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Unheroic Unbroken

Angelina Jolie's Unbroken fails to do justice to Louis Zamperini's life story

Alex Bentley
Dec 25, 2014 | 9:07 am
Angelina Jolie's Unbroken fails to do justice to Louis Zamperini's life story
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If ever there was a true story that deserved big-screen treatment, it’s the life of Louis Zamperini. He packed a lifetime’s worth of events into just about 10 years, running in the 1936 Berlin Olympics, joining the military for World War II, surviving 47 days at sea after a plane crash and then enduring years of torture as a prisoner-of-war in Japan.

It’s a story so rich, in fact, that it could probably only be told adequately in book form, which Laura Hillenbrand did masterfully in the 2010 biography, Unbroken. Angelina Jolie has used the same title for her sophomore directorial effort, and even though she does her level best to pay equal tribute to Zamperini, who died earlier this year at age 97, she just can’t quite do his story justice.

Unbroken is far from a bad movie, but when you have a story such as Zamperini’s, you really want it to soar off the screen from minute one.

Jolie, working from a script by Joel Coen, Ethan Coen, Richard LaGravenese and William Nicholson, starts the film with Zamperini (Jack O’Connell) already at war as a bombardier flying missions over the Pacific Ocean. She then uses flashbacks to take us to his childhood, the Olympics and other significant pre-war moments.

From the start, the tone of the film just feels a bit off. One can sense the feelings Jolie is trying to evoke, but the way she stages scenes never really works. For instance, the opening sequence has Zamperini’s plane in the middle of a ferocious air battle, but there is a curious shortage of suspense.

Often that lack of drama seems to stem from the actors’ failing to use the right inflection to elicit the appropriate emotion. But that’s not the result of bad acting but rather a deficiency in their lines.

Other times Jolie pushes too hard for dramatic elements instead of letting them evolve naturally, an unfortunate consequence of adapting a story like this into a movie; a director just don’t have the time to give the full background for certain events. Regardless of the constraints of filmmaking, the first half of the film just never gels.

It’s not until Zamperini and his pilot, Russell Phillips (Domhnall Gleeson), arrive at Japanese prison camps that the film captures the essence of the story. Perhaps it’s the visceral nature of the beatings Zamperini takes from guard Mutsushiro Watanabe (Takamasa Ishihara) or his ability to commiserate/conspire with fellow POWs, but the film feels most alive as Zamperini is struggling to survive in Japan.

Just as the film gets better as it goes along, so too does O’Connell’s performance. The English actor ultimately finds a way to make the role his own, showing that we can expect big things from him in the future. Gleeson, Ishihara, Jai Courtney and Garrett Hedlund all deliver solid supporting turns.

Unbroken is far from a bad movie, but when you have a story such as Zamperini’s, you really want it to soar off the screen from minute one. Even though it doesn’t, Jolie finds a way to make a winning film in the end.

Jack O'Connell plays Louis Zamperini in Unbroken.

Jack O'Connell in Unbroken
Photo courtesy of Universal Pictures
Jack O'Connell plays Louis Zamperini in Unbroken.
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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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