![‘Teenage Sex and Death at Camp Miasma’ Review: Schoenbrun Deconstructs Slasher Cinema In This Brilliantly Subversive Satire [Fantasia 2026]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1784662765796-KY8296NFFDX4JXTYCDM0/CampMiasma_Still_1_MUBI.jpg)
Jane Schoenbrun tackles a lot in ‘Teenage Sex and Death at Camp Miasma’ that it almost feels like it’s going to collapse in on itself, until it doesn’t and opens up in ways you never expected from the outset.
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Despite solid performances and a potent message, Adrian Chiarella’s ‘Leviticus’ begins to fall apart as soon as its mechanics contradict themselves.
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Kane Parsons breaks into the Hollywood scene by adapting his own ‘Backrooms’ YouTube series into a surprisingly intelligent and aesthetically thoughtful feature film.
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Horror fans have been eating well this year with a myriad of refreshing new entries into the overpopulated genre. However, writer/director Curry Barker’s ‘Obsession’ takes your expectations and laughs at them as it toys with them, becoming the year’s best new addition so far.
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‘Hokum’ crafts a cinematic Irish folktale and brings it into modern day, but regardless of the title, there’s no ‘hogwash’ to be found in terms of the fear director Damian McCarthy creates.
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Lee Cronin may be slightly inspired by Sam Raimi's work in his take on ‘The Mummy’, but his film remains playful and appropriately disturbing, taking audiences in frequently unexpected directions.
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It’s violent and silly enough to be mildly entertaining, although it’s punching below the original’s previously set standards. Ready or Not 2: Here I Come tries and fails to go big, and goes home as a reminder that less is more.
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Ghostface and his iconic getup are back to terrorize Sidney Prescott yet again in ‘Scream 7’ - a fierce, fun, but ultimately messy sequel that shows a franchise that is beginning to show signs of wear and tear.
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Awful in almost every conceivable way, ‘Psycho Killer’ is a note-perfect exercise in screwing things up from the get-go and never recovering as it trudges through a ridiculously inert conclusion.
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With an intriguing young cast, including Daphne Keene and Sophie Nélisse, and a somewhat original premise, Shudder’s ‘Whistle’ shouldn’t just be background noise. But it is.
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After two decades, Sam Raimi finally returns with another R-rated feature in ‘Send Help’, a gnarly, ferocious return to form that will remind audiences what a wildly fun and singular filmmaker he is.
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Director Nia DaCosta’s take on the ‘28’ franchise brings bold tonal swings and dials up the madness in the latest sequel, ‘28 Years Later: The Bone Temple’.
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Oz Perkins has yet to make something worthwhile in the opinion of our Maxance Vincent, but with his sixth feature, ‘Keeper’, the film could be the worst project he has ever helmed.
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Chris Stuckmann certainly has the cinematic baggage to craft ‘Shelby Oaks’, but he cannot effectively transcend any of the influences he cites in this painfully underdeveloped horror film.
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The Grabber may have met his maker, but that hasn’t stopped him from clawing his way back to terrorize Finney and Gwen yet again in ‘Black Phone 2’, a horror sequel that provides chilling scares and an exciting expansion of the overarching mythology.
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For better or worse, ‘The Oval Portrait’ is the exact sort of film which a Hammer horror fan will appreciate.
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Ultimately, despite a strong premise, ‘Him’ ends up throwing a Hail Mary, which, if not fumbled, undoubtedly could have been more interesting than the end result.
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'The Conjuring: Last Rites’ just doesn't come together in concept or on the page, and the film falls well short as a result. If you’re a fan of this franchise, it may be worth checking out to see the Warrens slow dance into the sunset. Otherwise, this is a wash of an experience at the cinemas.
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Because director Francis Lawrence is such a storied visual artist, ‘The Long Walk’ can mostly overcome its shoddily written screenplay as it continuously coddles the audience through a slow paced stroll of Stephen King’s first work.
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After taking the horror genre by storm with his debut feature ‘Barbarian’, writer/director Zach Cregger returns with ‘Weapons’, a wildly entertaining horror mystery that easily sidesteps the dreaded sophomore slump.
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