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Movie Review

Dwayne Johnson and Emily Blunt steer Disney's Jungle Cruise through rough waters

Alex Bentley
Jul 28, 2021 | 2:24 pm
Dwayne Johnson and Emily Blunt steer Disney's Jungle Cruise through rough waters
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The last time Disney decided to make a movie out of one of its rides, it yielded the Pirates of the Caribbean series, whose five films have collectively made just over $4.5 billion worldwide. So the next time they went to plunder their theme park for movie inspiration, they passed over obvious choices like Space Mountain or Big Thunder Mountain Railroad and went straight to … Jungle Cruise?

Sure, the classic ride has been around since Disneyland opened and offers some mild thrills along the way, but it doesn’t necessarily jump out as one on which to base an entire movie, especially one starring two action heroes like Dwayne Johnson and Emily Blunt. Blunt plays Lily Houghton, an Indiana Jones-esque adventurer who must use her foppish brother MacGregor (Jack Whitehall) to lobby for help as the patriarchal British establishment of 1916 won’t even deign to hear from a woman.

Lily absconds with an ancient arrowhead that’s supposed to be a key piece in finding a kind of Tree of Life in Brazil. Before you know it, she and MacGregor are making their way down the Amazon under the care of Frank Wolff (Johnson), a riverboat captain known for creating fake danger and spouting bad puns. Hot on Lily’s tail from England is Prince Joachim (Jesse Plemons), a German military officer who just so happens to have a submarine to be able to track them down the river.

Directed by Jaume Collet-Serra and written by Glenn Ficarra, John Requa, and Michael Green, the film feels less like one trying to create its own identity — and since they could have gone in any direction, the sky was the limit — and more like one cribbing from other well-known properties. The Indiana Jones nods include Lily’s whole vibe and a German on the hunt for something to bring him unlimited power. Long-dead conquistadors being brought back to life is straight out of the Pirates of the Caribbean playbook. And the myriad weird CGI creatures that pop up everywhere bring to mind (in a bad way) the Star Wars prequels.

But even if you’re not a movie nerd like me, the film fails in what should have been its main goal: Being fun. There is plenty of goofiness, like Frank’s puns that are a direct reference to the Disneyland ride, but it mostly feels forced instead of a natural byproduct of the characters’ interactions. Lily and Frank are less of an odd couple and more like similar souls in different packaging, something that doesn’t allow for as much wacky hijinks as the film needs.

The filmmakers do take some interesting chances, including a take on the brother that truly shows how times have changed. The British dandy is a stereotype that’s been used many times in movies and TV, but the implication of that type of character is rarely made explicit. This film allows MacGregor to state the obvious — that he’s gay — in a brief but affecting scene, giving someone who’s usually just the butt of the joke a bit more depth.

Anyone who’s seen their other movies knows what Johnson and Blunt bring to the table. They’re both extremely charming and athletic, and both skills play into why they were cast in their roles here. Plemons uses a hard-to-understand accent throughout, but since his villain character is supposed to be cartoonish, it mostly works. Paul Giamatti shows up as the owner of Frank’s boat, a role that goes absolutely nowhere, making it a mystery as to why an actor of his caliber was cast.

Jungle Cruise is an adventure that rarely feels truly exciting, which is never a good sign. While the film won’t be the worst thing to show up on screens in 2021, it never lives up to its potential with two A-list actors leading the way.

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Jungle Cruise opens in theaters and on Disney+ Premier Access on July 30.

Dwayne Johnson, Emily Blunt, and Jack Whitehall in Jungle Cruise.

Dwayne Johnson, Emily Blunt, and Jack Whitehall in Jungle Cruise
Photo courtesy of Disney
Dwayne Johnson, Emily Blunt, and Jack Whitehall in Jungle Cruise.
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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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