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Movie Review

Top-notch cast goes on cross-Atlantic ocean voyage in Let Them All Talk

Alex Bentley
Dec 8, 2020 | 1:02 pm
Top-notch cast goes on cross-Atlantic ocean voyage in Let Them All Talk
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Director Steven Soderbergh has had one of the more interesting careers in Hollywood. He started out as an indie darling, transitioned into more mainstream fare, and then decided to use his clout to make whatever types of films fit his fancy, but now with the pull to fill those films with casts that would be enviable for any filmmaker.

His latest output is Let Them All Talk, the type of talky, non-plot-driven film that few other filmmakers even attempt, much less make into a winner. Alice (Meryl Streep) is a famous literary author who has been invited to accept an award in Europe. Trouble is, she’s reticent to fly, so her agency arranges for her, her best friends Susan and Roberta (Dianne Wiest and Candice Bergen), and her nephew Tyler (Lucas Hedges) to make the crossing on the ocean liner the Queen Mary 2.

The trip brings up a variety of feelings for each member of the party, including anxiety over her new manuscript by Alice, long-held contempt for Alice by Roberta, and a much-needed escape for Susan. Tyler serves as a sounding board for all of them at one point or another, but he also finds himself being drawn more and more to Karen (Gemma Chan), Alice’s literary agent who is on the ship unbeknownst to Alice.

Filmed during an actual crossing made by the ship, the film has an authenticity to it that’s hard to beat. Little of the film feels artificial or Hollywood-ized, as each of the characters is shown doing what most of us would do on a cruise ship: Eat a lot, drink, swim, gamble, play games, sleep, and repeat.

Of course, the trip itself isn’t the point; it’s the conversations that are had throughout that drive the film. Alice, at least in the minds of her friends, has changed a lot since they first met, becoming aloof and judgmental, especially when she sees that a popular mystery writer is also on board. Susan and Roberta are tentative and deferential when the trip begins, but hold nothing back toward the end.

Even as they hash things out, other things remain hiding under the surface. Soderbergh and writer Deborah Eisenberg gave the framework for the film, but they also let the actors improvise most of the material. Not all of it works, but the effort adds to the realness of the film. Late revelations give extra meaning to earlier talks, adding to the emotion of the film as a whole.

If you’re going to trust any cast to pass the test of making a movie on a working ocean liner, it’s this one. Streep leads the way as a three-time Oscar winner and 21-time nominee, but Wiest (two wins, three nominations), Bergen (one Oscar nomination, five Emmy wins), and Hedges (one Oscar nomination) are more than worthy supporting actors. Chan, who impressed in Crazy Rich Asians, is even better here, and with a prime part in Marvel’s Eternals coming up, she’s primed to be a breakout star.

There’s nothing flashy about Let Them All Talk, and that’s for the best. Soderbergh has let his award-worthy cast do what they do best, and they deliver an engaging story that lives up to its unique setting.

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Let Them All Talk debuts on HBO Max on December 10.

Meryl Streep in Let Them All Talk.

Meryl Streep in Let Them All Talk
Photo courtesy of HBO Max
Meryl Streep in Let Them All Talk.
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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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