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Movie Review

The Family Fang offers lots of introspection but little bite

Alex Bentley
May 13, 2016 | 12:00 am
The Family Fang offers lots of introspection but little bite
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Since experiencing a career revival on Arrested Development in 2003, Jason Bateman has been all over both movies and television. From bit parts to starring roles, he’s rarely had a year without multiple projects.

Now he’s using that clout to transition into the role of director, something he’s doing for the second time with The Family Fang.

Bateman and Nicole Kidman play Baxter and Annie Fang, a writer and an actor, respectively, who are the children of two artists, Caleb and Camille (Christopher Walken and Maryann Plunkett), known for their elaborate artistic pranks. The two kids were often involved in the stunts growing up, which led to resentment of their parents as they got older.

When their parents disappear under mysterious circumstances, Baxter and Annie aren’t sure whether it’s another prank or whether something truly bad has happened. Their investigation leads them down a path of self-discovery and unexpected revelations.

That synopsis makes the film sound like a thriller of sorts, but the film, written by David Lindsay-Abaire, plays out like one long therapy session, as Baxter and Annie lay out their bitterness about their upbringing while also coming to terms with the perhaps tragic demise of their parents.

The fun of the movie comes in flashbacks to the family’s various pranks, which are conveniently captured on video to preserve the “art.” Although unorthodox, the parenting style of Caleb and Camille often comes off as extremely loving, a feeling at odds with what’s portrayed in the present day.

While it’s easy to make the leap between the kids enjoying the pranks when they’re young and resenting them when they’re older, the juxtaposition between the two is often jarring in the context of the film. The acrimony the kids have toward their parents seems less justified when it’s surrounded by seemingly happy memories.

Still, Bateman is able to elicit some nice performances out of his leads, including himself. The interplay between Kidman and Bateman rings true of siblings, a relationship that can sometimes be difficult to accurately portray. Also of note are Jason Butler Harner and Kathryn Hahn as the young Caleb and Camille; they put forth a joie de vivre that’s missing from the rest of the film.

The Family Fang fails to grab hold of your senses in any meaningful dramatic way, but it still deserves credit for showcasing a slice of life not often seen on the big screen.

Nicole Kidman and Jason Bateman in The Family Fang.

Nicole Kidman and Jason Bateman in The Family Fang
Photo courtesy of Starz Digital
Nicole Kidman and Jason Bateman in The Family Fang.
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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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