A Satirical Horror Comedy That Holds Nothing Back

Read Time:7 Minute, 40 Second

MOVIE REVIEW
Eating Miss Campbell
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Genre: Comedy, Horror
Year Released: 2022, Troma Films Blu-ray 2025
Runtime: 1h 24m
Director(s): Liam Regan
Writer(s): Liam Regan
Cast: Lyndsey Craine, Lala Barlow, Vito Trigo, James Hamer-Morton, Charlie Bond, Emily Haigh, Michaela Longden, Sierra Summers, Alexander J Skinner, Justin A. Martell
Where To Watch: available now, order here: www.troma.com, www.mvdshop.com, or www.amazon.com

CONTENT WARNING: This review and the film it discusses contain references to highly sensitive topics, including suicide, school shootings, cannibalism, and violence. Viewer and reader discretion is strongly advised.

RAVING REVIEW: No punches are pulled, no lines are left uncrossed, and no taboo is too extreme—EATING MISS CAMPBELL is not interested in playing it safe. It tears through the horror-comedy genre like a wrecking ball, stuffing every concept imaginable into a chaotic, blood-drenched satire of high school life. Troma Entertainment has long been known for its fearless, no-holds-barred filmmaking, and this latest entry takes that philosophy to the extreme. Cannibalism, school shootings, suicide, and predatory teachers—nothing is off-limits, and the film treats it all with a level of irreverence that dares audiences to either recoil in horror or laugh at the sheer absurdity of it all.

Beth Conner (Lyndsey Craine), a goth teenager with a deeply ingrained death wish, finds herself stuck in an endless loop of dying and waking up in new horror-movie-inspired realities. Her latest nightmare is a high school comedy-horror hybrid. She falls for the enigmatic Miss Campbell, a teacher whose presence awakens something emotionally and more inside her… As if that weren’t enough, the school is gearing up for its annual "All You Can Eat Massacre," a grotesque contest where the grand prize isn’t a trophy but a loaded firearm, leaving the winner with a grim decision. Faced with a world where violence is celebrated, and authority figures are beyond corrupt, Beth has to determine if she’s willing to play along or burn it all down.

From the opening moments, Director Liam Regan clarifies that subtlety is not on the menu. The film isn’t structured around a traditional narrative; it’s an escalating rollercoaster designed to test the audience’s limits. The humor is as dark as it gets, taking shots at school violence, grooming, and media sensationalism with an almost gleeful disregard for consequence. There’s no softening the edges here—the film doesn’t just push buttons; it stomps on them repeatedly.

However, hidden beneath the onslaught of shock value is a premise with real potential. The idea that Beth is doomed to relive different horror tropes each time she dies is an incredibly creative take on genre deconstruction, but it never quite reaches its full potential. The film dangles this concept in front of the audience, abandoning it in favor of more carnage and irreverent gags. A more focused approach could have turned this into a fascinating exploration of horror archetypes, but instead, it functions as more of a background detail than a driving force.

That same lack of focus applies to the film’s satire. There are moments of genuine brilliance in its critique of media obsession with violence and the way nostalgia often traps horror in a cycle of repetition. The sheer volume of nods to horror and teen comedies becomes overwhelming, eventually turning into white noise rather than clever commentary. The best satire allows its ideas to breathe, but EATING MISS CAMPBELL is so intent on maintaining its rapid-fire pace that many of its most intriguing themes barely get the chance to land before the next moment takes center stage.

The practical effects are as grotesque as impressive, delivering plenty of over-the-top, blood-soaked sequences that horror fans will appreciate. By favoring practical effects over CGI, the film maintains a tangible, almost nostalgic horror aesthetic that complements its unhinged energy. The production design deserves praise, particularly in building a distinct world for Beth’s nightmare. Her goth-inspired look, complete with jet-black lipstick and a wardrobe seemingly pulled from the depths of a 90s horror catalog, immediately establishes her as an outsider. Meanwhile, the school’s popular clique—led by the cartoonishly cruel Clarissa (Emily Haigh)—feels ripped straight out of classic teen comedies; with her vintage-inspired styling and carefully curated presence, Miss Campbell (Lala Barlow) feels like a character from an entirely different era, reinforcing the sense that Beth’s world is built from layers of influences colliding in increasingly bizarre ways.

The performances embrace the madness without hesitation. Craine delivers a deadpan yet engaging take on Beth, balancing her character’s cynicism with moments of genuine vulnerability. Her constant breaking of the fourth wall reinforces the film’s self-awareness, allowing her to comment on the absurdity around her while remaining trapped within it. Barlow brings an eerie charm to Miss Campbell, effortlessly shifting between warmth and menace. As Mr. Sawyer, Vito Trigo dials his performance up to eleven, embodying the kind of gleeful insanity that perfectly matches the film’s unhinged tone.

For all its technical strengths and commitment to pure, anarchic chaos, the film ultimately stumbles regarding cohesion. It raises countless provocative ideas—Beth’s struggle with self-destruction, the media’s obsession with school violence, the absurdity of authority figures within broken institutions—but rarely follows through on them. The cannibalism subplot, for instance, is introduced but is ultimately sidelined in favor of yet another round of shocking humor. If the film had spent more time developing Beth’s conflict rather than using it as just another piece of the absurd puzzle, it could have added a much-needed emotional core to balance the relentless shock factor.

EATING MISS CAMPBELL is an endurance test, a film that thrives on excess and refuses to hold back. It isn’t here to comfort or provide easy entertainment but to challenge, provoke, and revel in its madness. Fans of boundary-pushing horror comedies will find plenty to appreciate, while others might find themselves exhausted by its relentless need to provoke.

At its core, the film is a contradiction—it mocks nostalgia while relying on it, satirizes horror clichés while indulging in them, and pushes the boundaries of taste while asking if anything can still truly shock in today’s landscape. Love it or hate it, EATING MISS CAMPBELL refuses to be ignored.

If you or someone you know is struggling with thoughts of suicide or self-harm, please reach out to one of the following resources:

Australia: Call 13 11 14 for 24/7 crisis support from Lifeline Australia.
Brazil: Call 188 for 24/7 emotional support from Centro de Valorização da Vida (CVV).
Canada: Call 1-833-456-4566 or text 45645 (4 p.m. to midnight ET) for 24/7 support from Talk Suicide Canada.
India: Call 1860 266 2345 for mental health support from the Vandrevala Foundation Helpline.
Japan: Call 03-5774-0992 for free, confidential English-language support from TELL Lifeline.
Mexico: Call 800 472 7835 for 24/7 crisis intervention from SAPTEL.
New Zealand: Call 0800 543 354 for free 24-hour counseling from Lifeline Aotearoa.
South Africa: Call 0800 567 567 for support from the South African Depression and Anxiety Group (SADAG).
United Kingdom and Ireland: Call 116 123 for free 24/7 support from Samaritans.
United States: Call 988 for 24/7 confidential support from the Suicide & Crisis Lifeline.

For a more comprehensive list of international suicide crisis lines, visit reliable resources such as the International Association for Suicide Prevention or Befrienders Worldwide.

Seeking help is a sign of strength. Support is available, and you are not alone.

Bonus Materials:
Audio Commentary
Making Of Documentary
Deleted Scenes
Outtakes
Gore Reel
Raw B-Roll
Cast Interviews
Frightfest Premiere
Behind The Scenes Footage
VFX Reel
Introduction from Lloyd Kaufman
Trailers
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[photo courtesy of TROMA FILMS, MVD ENTERTAINMENT]

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