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Sleepaway Camp II: Unhappy Campers

Sleepaway Camp II: Unhappy Campers

Comedy · Horror · 1988

Angela Baker escapes from a mental hospital and surfaces at a summer camp as a counselor who lectures her teenage charges on proper moral behavior. Those teens who break her strict rules -- from the camp chatterbox or a sex-obsessed girl to the boys who are peeping Toms -- are murdered by the impostor in various gruesome ways. As more campers go missing, intrepid counselor Molly begins to piece together the truth.

Movie details

Sleepaway Camp II: Unhappy Campers

“She's back...”

1988 Comedy · Horror 1h 20m

Critical arithmetic

One number, for now.

TMDB

5.8 / 10

Community rating

Angela Baker escapes from a mental hospital and surfaces at a summer camp as a counselor who lectures her teenage charges on proper moral behavior. Those teens who break her strict rules -- from the camp chatterbox or a sex-obsessed girl to the boys who are peeping Toms -- are murdered by the impostor in various gruesome ways. As more campers go missing, intrepid counselor Molly begins to piece together the truth.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Sleepaway Camp II: Unhappy Campers?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Michael A. Simpson

Written by

Michael Hitchcock · Robert Hiltzik

Pamela Springsteen

Pamela Springsteen

Angela Johnson

Renée Estevez

Renée Estevez

Molly Nagle

T

Tony Higgins

Sean Whitmore

V

Valerie Hartman

Ally Burgess

Brian Patrick Clarke

Brian Patrick Clarke

TC

Walter Gotell

Walter Gotell

Uncle John

S

Susan Marie Snyder

Mare

Court is in session

Put Sleepaway Camp II: Unhappy Campers on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.