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Movie Review

Mulan explores brave new territory for Disney live action remakes

Alex Bentley
Sep 3, 2020 | 11:57 am
Mulan explores brave new territory for Disney live action remakes
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For the most part, Disney’s grand experiment of making live action versions of their classic animated films has not been a success. Sure, it’s made them oodles of money, but creatively the movies have been less than fulfilling, either being little more than shot-for-shot remakes or uninspired retellings of stories we know and love.

When the trailer for the new Mulan came out, it was immediately clear that it would be something different. In fact, it bore little resemblance to the animated musical, with no hint of low-brow shtick or even songs. For all intents and purposes, it looked as if director Niki Caro and writers Rick Jaffa, Amanda Silver, Elizabeth Martin, and Lauren Hynek would treat the story with gravity and purpose.

I’m happy to say that is exactly what they delivered. The base story remains the same: When the Chinese Army conscripts one man from every family to fight against invaders, Hua Mulan (Yifei Liu) secretly steps in for her ailing father, Hua Zhou (Tzi Ma). Properly disguised as a man, Mulan joins the army and quickly impresses with her level of dedication and skill, especially when she goes up against fellow soldier Honghui (Yoson An).

The invaders have some truly intimidating people leading them, including the fearsome Bori Khan (Jason Scott Lee) and Xianniang (Gong Li), a witch who can transform into a bird. As Mulan rises in the ranks of the army, the invaders get ever closer to accomplishing their goal of overthrowing the emperor (Jet Li).

Caro and her team, taking inspiration from any number of fantastical Chinese action movies, go all-in with fight scenes that are both exciting and beautiful. The fluidity of the movements, the creativity of the staging, and more make the sequences a wonder to behold. For many, it will their first exposure to the type of scenes seen in films like Crouching Tiger, Hidden Dragon, and the accessibility of Mulan’s story makes it a great entry point.

While the film is kid-friendly, it’s not aimed strictly at children, as evidenced by its PG-13 rating. There is no blood, but the violence in the film is definitely stepped up over your typical Disney outing. It also stays true to the goal of building up a strong woman while still maintaining her femininity. Mulan is fierce, determined, devoted to her family, and alluring, with all of those elements combining to paint a full picture of a woman at a time when women were usually subjugated.

The film pays homage to the cutesy elements of the first film without actually going down that road itself. Gone is the dragon Mushu, both because he doesn’t mesh with the story at large and because he was considered culturally insensitive. The sidekick Cri-kee, an actual cricket in the original film, is reimagined as a slightly goofy fellow soldier named Cricket (Jun Yu), who brings humor to the film without undercutting the drama.

What many fans of the original may miss the most are the songs, but their absence makes complete sense. Having these particular characters break into song would break the spell that the rest of the film casts. Still, Caro and composer Harry Gregson-Williams know they can’t get rid of the familiar music completely, which is why snippets of music from the popular song “Reflection” are woven in throughout, and actual reflections of Mulan pop up at key moments in clever ways. There are also full versions of the song sung by Christina Aguilera in English (an updated one from her 1998 version) and Liu in Mandarin during the end credits (Aguilera also sings a new song, “Loyal Brave True”).

The film features familiar faces like Tzi Ma, Jason Scott Lee, Jet Li, Donnie Yen, and Rosalind Chao, but Liu is the star through-and-through. She brings everything you could want to the role and more, exhibiting the spirit of Mulan in multiple ways. Yoson An offers great support as a rival/slight love interest, and it’s easy to see him gaining more work in English should he desire it.

Mulan is easily the best live action remake Disney has put out, both because the story lent itself well to taking out cartoonish elements, and because the filmmakers put in the work toward making it stand out. Seeing it on the big screen would have been great, but streaming it through Disney+ is still worth every penny.

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Mulan is available on September 4 via Disney+ Premier Access, a premium price on top of the monthly subscription cost.

Yifei Liu in Mulan.

Yifei Liu in Mulan
Photo courtesy of Disney Enterprises
Yifei Liu in Mulan.
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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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