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Miserable Comedy

Tammy's depressing plot manages to make Melissa McCarthy unfunny

Alex Bentley
Jul 2, 2014 | 12:00 am
Tammy's depressing plot manages to make Melissa McCarthy unfunny
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Since her breakout performance in 2011’s Bridesmaids, for which she earned an Oscar nomination, Melissa McCarthy has quickly risen to the level of A-list star. After co-starring in two more high-profile comedies and having supporting turns in two others, she has earned enough clout to make the movie she really wants to make.

So it’s more than a little disappointing that Tammy is so unfunny. Produced and co-written by McCarthy, and directed and co-written by her husband, Ben Falcone, the film mainly consists of one of the most horrific — as in difficult to watch — road trips you’ll ever see.

There are a handful of funny moments in the film, but the uneasy chemistry between Melissa McCarthy and Susan Sarandon throws things out of whack.

In short order, Tammy (McCarthy) gets fired from her fast food job and then finds out that her husband is cheating on her with a neighbor. Desperate to get away, she jumps at an offer from her grandma Pearl (Susan Sarandon), who actually has money and a car, to be her road trip companion.

But little goes right on the trip, mostly because Pearl is an unrepentant alcoholic whose affection for Tammy can ebb or flow depending on how drunk she is. The two of them get into one tight jam after another, saved by Pearl’s dwindling pile of cash or, when that starts to run out, the kindness of friends and strangers they find along the way.

The whole thing ends up being so depressing that it makes you wonder if they were actually trying to make a comedy at all. There’s a difference between situations that are sad, from which laughs can be found, and ones that are downright miserable. The circumstances in which we encounter Tammy definitely fall into the latter category, and there’s little that McCarthy can do to put a cheery face on things.

Not helping matters is the scattershot nature of the story. Because the characters are constantly meeting new people, road trip movies are disconnected by nature. But Tammy feels especially unfocused, as if McCarthy and Falcone were more concerned with giving screen time to actors like Gary Cole, Mark Duplass, Kathy Bates and Sandra Oh than in actually giving them something interesting to do.

Then there’s this: Rightly or wrongly, McCarthy’s weight has been a point of focus for many during her rise to fame. When finally given the chance to write her own material, what does she do? Naturally, she has her character make jokes about her love of junk food on multiple occasions. There are so many other avenues of humor she could have explored; why give her critics easy ammunition like that?

Although there are a handful of funny moments in the film, it’s the uneasy chemistry between McCarthy and Sarandon that throws things out of whack from the get-go. Put aside the fact that Sarandon is much too young to be playing either the mother of Allison Janney or the grandmother of McCarthy — the two of them just never jell, and most of the movie’s faults stem from that.

McCarthy is capable of producing great hilarity with her acting, but if Tammy is any indicator, she needs to leave the writing to other people.

A drunk and a mess make for quite the depressing time in Tammy.

Susan Sarandon and Melissa McCarthy in Tammy
Photo by Saeed Adyani
A drunk and a mess make for quite the depressing time in Tammy.
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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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