My quick rating – 6.9/10. Marshmallow kicks off with a bone-chilling dream sequence: a child is tossing and turning while his bed is slowly being engulfed in water, only to see that water is spewing from an open wound in his chest. It’s the kind of opening that grabs your throat and whispers, “This isn’t just a campfire story.” And it’s not. What starts as a standard camp-set horror film slowly transforms into something much more unexpected.
Twelve-year-old Morgan (Kue Lawrence), shy, socially awkward, and clearly out of place among the louder, rougher kids, is our guide through this waking nightmare. He’s the target of relentless bullying, and the film doesn’t sugarcoat the meanness of children—or people in general. While I don’t recall summer camp being quite this cruel when I was nine or ten, I wouldn’t be shocked to hear some kids got their asses kicked behind the mess hall. Marshmallow taps into that uncomfortable truth about childhood: kids can be vicious, and isolation at that age feels like the end of the world.
The film builds its early tension on these dynamics—loneliness, fear, and the sinister air around a local legend passed down through generations of counselors. When the mysterious figure of that fable finally appears, it triggers a frantic unraveling of what we thought we were watching. But this isn’t a slasher. Not really. I wish I could say more, but Marshmallow hinges on a genre shift that’s better left unspoiled.
That twist, and the journey to get there, is part of what makes this film stand out. Morgan’s recurring nightmares become more meaningful as the true nature of the threat is revealed. By the final act, pieces you thought were throwaway details suddenly click into place. Is it a little improbable? Sure. But it’s also clever, and if you don’t overthink it, it’s a surprisingly engaging ride.
The young cast does a commendable job carrying the story. Each camper feels distinct, and their performances feel natural rather than forced. Dirk/Doink (Max Malas) is an unlikely hero to root for and Pilar (Kai Cech) is so adorably sarcastic, you cannot help but root for the whole gang. Daniel DelPurgatorio directs with a steady hand, letting the horror breathe instead of rushing the scares. There’s restraint here, which makes the eventual shift in tone all the more effective. And yes, Paul Soter, best known for his comedic work with Broken Lizard, pops up in an unexpected and serious role. It’s odd at first, but somehow it works.
The explanation for what’s really going on could have used a little tightening. A few lines of dialogue or a more focused reveal would have helped sell the twist more clearly. Still, the groundwork is solid, and the film ends on a note that all but screams for a sequel. If they follow through and stick with the same tone and creativity, that sequel could be something really special. Especially if they follow the level of violence presented right before the credits.
In the end, Marshmallow isn’t perfect, but it’s smarter than it looks and more ambitious than you’d expect. Don’t go in expecting pure slasher carnage. Let it surprise you. Just… maybe don’t fall asleep near the fire.
There are a few streamers to rent this one from, including Plex.