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Movie Review

Broad stereotypes undercut message of movie musical Everybody's Talking About Jamie

Alex Bentley
Sep 8, 2021 | 2:04 pm
Broad stereotypes undercut message of movie musical Everybody's Talking About Jamie
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While movie adaptations of stage musicals have remained popular through the years, it feels like 2021 has become the year of the musical. It started with In the Heights, which will soon be joined by Dear Evan Hansen, Lin-Manuel Miranda's directorial debut tick, tick...Boom!, and Steven Spielberg’s version of West Side Story. Joining that group is one that may not be as familiar to American audiences, Everybody’s Talking About Jamie.

Set in Sheffield, England, the film tells the story of Jamie (Max Harwood), an out-and-proud high school student. While it's a known fact around town that he's gay, he does harbor one secret: His dream of becoming a drag queen. With encouragement from his mom, Margaret (Sarah Lancashire), and his best friend Pritti (Lauren Patel), Jamie pursues his dream, finding help from local costume store owner Hugo Battersby (Richard E. Grant), who just so happens to be a drag queen who goes by the name of Loco Chanelle.

Jamie’s dream doesn’t go unchallenged, though. His father, Wayne (Ralph Ineson), has essentially been absent from his life following a divorce from Margaret, with his mom doing her best to hide Wayne’s disdain for who his son is. Jamie also has a teacher, Miss Hedge (Sharon Horgan) who seems to undercut his ambitions at every turn, and a classmate, Dean Paxton (Samuel Bottomley), who takes every opportunity to bully and make fun of him.

The original stage production team of writer/lyricist Tom MacRae and director Jonathan Butterell occupy the same roles for the movie. They do a good job in general in their roles, but their closeness with the project may have hindered their ability to translate it effectively from stage to screen. While broad characters and situations can work well in a theater setting, a movie usually requires more nuance, especially when telling a story like this.

As the title would seem to indicate, the only person we get to know well is Jamie, although his mom is also showcased to a good degree. Everyone else is given only surface-level examination, which is especially troublesome when it comes to the antagonists of the story. Each comes across as either over-the-top or ridiculously unreasonable, personalities that weaken the message of the film as a whole. Most viewers will already want Jamie to succeed; there’s no need to stack the deck in his favor so egregiously.

On the flip side, Jamie is not always a fully sympathetic character, which would be great if those scenes were treated in a believable manner. But just like those who don’t like him, Jamie acting in a petulant way over not getting exactly what he wants rings false based on what we know about him otherwise. His arc is also utterly predictable, which, given the relative uniqueness of his life, shouldn’t be the case.

MacRae’s lyrics touch many of the right notes when it comes to conveying the sentiments of the story, but the songs themselves are a bit generic. Musical theater fans will find themselves with a sense of déjà vu throughout the film, as nearly every song sounds exactly like ones that have been doled out on stage for decades. The only song that stands out is “This Was Me,” with Hugo singing about being a drag queen and living through AIDS epidemic. Curiously, this is also the only song that was not in the original stage musical.

Harwood, who’s making his film debut here, does a great job of embodying his character and has a nice voice. He could’ve modulated his performance better at times, but for the most part he succeeds. Grant and Horgan are the two best-known actors in the cast, with Grant rising above his thinly written character more than Horgan. Lancashire and Patel are both winning in their supporting roles.

It’s fantastic that Everybody’s Talking About Jamie features a young gay character whose challenges lie beyond merely coming out to his friends and family. But the generic songs and broad stereotypes do the story no favors, making it into a musical that’s not for the ages.

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Everybody's Talking About Jamie will open in select theaters on September 10; it will premiere on Amazon Prime Video on September 17.

Max Harwood and cast of Everybody's Talking About Jamie.

Max Harwood and cast of Everybody's Talking About Jamie
Photo courtesy of Amazon Studios
Max Harwood and cast of Everybody's Talking About Jamie.
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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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