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Movie Review

Sex Appeal looks for actual chemistry in teen sex comedy genre

Alex Bentley
Jan 12, 2022 | 9:25 am
Sex Appeal looks for actual chemistry in teen sex comedy genre
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While the genre of teen sex comedies has been around since the 1980s, making the characters in those films actually respect themselves and the objects of their lust affection is a relatively new phenomenon. It’s no small coincidence that some of the recent successes in that regard, including Blockers, Booksmart, and Yes, God, Yes, are ones where women take the lead both on-screen and off.

While not as polished as those films, the new Hulu film Sex Appeal has much the same goal. Its lead is high school senior Avery Henson-White (Mika Abdalla), who brings a scientific and perfectionist mind to everything in her life, even sex. With an almost singular focus on academics and getting into M.I.T., Avery has no time for relationships, and she wears her status as a virgin not so much as a badge of honor, but with blasé indifference.

But when Stemcon, an academic competition for which she is the reigning champion, calls for contestants to create an app that solves a problem in their personal lives, the best she can come up with is one that would make having sex for the first time less awkward. She enlists longtime friend Larson (Jake Short) to help her with “experiments” so that she has firsthand knowledge of things that she has never experienced.

Directed by Talia Osteen and written by Tate Hanyok, the film walks a fine line in terms of how explicit it gets. When it comes to dialogue, the sky is the limit, with Avery and her fellow students unafraid to talk openly about everything they know – or don’t know – about sex. To say that Avery is repressed would be a misstatement. She has no problem talking about sex; the problem is that she has no sense of the appropriate time or place to bring it up, much to the chagrin of Larson, who has a crush on another student.

But the filmmakers draw the line at actually showing anything graphic. Any moments between Avery and Larson that go beyond kissing are represented by fantasy sequences that explain every movement without showing it, making the scenes both funnier and somehow more vivid in the process. The closest the film comes to nudity is showing Avery in her bra and a funny scene where her head blocks out an adult film on a TV behind her, which seems appropriate since the film is dealing with teenagers.

In spite of the film’s strengths, Osteen and Hanyok struggle a bit with their characterization. The film remains heightened throughout, with few characters acting like real-life people. There’s a difference between a scene being funny because of something organic that happens, and filmmakers trying to force the humor with characters acting like caricatures. This film never crosses the line between broad comedy and relatable comedy.

Abdalla, who grew up in Plano and has a growing filmography, inhabits the role well. She has the charm and intelligence the role requires without coming across as false. Short has the personality that fits his part, but he doesn’t elevate it at all. Fortune Feimster and Margaret Cho play Avery’s two mothers, but the progressive pairing doesn’t add much to the film as a whole. The best supporting character is one played by Paris Jackson (yes, Michael’s daughter), who comes off as extremely confident and charismatic.

Sex Appeal is the latest film to honor the female perspective when it comes to sexuality, although it’s ultimately merely a pleasant watch instead of one that inspires repeat viewings. With its nice balance in addressing teenage sex issues, it should be welcomed by its target audience.

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Sex Appeal debuts on Hulu on January 14.

Mika Abdalla in Sex Appeal.

Mika Abdalla in Sex Appeal
Photo by Brett Roedel/Hulu
Mika Abdalla in Sex Appeal.
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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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