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    Aftershocks

    The battering of Andy Cohen beckons: Enough with the bad Sopranos prelims onReal Housewives of New Jersey

    Joseph Campana
    Theodore Bale
    Aug 24, 2010 | 12:40 am
    • Andy Cohen knows what's coming ...
    • Sitdown or not, you do not mess with Danielle.
    • No matter how outnumbered she appears to be.

    “Nothing caught on fire, nothing exploded,” Caroline reported last week after returning from a whirlwind Italian tour with the family. How naïve that sounds after another season of The Real Housewives of New Jersey!

    The show has struggled to stop flirting with comparisons to The Sopranos and finally make it big time, New Jersey style.

    “Can we find the solution to make her go away?” Caroline asks at a family sit-down. Talk about waste management — it sounds like someone could end up in a trunk.

    Meanwhile, Caroline’s arch-nemesis begins to speak in the third person: “Danielle’s mafia’s in place …There’s guns here — Caroline, know your place!”

    But let’s not rush to the anti-climactic finale. As in any action film, the buildup is everything.

    As the Manzos arrive chez Giudice, Teresa and Joe comfortably cook side-by-side. Caroline’s forgotten the wine and apparently Joe has stowed his SlapChop, forgotten his fickle finances, and let Theresa, in an apron worthy of a French maid, take charge of the pasta as Jacqueline and Chris show up.

    That’s right. The conglomerated Manzo clan can’t do anything without a detour to Danielle-land. Caroline feigns exhaustion with the situation then provocatively asks Jacqueline how Ashley’s doing, what with the assault charges pending. So dinner becomes a council of war. Should Caroline approach Danielle to ask her to drop charges?

    Caroline texts Danielle from a set of chairs so overstuffed they’d make Louis XIV proud. Caroline then exacts a promise from everyone else to keep Ashley in check. How like a fairytale! Will Ashley turn into stone after one more insulting text?

    Meanwhile, Danielle summons all her analytic powers to parse Caroline’s brief text. “I’d like to invite you,” Danielle scoffs. What significance that she used “I!” Daughter Jillian, as always, sees more clearly. “What sane person would want to go?” she asks.

    Besides, Danielle doesn’t fear Caroline anymore. “You’re not Carmelo [sic]. You’re not a Soprano,” she says. This is a video confession, but we do think she was absolutely true to The Sopranos with its amazing malapropisms. With just one word, Danielle has spliced Caroline Manzo and Edie Falco to produce an NBA superstar and candy-bar hybrid, a marketing executive’s dream!

    Another waxing moon drifts over the home of Jacqueline Laurita as a sensitive-yet-ominous piano arrangement lingers. Jacqueline holds her baby as she lays out the case to Ashley. Ashley insists on her innocence, saying Danielle is, “like herpes that never goes away.”

    Jacqueline’s oafish hubby Chris sees things more pragmatically. “It’s a waste of time and it’s becoming a waste of money,” he insists. For whom, Chris? Andy Cohen could be bulking up his 401(k) with Ashley-Danielle-inspired overtime (not to mention medical leave, but more on that later).

    Most great epics include elaborate arming scenes, a tradition passed down to the contemporary action film. In Franklin Lakes, it seems, for “arming” substitute, “endless over-analysis before a captive audience of family and or bodyguard friends.” And, of course, fix your makeup and pick a suitable frock.

    Danielle feels the love and light, so she calls her energist to be “scanned.” Is this the same energist who “scanned” Jacqueline once over the phone? And does that cost extra minutes? After a pathetic attempt at meditation-mudras with her smartphone on her lap, Danielle heaves a deep sigh or two and struggles to appear serene as a sitar plays. Bravo to Bravo’s music editors once again.

    It’s no surprise that as the two women meet for their private sit-down at The Abbey, a dark and dull restaurant out of a lesser romantic novel, both are filled with delusion. The question remains, who is the more deluded? Caroline wears a garish blue cocktail-dress. Danielle is dressed entirely in black and carrying a huge quilted purse that looks like it might contain a gun.

    Caroline is cordial when she says “you must be wondering why I called you here.” We thought it was supposed to be a meeting of the minds, but Caroline is acting like she’s Queen Elizabeth, about to bitch-slap one of her ladies-in-waiting. Danielle’s a character even David Chase couldn’t write. What was this Manzo mom thinking?

    Caroline calls the recent months “a crazy Merry-go-round.” The carnival metaphor will come back to haunt her in a few moments, but for the time being the women are civil. And Caroline continues to play innocent, saying that she’s merely puzzled as to why Danielle needs to pursue legal matters with Ashley.

    It becomes evident that Caroline fancies herself as some sort of clan boss who “stands with her family.” Really? For weeks and weeks, she’s been a peripheral character on the show, mostly moping about her lonely kitchen as her young-adult children flee the roost and her husband makes sure he’s got plenty of work to keep him at the office.

    We were waiting for a meaningful jab, a real zinger, and we found it when Caroline called Danielle a clown. Rarely quick-witted, Danielle comes back strong: “You’re calling me a clown with that red hair?” We have to admit that Caroline looks a lot more like she’s ready to sell cheap hamburgers and fries under a pair of golden arches.

    This painful tête-à-tête can’t last, so Caroline goes in for the kill: “When I called you garbage, I meant that you were garbage.” So much for reconciliation. Danielle is the one who walks out, however, and as she reaches for her hand-held in the misty night, she finally thinks of a retort: “She ain’t no matriarch of my family,” she says in disgust, adding “Teresa’s husband is a drunk! Jacqueline is certifiable! And Teresa, my daughters at that age wore lace and crinoline. Not leopard!”

    Back home, Danielle makes her gorgeous adolescent daughters thank her bodyguards and give them a hug. It’s a creepy-pervy moment, but then again there have been so many this season. Caroline stomps off to The Brownstone for mushy pasta and red sauce with the expectantly-waiting Manzo clan. She tries to end the season with an “a la familigia!” moment reminiscent of Moonstruck, but she’s definitely no Cher.

    After the fight, there’s little to do but read a series of dull recaps. Teresa insists her $11 million bankruptcy did not include a foreclosure on her home. Ashley paid a mere $189 fine with all other charges dismissed. Danielle’s embroiled in another sex-tape scandal featured in the pages of Hustler. And we’re too bored to let you know what’s happening with Caroline’s brood.

    With all this endless anti-climaxing, you may have nodded-off during the commercials. We sure didn’t. The trailers of the reunion alone were worth the price of admission, and we can’t wait for the “real” fight to come. There was even a brief tantalizing glimpse of Andy Cohen getting his ass shoved back into a chair.

    Was it a brawling Caroline, a tipsy Jacqueline, a crazy-eyed Danielle, or a scrappy Teresa that finally put him in his place? Our money’s on Teresa. She doesn’t need a table to terrify.

    unspecified
    news/entertainment

    Movie Review

    New comedy I Want Your Sex saddles an all-star cast with a dull story

    Alex Bentley
    Jul 31, 2026 | 2:15 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.

    ---

    I Want Your Sex is now playing in select theaters.

    news/entertainment

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