Olivia Wilde and Cooper Hoffman give hilarious performances as a renowned, provocative visual artist and the lowly underling she promotes to her sexual and emotional toy. The first feature in more than a decade from New Queer Cinema pioneer and provocateur Gregg Araki, lacks the surprise and edge of any of his previous work. After the pretentious, regressive tedium of Halina Reijn's Babygirl (2024), I was looking forward to a funny spin on a BDSM relationship between a boss and an intern; instead, I got yet another art-world satire (a subgenre that is not only like shooting fish in a barrel; it's like shooting dead fish in a barrel) mixed with a crime procedural that pays off like a bad '90s heist comedy. Fortunately, the two delightfully funny leads, as well as the inspired against-type casting of Charli XCX as Hoffman's cerebral, sex-negative girlfriend, make the film well worth seeing.

