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Movie Review

The Dink aces pickleball with funny, star-filled comedy

Alex Bentley
Jul 24, 2026 | 11:30 am
Mary Steenburgen and Jake Johnson in The Dink

Mary Steenburgen and Jake Johnson in The Dink.

Photo courtesy of Apple TV

While the sport of pickleball was invented way back in the 1960s, it has exploded in popularity in the 2020s. It was only a matter of time before someone figured out a way to make a movie about the craze, and a comedy like the new Apple TV film The Dink provides the best way to honor and make fun of the divisive sport at the same time.

Dusty Boyd (Jake Johnson), aka The Hammer, is a former tennis phenom who’s now working as an instructor at a club owned by his dad, Chuck (Ed Harris). While the two don’t always see eye-to-eye, they have a mutual hatred for pickleball, which they have begrudgingly allowed on the property by giving it the worst court.

Dusty is hoping to stop all future pickleball expansion by winning a one-on-one grudge match, but when he injures his wrist, he’s given a prescription of pickleball as a form of rehab. Older women like Candace (Mary Steenburgen) are the only people he can find to play with, and despite his disdain for the sport, he soon falls prey to its low-key charms.

Directed by Josh Greenbaum (Will & Harper) and written by Sean Clements, the film is probably the best advertisement pickleball will ever have. Dusty’s introduction to the sport serves as a lighthearted tutorial for the uninitiated while still getting in some nice digs at its expense. The other players - Candace, Gail (Cleo King), and Judy (Lynn Marie Stewart) - are equally welcoming and critical of Dusty, who initially has trouble adjusting to the game’s different rules.

The film’s approach to the story is silly but never stupid. Dusty is a blowhard, but he’s also able to admit when he’s wrong, especially when Candace introduces him to multiple things he had never considered before. A long-standing feud between Dusty and Andy Roddick provides more than just a goofy cameo for the real-life tennis star. The film also pushes right to the edge of being over-the-top before pulling back, allowing it to keep a semblance of reality to it.

Clements’ story follows a tried-and-true formula, making the film very predictable but enjoyably so. Where it earns its comedy credentials is in its finer details, like Dusty’s love for his 1999 Buick LeSabre with under 200,000 miles on it, his trunk full of old VHS tapes, or his interactions with his assistant PJ (Aaron Chen), who manages to be the comic relief in an already funny film.

Johnson, probably best known for starring in the sitcom New Girl in the 2010s, has the right amount of smarm and niceness to pull off the role, letting viewers laugh at and root for him at the same time. The film is full of comedy all-stars in small roles like Oswalt, Chris Parnell, and Ben Stiller, but Harris steals everyone’s thunder. The line readings by the four-time Oscar nominee give an extra punch to his character’s jokes, especially one that hints at the sordid history of the tennis club.

It’s a shame that The Dink is only playing on a streaming service as there’s a dearth of good comedies like this in movie theaters. With a solid joke-telling approach, a respect for its subject matter, and a cast who all play off each other well, this is a film that deserves to be seen by more than just those with an Apple TV subscription.

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The Dink is now streaming on Apple TV.

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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

movies film
news/entertainment

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