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Movie Review

Female-centric Gunpowder Milkshake fizzles with story and action

Alex Bentley
Jul 14, 2021 | 10:39 am
Female-centric Gunpowder Milkshake fizzles with story and action
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If the past 20 years of movies have proven anything, it’s that plenty of women have shown the ability to carry an action film just as well as men can. They include Angelina Jolie, Jennifer Lawrence, Uma Thurman, Charlize Theron, Michelle Rodriguez, and Marvel stars like Zoe Saldana, Scarlett Johansson, and Karen Gillan, all of whom owe a debt of gratitude toward Sigourney Weaver and Linda Hamilton for paving the way.

So it’s no surprise that another female-centric action movie, Gunpowder Milkshake, is being released, with one of those Marvel stars – Gillan – as the star. Gillan plays Sam, a contract killer who works for a shadowy group known simply as The Firm, which is led by Nathan (Paul Giamatti). It’s the same group her mom, Scarlet (Lena Headey), worked for before mysteriously disappearing 15 years earlier, leaving Sam to fend for herself as a teenager.

Like all good contract killers, Sam doesn’t question her orders until one day she kills a man whom she discovers was simply trying to pay a ransom to get his daughter back. Soon, Sam finds herself trying to rescue that girl herself and retreating back to a safe house known as The Library to avoid repercussions. There, three “librarians” who are old friends of her mom – Madeleine (Carla Gugino), Anna May (Angela Bassett), and Florence (Michelle Yeoh) – are able to provide her with any gun she requires.

Written and directed by Navot Papushado and co-written by Ehud Lavski, the film is like John Wick combined with Atomic Blonde and Hotel Artemis. It’s clear the filmmakers are going for a high degree of stylization, from the odd, nonsensical title to funky locales like a diner being used as a gang meeting place to the unconventional costume choices for many of the main characters. What they don’t seem to understand is that substance is equally as important as style.

When you’re essentially a copycat of previous action movies, you need to show creativity with your fight scenes and shootouts. While there is some inventiveness to be had in the film, there is nothing that makes you stand up and go wow. In fact, the sequences are so uninspiring that it often feels like the actors are fighting on stage instead of for a movie.

What makes the lackluster action worse is that Sam is given a generic collection of bad guys to go up against. Almost to a man, the actors playing villains engage in goofy, over-the-top acting, leaving no doubt as to the result of the fights and dulling the impact of the film overall. What might come off as fun in a better-made movie is instead inert, with everybody going through the paces so they can move along to the next uninteresting scene.

Gillan, as she’s shown in the Guardians of the Galaxy and Jumanji movies, has a great presence to her that should work well in a role like this. But she, and every other well-known actor in the film, is undone by a story that doesn’t make any sense and action that is mostly lifeless.

Women are not given a chance to lead action movies as often as they should, so when one like Gunpowder Milkshake underwhelms, it’s extra disappointing. The inexperienced filmmakers are unable to make good use of their actors’ talent, and instead of exploding, the action just fizzles away.

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Gunpowder Milkshake is now playing on Netflix. It is also showing in select theaters.

Michelle Yeoh, Angela Bassett, and Carla Gugino in Gunpowder Milkshake.

Michelle Yeoh, Angela Bassett, and Carla Gugino in Gunpowder Milkshake
Photo by Reiner Bajo/Netflix
Michelle Yeoh, Angela Bassett, and Carla Gugino in Gunpowder Milkshake.
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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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