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    Mondo Cinema

    Lake Bell finds the funny in voice-over movie: In a World... makes even Eva Longoria entertaining

    Joe Leydon
    Aug 23, 2013 | 3:02 pm

    In a world where talented but underemployed people often become multitaskers to control their own destiny . . . Lake Bell has given herself a world-class showcase, and created something hugely entertaining in the bargain, by writing, directing and starring in… In a World…

    Even if you recall her scene-stealing turns in What Happens in Vegas and It’s Complicated . . . even if you’ve been amused by her antics in the cable series Children’s Hospital . . . you won’t be prepared for her pitch-perfect performance in this wise and witty dramedy.

    She triumphs over adversity . . . defies conventionality . . . strikes a blow for non-sexist rationality . . .

    Like many of the better screen comedies, In a World… is at heart a coming-of-age story about a character who gradually, sometimes painfully, emerges out of arrested adolescence.

    And if you’ve ever wondered about the folks who spout such hyperbolic come-ons for a living on every other movie trailer you’ve ever seen . . . well, you’ll have even more reason to sing Lake Bell’s praises for In a World… (showing at Sundance Cinemas in Houston).

    Bell smartly cast herself — and wrote some very funny dialogue for herself — as Carol Solomon, a struggling thirtysomething voice-over artist, who’s still living at home with her father, Sam (Fred Melamed), a living legend in the world of voice-over artistry, and feeling more than a little uncomfortable and intimidated while in his imposing shadow.

    Dad is the worst sort of overbearing egotist — that is, the kind who assumes he is irresistibly charming even while he’s at his most selfish — but grant him this: He indirectly shakes Carol out of her day-to-day drudgery of complacency and underachievement when he tells her it’s time to move out of his place. To be sure, he does this for typically self-serving reasons — he wants Carol out of the way so his much younger girlfriend (Alexandra Holden) can move in — but the eviction serves not only as a means to propel the plot, but also as additional incentive for Carol to push even harder to establish herself in a field traditionally dominated by men like her father.

    And, not incidentally, like Gustav Werner (Ken Marino), Sam’s evident heir apparent in the world of voice-overing, a preening cad whose charms make him unfortunately irresistible, briefly, to Carol.

    Movie Characters Galore

    Like many (if not most) of the better screen comedies these days, In a World… is at heart a coming-of-age story about a character who gradually, sometimes painfully, emerges out of arrested adolescence. But even though Carol is a captivating and fascinating lead character, and even though Bell the actor plays her with immensely appealing charm and an impressive arsenal of comedic skills, Bell the writer-director is too savvy and generous a filmmaker to make Carol the sole focus in In a World…

    Among the well-cast and vividly drawn satellites in Carol’s orbit: Dani (Michaela Watkins), Carol’s sister, who’s just discontent enough with her predictable life to consider an assignation with a guest at the hotel where she works; Moe (Rob Corddry), Dani’s supportive but unexciting husband, whose reaction to his wife’s contemplation of infidelity provides one of the movie’s most potent emotional impacts; Louis (Demetri Martin), a sound engineer who’s sweet on Carol, but too nice a guy to immediately make his intentions known; and Eva Longoria, who’s a tremendously good sport about playing . . . well, herself.

    In a World… persuasively depicts various specifics of the world where Sam is a god, Gustav is an ascending star, and Carol would settle for being gainfully employed. (In addition to detailing voice-over work for trailers, the film also includes glimpses at similar voice-overing for commercials and video games, and vocal coaching for actors who should really think twice about attempting accents.) The quirks and competitiveness of this world seem as real — and as engaging — as the idiosyncrasies and aspirations of the characters who populate it.

    In other words: Chalk up In a World… as a triumph on both sides of the cameras for Lake Bell.

    In a world where indie filmmakers still take the personal approach to the publicizing their pictures.. Lake Bell visited Houston a few weeks ago to promote In a World… She introduced a preview screening at the Sundance Cinemas, then stuck around for a Q&A hosted by a fellow who, as you will see in this video, probably will never land his own voiceover gig, in this or any other world.

    Alexandra Holden, Lake Bell and Fred Melamed in a scene from In a World.

    Alexandra Holden, Lake Bell, Fred Melamed In a World
    ReleaseDonkey.com
    Alexandra Holden, Lake Bell and Fred Melamed in a scene from In a World.
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    Movie Review

    Camp Miasma puts a comedic twist on the classic slasher movie

    Alex Bentley
    Aug 14, 2026 | 3:00 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 the slasher subgenre 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.

    ---

    Teenage Sex and Death at Camp Miasma is now playing in select theaters

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