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Movie Review

Laziness dooms Paws of Fury: The Legend of Hank to also-ran status

Alex Bentley
Jul 15, 2022 | 9:31 am
Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank. play icon
Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank.
Photo courtesy of Paramount Pictures

Live-action remakes are all the rage at Disney, which has dedicated itself to redoing all of its classic animated properties. But it’s not often you see the reverse — an animated remake of a classic live-action movie — and of all the movies you might think would be remade, one of the ones least likely to come to mind would be Mel Brooks’ 1974 black comedy, Blazing Saddles.

And yet, that’s exactly what the new animated film Paws of Fury: The Legend of Hank, tries to do, although the connection between the two films is tenuous at best. In the film, the narcissistic Ika Chu (Ricky Gervais) leads a land dominated by cats, one in which each town is protected by a samurai. One such town, which just lost its fraidy cat of a samurai, stands in the way a great view for Ika Chu, and he vows to eradicate it altogether.

He attempts to make that easier by appointing a dog, Hank (Michael Cera), as the town’s new samurai, hoping the townsfolk will revolt against him. Naturally, everyone warms to him right away, especially after he earns an early victory with the help of an aging samurai, Jimbo (Samuel L. Jackson). Soon, Hank and the town prove to much more formidable than Ika Chu ever expected.

Directed by a trio of filmmakers and boasting five credited writers (although three of them are the original Blazing Saddles writers), the film is one of the laziest mainstream animated films in quite some time. The film is full of cheesy one-liners, the breaking of the fourth wall on multiple occasions, and more that seem greatly out of place. What works in an adult-oriented comedy doesn’t fly in a kids movie because all of the bite is missing, leaving the jokes with no clear audience.

The filmmakers and writers just don’t seem to know how to make a broadly entertaining film. There are several clumsy attempts at making the movie relevant, vaguely calling out actions of hate and/or racism, but they don’t land at all. They throw in lots of anachronisms, inserting modern-day aspects among the ancient days of the samurai, but those scenes mostly confuse matters.

Worst of all is the storytelling decisions in general. If you didn’t know going in that it was based on Blazing Saddles, there would be little way to tell other than the presence of Mel Brooks in a small role. And the use of samurai instead of simply Old West figures is supremely odd, and in a way insulting, like they’re trying to steal from a culture they know nothing about. Perhaps they didn’t want to use guns, but writers who were more clever could have found a better way around this obstacle.

It’s difficult to keep up with Disney, Pixar, Illumination, and the like in the animation field, but the work put forth in this film is still relatively shoddy. The characters look fine, but none of them are so appealing that you can’t wait for the film to get back to them. And the fine details like hair and water are noticeably lacking compared with the superb graphics other studios produce.

The lackluster parts of Paws of Fury: The Legend of Hank, including the story, the writing, the animation, and the presence of celebrity actors no kid could ever name, provide no good reason for its existence. Even kids are smart enough to know when they’re being served something mediocre, and this film is so subpar it doesn’t even qualify as that level.

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Paws of Fury: The Legend of Hank is now playing in theaters.

Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank.

Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank
Photo courtesy of Paramount Pictures
Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank.
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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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