DON'T SLEEP ON... Teenage Sex and Death at Camp Miasma

Teenage Sex and Death at Camp Miasma (USA, 2026. Dir: Jane Schoenbrun): Full disclosure: The much-celebrated sophomore effort by Jane Schoenbrun, I Saw the TV Glow, did nothing for me. At best, it was a Buffy the Vampire Slayerepisode stretched to feature length (S6, ep. 17, “Normal Again”). Not surprisingly, I was wary of all the early praise for Teenage Sex and Death at Camp Miasma.

It’s definitely not the reinvention of the slasher it has been touted as, but Camp Miasma makes good use of its setup to explore sexual awakening and wrong turns along the way (this may come as a shock to parents everywhere, but the kills were only half the appeal of Friday the 13th). This approach makes for a strong first half and explains why the rest of the movie fails to live up to its early promise. Would you like to know more?

THIS WEEK IN MOVIES: The Wrong Girls

The “stoner buddy comedy” is as formulaic as it is effective: two friends whose reasoning is impaired by copious pot consumption, find themselves in the middle of some kind of criminal endeavour they have unwittingly stumbled into. The potheads stumble their way through a life-threatening situation they could barely understand and come out ahead thanks to sheer luck, villain incompetence, and/or a clear-headed ally, often all three (see Pineapple Express, Harold & Kumar Go to White Castle, any Jay and Silent Bob movie). Would you like to know more?

THIS WEEK IN MOVIES: Rose of Nevada

Rose of Nevada (UK, 2020. Dir. Mark Jenkin): One of the most original British directors working today, Mark Jenkin is a no-fuss, small-town, big-themes filmmaker capable of creating otherworldly realities with the most basic of tools, chief among them a Bolex camera and 16mm film. The marriage of Jenkin's lo-fi sensibilities with England's rich folk horror tradition produced the auteur's best film to date, Enys Men.

But when a highly regarded indie filmmaker tries to break into the mainstream, the stakes change. Stretching a modest budget matters less than connecting with a broader audience. And Rose of Nevada doesn't quite get there. Would you like to know more?

THIS WEEK IN MOVIES: Gail Daughtry and the Celebrity Sex Pass

Gail Daughtry and the Celebrity Sex Pass (USA, 2026. Dir: David Wain): Thanks to the success of Seth Rogen and Evan Goldberg’s The Studio, the Hollywood satire is having a bit of a moment. But it’s an unearned one.

The dirty little secret about the Apple TV+ series that ransacked the Emmys last year is that it's more self-congratulatory than self-effacing. Beyond outlandish gags like portraying the widely beloved Ron Howard as an egomaniacal monster, The Studio is blander than boiled cabbage. You won't see the sitcom lampooning Howard for glorifying JD Vance's upbringing in Hillbilly Elegy, or tackling hot-button issues such as big-budget productions fleeing Hollywood or the homelessness crisis in Los Angeles, fueled in no small part by the steady influx of aspiring actors chasing stardom. Would you like to know more?

THIS WEEK IN MOVIES: Tuner

Tuner (Dir: Daniel Roher. Canada/USA, 2025): If someone were to create a mock Canadian film based on the stereotype, the script would be painfully earnest and straightforward, likely trading on stock characters, and set in cottage country.

The local industry is changing for the better (2026 is shaping up to be a banner year) and even traditional genre flicks are showing more colors. Take Tuner. If made in the aughts it would probably star Ryan Reynolds, be filled to the brim with bad one-liners, and the caper elements would take precedence over character development. Would you like to know more?

DON'T SLEEP ON... I Swear

I Swear (Dir: Kirk Jones. UK, 2025). This is exactly the kind of film our “Don’t Sleep On…” section was created for. I Swear is a poignant, deeply affecting drama that never slips into cheap sentimentality and leaves you wiser than when you walked in.

It can also make you livid when you consider the shameful treatment of the man who inspired the film, courtesy of the American press covering the BAFTAs last February. Would you like to know more?

DOCUMENTARY CORNER: Agatha's Almanac

Agatha’s Almanac (Canada, 2025. Dir: Amalie Atkins): In spite of the Saskatchewan provincial government’s best efforts (or lack thereof), the Saskatchewan film industry refuses to die.

Perhaps “industry” is too strong a word, particularly when discussing a documentary as proudly analog as Agatha’s Almanac, but there is local talent willing to face the challenges of working in the province with defiance and ingenuity. Would you like to know more?

THIS WEEK IN MOVIES: Ready or Not 2: Here I Come

Ready or Not 2: Here I Come (USA, 2026. Dir: Matt Bettinelli-Olpin & Tyler Gillett): You know the drill: Sequels are expected to open up the world of the original, to up the ante. If Spider-Man was initially saving the city, by the next movie he was saving the world..

The Ready or Not sequel takes that principle and blows it up. If the original was about a bride realizing she was marrying into a family of murderous maniacs, this one pits said bride against even more skilled psychopaths with the fate of mankind at stake. Kind of like John Wick. Would you like to know more?

THIS WEEK IN MOVIES: Jimpa

Jimpa (Australia/UK, 2025. Dir: Sophie Hyde): Following his casting as Albus Dumbledore in the upcoming TV adaptation of the “Harry Potter” books, John Lithgow caught some flak from the transgender community for aligning himself with frequent antagonist J.K. Rowling.

Alas, if there’s someone who deserves special consideration in this scenario, it’s Lithgow. Not only has he been an LGBTQ+ ally, his role as Roberta Muldoon in The World According to Garp (1982) marked a cultural Rubicon for the genderqueer community. By embodying a three-dimensional, fully fleshed-out character, John Lithgow changed social preconceptions and moved the acceptance needle. Would you like to know more?

DON'T SLEEP ON... Cold Storage

The comedy-horror subgenre comes with a considerable degree of difficulty: both genres tend to undercut each other. Even the single masterpiece to emerge from this unholy union —Gremlins, of course— is more likely to make you laugh than shriek.

Cold Storage gives it the old college try and, at times, pulls it off. Based on the pulpy bestseller by David Koepp (who also wrote the script), the film makes the gore register by going extra gnarly and pads the cast with three highly respected British thespians slumming it with gusto. Would you like to know more?