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Movie Review

Netflix stakes claim as premier studio with propulsive Triple Frontier

Alex Bentley
Mar 6, 2019 | 1:00 pm
Netflix stakes claim as premier studio with propulsive Triple Frontier
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Netflix, much to the chagrin of some in Hollywood, is continuing to infiltrate all areas of the moviemaking world. Fresh off winning multiple Oscars for Roma, the streaming service seems to have designated 2019 as the year it truly takes over. Films from big-name directors — most notably Martin Scorsese’s The Irishman — will be coming out all year long, with the latest being the star-laden crime thriller Triple Frontier.

As the film begins, Santiago Garcia (Oscar Isaac) is seen helping with a drug bust in South America. When he gets wind of a huge amount of cash hidden at a drug king’s home in the jungle, he sets out to recruit some former Special Forces buddies to help him steal it. They include Tom Davis (Ben Affleck), Ben Miller (Garrett Hedlund), William Miller (Charlie Hunnam), and Francisco Morales (Pedro Pascal).

Each member of the group is now leading a life that is at stark odds with what they expected upon leaving the military, making them vulnerable to greed in a situation like this. Naturally, each member also possesses a certain skill crucial to the mission, talents that will come in handy if they are to succeed in not only raiding the house, but also schlepping the haul out of the country.

If you’ve seen pretty much any heist movie, it’s clear from the get-go that not everything will go smoothly. But the manner of those obstacles and how effectively they are overcome determine the worthiness of this type of film. It already has a sheen of credibility thanks to Oscar-nominated co-writer/director J.C. Chandor and co-writer Mark Boal, who, along with executive producer Kathryn Bigelow, has made Oscar-winning military movies like The Hurt Locker and Zero Dark Thirty.

The filmmakers give the story a propulsion from minute one that rarely lets up. While the film never goes too deep on why the five men are so good at what they do, thanks to their ease of communication, there’s never a doubt that they are elite soldiers who know how to handle themselves when things go to hell. They are also confronted with a number of moral quandaries, and it’s the treatment of those situations that makes the film more than just your standard thriller.

A few elements hold it back a bit, most notably why the film is called Triple Frontier in the first place. Without any foothold in the plot of the film, it’s a generic action movie title that should have been rethought. And while the suspension of disbelief holds up for most of the running time, there are a few moments where characters go over the line and break the spell of the movie.

The five main actors work as well together as you would hope. The film requires hyper-masculinity at almost all times, and each of them in their own unique way provides the requisite testosterone. Isaac is the de facto leader, and he exudes both a calmness and intensity that suits the role perfectly.

Were this a standard theatrical release, it’s easy to see Triple Frontier competing for the top spot at the box office for a few weeks or more. It’s as good a crime thriller as any movie fan could want, and one that demonstrates that Netflix is staking its claim as one of the premier movie studios.

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Triple Frontier will have a special one-week theatrical run at Landmark Magnolia before debuting on Netflix on March 13.

Oscar Isaac and Ben Affleck in Triple Frontier.

Oscar Isaac and Ben Affleck in Triple Frontier
Photo by Melinda Sue Gordon
Oscar Isaac and Ben Affleck in Triple Frontier.
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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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