draw from its somewhat misleading trailer, which occasionally makes this film look like the second coming of entries from the “Porky’s” franchise). It’s also refreshing to see an offering that isn’t afraid to talk about sex in a frank but humorous context without continually turning its story elements into little more than glorified punchlines. And, even though “I Want Your Sex” is erotically explicit (sensitive viewers take note), it’s never depicted gratuitously or in blatantly bad taste. This is all made possible by the film’s fine script and sustained pacing, backed by the excellent performances of Wilde (what a year she’s having!), Hoffman and the superbly cast ensemble of supporting players, including both those named above and the characters portrayed by Mason Gooding, Daveed Diggs and Chase Sui Wonders. It’s truly amazing how a picture about a topic that might typically be casually cast aside or summarily denigrated can be as thought-provoking as this one. But, as Erika so often astutely observes, sex can open the door to something that is remarkably revelatory in our creativity, our actions and our outlooks – and not just in the bedroom.

"Elliot" (Cooper Hoffman) is working for a renowned artist "Erika" (Olivia Wilde) when she starts to show a little extra interest in him. He's intrigued and more than a little curious, but he is ill-prepared for just what she has in mind when she invites him back to her home - ostensibly for professional purposes - and introduces him to her kinky-side. Meantime, he's been chucked out of his apartment and is taking a break from his studious and physically uninterested girlfriend (Charlie xCx) and so is staying with his sexually fluid colleague "Zap" (Mason Gooding). Now with his sexual boundaries being tested and his eyes (amongst other things) being well and truly opened, his love life becomes something of a rollercoaster to which he is becoming increasingly addicted. The problem might be, though, that "Erika" isn't exactly reciprocating on any emotional fronts. For her, he has a role and a purpose and she seems quite capable of switching on and off at will - much to his chagrin. With his now obvious obsession to her and her power becoming clear, what happens next? The first half hour of this is actually quite ground-breaking; not least because both Hoffman and Wilde throw themselves into their parts enthusiastically and there are some accompanying pithy remarks from the smart-mouthed "Zap", but after that it sort of plateaus into something that runs out of steam before becoming vaguely preposterous - even by battery-powered standards. It's kinkiness is fun, is cringe-making and is innovative but that isn't sustained and with the dialogue never really making that much of an impact on the proceedings, I'm afraid I sort of lost interest. It certainly emphasises that pleasures of the flesh and of the mind are not necessarily restricted to people of the opposite sex, nor to anything even remotely conventional but once that point has been made once or twice, I thought this just became a bit repetitious and the conclusion rushed like Agatha Christie on Ketamine. It'd worth a look for two initially quite quirky performances, but that's about the height of it.