John Cusack will revisit his classic films in special screenings both Dallas and Fort Worth.
Photo courtesy of John Cusack
Actor John Cusack will thrill kids of the 1980s when he hosts two screenings of popular movies of his from that decade, with both Dallas and Fort Worth on the agenda.
Cusack will screen Sixteen Candles at Will Rogers Auditorium in Fort Worth on Friday, June 23 and Say Anything at the Music Hall at Fair Park on Saturday, June 24. Both films will be followed by a live conversation about Cusack's career and the making of the film, as well as a Q&A.
Additionally, Cusack will travel to Houston on June 25 for a screening of his 2000 film, High Fidelity.
Cusack was just getting his start in Hollywood when he scored the supporting part of Bryce in 1984's Sixteen Candles, serving mostly as a sidekick to Anthony Michael Hall's character. He had established himself as a leading man by the end of the decade when he tried to woo Ione Skye in Cameron Crowe's 1989 classic, Say Anything.
The actor has enjoyed an enviable career over the past 40 years, starring in a wide range of dramas, thrillers, and comedies, including The Grifters, Eight Men Out, Being John Malkovich, High Fidelity, and Grosse Pointe Blank. He was most recently seen in the Amazon sci-fi series Utopia.
Tickets for all screenings will be available starting Friday, April 21 at 10 am through Ticketmaster.com, with presale options starting April 19.
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
