Teenage Sex and Death at Camp Miasma – Review

The Camp Miasma horror franchise has run its course. After the original movie was a hit, immediately the young star actress Billy Presley declined coming back for part II. As the studios look to capitalize on the film’s success, multiple additional chapters are produced for theaters, while memorabilia hits store shelves. Get your toys, board games, artwork, trading cards, rap albums, video games and more!

The villain of Camp Miasma is the horror icon “Little Death,” which naturally is some mystery killer dude with an air vent on his head. Despite the first film’s popularity as well as Billy Presley’s (Anderson) mysterious aura driving nostalgia, multiple reboots and TV series’ fail to capture the audience’s dollars, and the franchise lays dormant.

That is… until the studios decide they want a more “elevated” approach, and look to Sundance wunderkind Kris Williams (Einbinder) to reimagine Camp Miasma from the ground up. As Kris looks to reconnect the elusive Billy Presley back with the movie franchise, can the horror icon Little Death find his footing in the hearts of movie goers again?

A quality and allegorical script drives this horror film, which also works as a love letter to the plethora of never-ending franchises. It also winds up teasing them as ridiculous products of greed and capitalism as opposed to quality features or even the least bit necessary, which is often quite true. On top of this movie-making focus are additional mature themes and subtext for all types of relationships, sex, gender roles and ideals, and general social thoughts and observations. None of these themes are overbearing nor should this be a turn off to people uncomfortable with differences. If you want it to enhance the experience, it will, otherwise just watch the movie for the solid story presented.

Clever and funny dialogue which is quite self-aware while being a fair indictment of Hollywood and capitalism adds a humorous edge to the film making process showcased in this movie. Some romance elements and creepy moments settle into the comedic story, and is mostly all a fine fit making it tough to anticipate. This film showcases typical horror tropes, elements and scares, which works to enhance its story ideas on the genre itself before zipping off into its own territory. It slows down a bit in the second half until it settles into its wild climax, but mostly it has the gas in the tank for the layered allegorical journey.

Shit gets way out there by the end, and this won’t be for everyone. The playing of Counting Crows’ ‘Long December’ has got to be the most unique usage of the song ever.