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Movie Review

Romance and tragedy make a potent mixture in Chemical Hearts

Alex Bentley
Aug 19, 2020 | 4:30 pm
Romance and tragedy make a potent mixture in Chemical Hearts
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Teenage romances are a tricky thing to pull off. On one hand, the allure of young love is something that is universal, and thus eternal. On the other, the lasting power of teenage relationships is notoriously low, so putting stock into them, even in the fantasy world of movies, is a fool’s errand.

Chemical Hearts, based on the 2016 novel Our Chemical Hearts by Krystal Sutherland, is a tragic love story where most of the tragedy happens before the two main characters meet. Henry (Austin Abrams) is a high school senior whose longtime goal was to become the editor of his school newspaper. His plans are altered when Grace (Lili Reinhart), a transfer student, joins the staff and is named co-editor by the faculty advisor.

Grace, who uses a cane following a car accident, is initially sullen and withdrawn, but gradually opens up thanks to Henry’s kindness and persistence. As the two grow closer, the reasons for Grace’s gloominess become clearer, putting a crimp in their burgeoning relationship. Henry must try to navigate Grace’s ever-changing moods, while Grace tries to keep herself from falling to far into the darkness.

The film is the sophomore effort by writer/director Richard Tanne, who also wrote and directed Southside by You, which detailed Michelle and Barack Obama’s first date. This one takes a little while longer to get going, but once Tanne establishes Henry and Grace’s bond, it grabs hold of the viewer and doesn’t let go. Even through the barrier of Grace’s physical and mental pain, the chemistry of the two characters is evident.

Still, the trauma resulting from Grace’s car crash puts a cloud over the entire story, which is as much about her depression/PTSD as it is about the growing feelings between her and Henry. The complicated nature of her feelings about Henry become all the more complex when you bring in the other parts of her life, which contain events that are unenviable, to say the least.

The film is not quite as successful when it comes with dealing with Henry’s quirky group of friends, who work alongside Henry and Grace at the newspaper. One, Muz (C.J. Hoff), is a cypher who only seems to exist to show that Henry has a male friend of some type. The other, La (Kara Young), is gay, and is given her own will they/won’t they romance with Cora (Coral Peña). However, the film doesn’t quite have enough energy to spend on their relationship, so it comes off as inclusion merely for the sake of inclusion.

Abrams has built up a nice resumé in the last few years, starring in the underrated Brad’s Status and impressing in guest roles on both Euphoria and This is Us. He’s not a dynamic performer, but he’s steady and reliable, which makes him interesting. Reinhart, best known as Betty on Riverdale, turns in a nuanced performance here that makes her someone to watch in the near future.

Romance tinged with tragedy is a staple of young adult movies in recent years, and Chemical Hearts fits right in with the best of them. It never tries to be much more than what it needs to be, delivering a story that touches the heart in multiple ways.

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Chemical Hearts debuts exclusively on Amazon Prime Video on August 21.

Austin Abrams and Lili Reinhart in Chemical Hearts.

Austin Abrams and Lili Reinhart in Chemical Hearts
Photo courtesy of Amazon Studios
Austin Abrams and Lili Reinhart in Chemical Hearts.
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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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