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Movie Review

Talk to Me hands the horror genre a creepy new entry

Alex Bentley
Jul 26, 2023 | 4:07 pm

Coming up with a new and inventive horror story has got to be extremely difficult given the plethora of terrifying films that have filled the genre for the past 100 years. Instead of trying to reinvent the wheel, the filmmakers behind the new Australian film Talk to Me went back to basics, relying on gruesome imagery and great editing to get the job done.

Sophia Wilde in Talk to Me

Photo courtesy of A24

Sophia Wilde in Talk to Me.

The story centers on Mia (Sophie Wilde), a teenager still mourning the recent (accidental?) death of her mother. A group of friends, including best friend Jade (Alexandra Jensen), Jade’s brother Riley (Joe Bird), and former boyfriend Daniel (Otis Dhanji), invite her to a party where the main attraction is a ceramic hand, which willing participants grab and say “Talk to me” to be transported into an in-between world where they can interact with dead people.

The “high” they get from the experience makes it similar to doing drugs, and Mia and others return to it multiple times. The only problem is that staying in over a certain amount of time allows the participant to stay connected to that nether world, leading to real-life harm. Mia’s fascination with the process and her grief combine into a situation that proves difficult to escape.

Directed by brothers Danny and Michael Phillippou, and written by Bill Hinzman, Daley Pearson, and Danny Phillippou, the film hits some high highs but can’t always keep the momentum it’s built up. A brutal opening sequence sets the tone right away, and the various scenes of people entering the dead world are full of fantastically off-putting imagery that are enough to satisfy any big horror fan.

As the film goes along, though, it’s not exactly clear what kind of story the filmmakers are trying to tell. There is no overarching villain – it’s just the hand itself – and so the film has to rely on the ups-and-downs of the relationships between Mia and her friends, as well as her dad, Max (Marcus Johnson), and Jade’s mom, Sue (Miranda Otto). Sometimes this works and sometimes it doesn’t, which makes for a disjointed viewing experience.

Still, there is a constant undercurrent of dread in the film that keeps things relatively suspenseful while waiting for the next big moment. The performances of the actors, especially Wilde and Bird, really sell the intensity of what they’re facing. Since this is an Australian production, none of the teenage actors will likely be familiar to American audiences, but they announce themselves in a big way here.

Talk to Me is a solid new entry into the horror genre, one that uses familiar tricks to great effect even if the spell doesn’t last all the way through. With A24 giving these Aussie filmmakers and actors a platform in the U.S., don’t be surprised to see more of them in the future.

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Talk to Me opens in theaters on July 28.

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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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