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Movie Review

Snatched delivers dumb laughs in the best possible way

Alex Bentley
May 11, 2017 | 4:28 pm
Snatched delivers dumb laughs in the best possible way
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The best comedians can wring laughs out of almost any topic, no matter how dark. In fact, it’s often that darkness that gives people permission to laugh since the alternatives would be to cry or scream, and who wouldn’t rather laugh than scream? Amy Schumer’s new movie, Snatched, could be portrayed as a harrowing thriller, but with tweaks and nods toward absurdity, it instead becomes one of the funnier movies of the year so far.

Schumer plays Emily Middleton, a self-absorbed woman who doesn’t seem to be going anywhere in life. When her boyfriend abruptly breaks up with her, she convinces her mom, Linda (Goldie Hawn), to accompany her on a non-refundable trip to Ecuador.

Once there, Emily’s self-absorption continues to rear its ugly head when an Australian man, James (Tom Bateman), seems to take a shine to her. It’s not long, however, before he lures her and Linda into a situation to be kidnapped. The kidnappers hold them for ransom, with Emily’s nerdy and agoraphobic brother, Jeffrey (Ike Barinholtz), seemingly their only hope for rescue.

It may sound like a backhanded compliment, but the best thing about Snatched is that you don’t have to think about it too much. The film absolutely revels in its dumb jokes, making fun of everything from clumsy attempts at self-cleaning to straight-up killings. But director Jonathan Levine, writer Katie Dippold, and the cast know the difference between acting dumb and actually being dumb.

In other words, you won’t feel guilty for laughing at their stupidity, something that can’t be said for a lot of other comedies. The film is also helped by keeping things going at a brisk pace. Many of the twists and turns may not make much sense, but you’re too busy laughing at the next joke to worry about it.

Schumer’s penchant for playing characters who care mostly about themselves can wear a little thin, but her commitment to the role overrides its vapid nature. Hawn, taking on her first movie role in 15 years, hasn’t missed a beat. She’s allowed to stay mostly calm while Schumer goes off the rails, but somehow she earns just as many laughs, if not more.

Snatched is one of those films that begs to be seen in a movie theater, as the communal aspect of sharing belly laughs with strangers is priceless. It may not last in your consciousness for more than a couple of days, but the experience will have been worth it.

Amy Schumer and Goldie Hawn in Snatched.

Amy Schumer and Goldie Hawn in Snatched
Photo by Justina Mintz/Twentieth Century Fox Film Corporation
Amy Schumer and Goldie Hawn in Snatched.
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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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