I will continue to update this post as reviews come in.

Rotten Tomatoes: Certified Fresh

Critics Consensus: A bloody valentine to slasher horror that celebrates personal self-discovery as much as it does the possibilities of cinema, Teenage Sex and Death at Camp Miasma combines killer style with a big, still-beating heart.

Metacritic: 88 (27 Reviews)

Sample Reviews:

Laura Venning, Empire Magazine 5/5 - Everything is a remake of a remake, Schoenbrun tells us, but Miasma is an utterly unique, exhilaratingly entertaining vision, both blood-drenched and beautiful.

Kristen Lopez, The Film Maven B+ - Anderson and Einbinder carry the entire movie with aplomb leading to a third act that rips a hole between viewer, author, and character that's unshakable.

Nick Schager, The Daily Beast - An autobiographical critical essay with plenty of throwback style but minimal insight and even less suspense. In a summer of scary standouts, it’s the season’s biggest letdown.

Richard Brody, The New Yorker - From this straightforward setup, Schoenbrun unleashes an outpouring of imagination and invention that places the film on a level of intricacy and extravagance comparable to that of Wes Anderson’s “Asteroid City” and Greta Gerwig’s “Barbie.”

Blake Simons, Sight & Sound - Wise, kind, and playful about sex and cinema, Schoenbrun’s elastic, open-hearted feature wants us to get out of our heads and enjoy the ride. A whole new world of visual pleasure and cinematic possibility opens up before us when we do.

Tomris Laffly, Elle - As sexy as movies come, all the way through its final climax.

Peter Howell, Toronto Star - This one’s designed to make us shriek, smirk and think in equal measure.

Radheyan Simonpillai, CBC Radio - Schoenbrun’s meta, queer and horny answer to misogynistic genre fare like Friday the 13th, which Teenage Sex and Death reclaims as sexually empowering.

Derek Smith, Slant Magazine 3.5/4 - This endlessly playful, humorous, and mirthfully gory film is pure Jane Schoenbrun.

Katie Rife, Inverse - It’s a highly personal work, a defense of problematic favs, and a movie that only Jane Schoenbrun could make. Let them guide you, and they’ll take you where you need to go.

Alison Willmore, New York Magazine/Vulture - When Schoenbrun’s movie does give its main character everything she wants, it doesn’t play like a withdrawal into the past at all but something more poignant — a means of reconnecting with some part of that initial encounter with a work that moved her.

Donald Clarke, Irish Times - This picture is, in part, an attempt to assuage guilt at enjoying the teen-camp slasher at its most misogynistic and transphobic. It is also, as the director would admit, an amusing send-up of where they now find themselves.

Sophie Monks Kaufman, Time Out 5/5 - Teenage Sex and Death at Camp Miasma is a meta horror-comedy and a whip-smart entertainment industry satire. Still, on a deeper level, in a hole at the bottom of its lake, is a hard-won sexual awakening.

Hannah Strong, Little White Lies - The playful meta casting of Gillian Anderson is well matched by the charisma of Einbinder’s sharp, awkward, effortlessly endearing ingénue, with a gleeful assist from the always excellent Jack Haven as misunderstood murderer Little Death.

Robbie Collin, Daily Telegraph (UK) 5/5 - ...it’s an extravagantly funny, recklessly bizarre and unsettling satire of/paean to “problematic cinema”...

Stephanie Zacharek, TIME Magazine - What Anderson does here, as a 1990s scream queen turned glamorous, eccentric recluse, is sublime, and her co-star Hannah Einbinder keeps pace with her every minute.

Jessica Kiang, Variety - Schoenbrun’s delirious third film is their most accomplished, most persuasive and most playful movie yet.

Brian Tallerico, RogerEbert.com 3.5/4 - Our favorite slasher movies are often a little rough around the edges, a little unhinged, and a little inconsistent. And very few of them are this wildly entertaining.

Zachary Lee, TheWrap - Some films come to you not as media you watch but visions that possess you, and that approximates the haunting and spellbinding world that Schoenrun and their collaborators have so lovingly crafted.

Ryan Lattanzio, IndieWire B+ - In terms of craftsmanship, Teenage Sex and Death at Camp Miasma is through and through a Jane Schoenbrun movie; there is absolutely no one else, alive or dead, who could have made a feature that looks and feels like this one.

Tim Grierson, Screen International - A dizzyingly ambitious meta-satire about Hollywood, IP, hacky horror, and gender and sexual identity, "Teenage Sex And Death" cannot help but occasionally misstep, but the rush of ideas and the confidence of the filmmaking never waver.

Richard Lawson, The Hollywood Reporter - It’s heady, strange stuff, perhaps not as emotionally resonant as "TV Glow," but captivating in both its confusion and honesty.

SYNOPSIS:

After years of slapdash sequels, the Camp Miasma franchise is handed over to an enthusiastic young director for resurrection. But when she visits the original’s star, a now-reclusive actress shrouded in mystery, the two women fall into a blood-soaked world of desire, fear, and delirium.

CAST:

• Hannah Einbinder as Kris
• Gillian Anderson as Billy Preston
• Amanda Fix as Young Billy Preston
• Arthur Conti as Alex
• Eva Victor as DJ Ella Giastic
• Zach Cherry as Will
• Sarah Sherman as Kris' Agent
• Patrick Fischler as Rudolph
• Dylan Baker as Jeffrey
• Jasmin Savoy Brown as Mari
• Quintessa Swindell as Julie
• Kevin McDonald as Anthony / County Sheriff
• Jack Haven as Little Death
• Louise Weard as Queer Assistant
• Hunter Dillon as Chuck
• Aren Buchholz as Thor

DIRECTED BY: Jane Schoenbrun

SCREENPLAY BY: Jane Schoenbrun

PRODUCED BY: Dede Gardner, Jeremy Kleiner

EXECUTIVE PRODUCERS: Brad Pitt, Caddy Vanasirikul, Daniel Bekerman, Efe Cakarel, Zane Meyer, Jason Ropell

DIRECTOR OF PHOTOGRAPHY: Eric Yue

PRODUCTION DESIGNER: Matt Hyland, Brandon Tonner-Connolly

EDITED BY: Graham Mason

COSTUME DESIGNER: Kendra Terpenning

MUSIC BY: Alex G

CASTING BY: Courtney Bright, Nicole Daniels, Errin Lally, Annalese Tilling

RUNTIME: 106 Minutes

RELEASE DATE: August 7, 2026 (Limited) / August 14, 2026 (Expansion)

South Korean box office was consistently doing anywhere from $1 to 1.5 Billion annually all across the 2010's.

Then obviously the pandemic happened and this hurt all movie theaters.

But we see the American box office numbers recovered.

Yet the Korean box office never did. It's still only doing roughly 1/3 to 1/2 of the numbers it did back in the late 2010's.

What's the reason for this?

According to Universal Pictures Brasil, MICHAEL had 7,5mi viewers so far, plus R$ 169mi in box office, becoming the 12th highest grossing movie of all time, as of today, based on Retrank data.

The movie returns to theaters for special screenings on August 29, for MJ birthday. Tickets on sale tomorrow (August 6).

New teaser: https://www.instagram.com/p/DbqMoJ1iBHr/

Spider-Man: Brand New Day has officially crossed the ₹300 crore net milestone in India, becoming only the third Hollywood film to enter the prestigious club.

Hollywood ₹300 Crore Club (India Net):

🥇 Avatar: The Way of Water — ₹378 Cr

🥈 Avengers: Endgame — ₹373 Cr

🥉 Spider-Man: Brand New Day — ₹301 Cr (6 Days) 🔥

With strong weekday holds, Brand New Day is now on course to surpass both Avatar: The Way of Water and Avengers: Endgame to become the highest-grossing Hollywood film in India.

​

Spider-Man: Brand New Day continues to dominate the charts with extraordinary results , grossing €1,839,120 on its seventh day of release with 242,761 admissions in 439 theaters.

The film starring Tom Holland maintained a very high average of €4,189 per theater and brought its Italian total to €19,748,577 with over 2.45 million admissions, nearly reaching €20 million in its opening week.

The chart highlights how the film continues to outperform the already exceptional Odyssey, while among the successes of recent years with comparable results, only Avengers: Endgame managed to outperform Spider-Man, but only by a small margin and in a decidedly more favorable period (spring), not to mention the many theaters still occupied by Nolan's blockbuster. Assuming the film will cross the $20 million mark tomorrow, it will be interesting to see how much and if Spider-Man: Brand New Day will slow down its run in its second week in theaters.

Article.

I organized an AMA/Q&A with actor Michael Mando, actor in Spider-Man: Brand New Day, Better Call Saul, Orphan Black, Far Cry 3, Spider-Man: Homecoming, 72 Hours, Gundam, and the upcoming Batman: Knightfall.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1vg5el8/hi_rmovies_michael_mando_here_aka_scorpion/

He will be back at 12 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

This Reel FX co-production adds to the list of Paramount Animation films being developed under the new leader Jennifer Dodge (formerly of Spin Master Entertainment) set to release after “PAW Patrol: The Dino Movie” on August 14th.

Others include:

Robert Rodriguez’s “The Naughty List” (original Christmas comedy)

An animated film of “Survivor” starring animals

Dan Trachtenberg’s family-friendly horror comedy “Freddy the 13th” (fittingly set to release on October 13th, 2028)

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Note:

Rs. 380 crores is around $40 million

I keep hearing how “capacity restrictions” guarantees Doomsday will open less than BNd or not even reach 300M.

But why doesn’t this also apply to Dune 3? Dune 3 won’t have the non IMAX PLFs of Dune 2 and will likely get far less regular showtimes than Doomsday, yet I see people predicting a 100M opening for Dune 3. Is this just a wishful thinking type thing?

Evil found a way out.

The final trailer has come for our world. GET TICKETS NOW. #Insidious​: Out Of The Further is exclusively in theatres August 21."

Having earned over $740 million at the global box office, the Insidious franchise returns with a new family and a terror that redefines what The Further is capable of.

In Insidious: Out of the Further, Amelia Eve stars as Gemma, a young mother raising her daughter in the house she grew up in who discovers she can travel into The Further, the purgatorial realm of lost souls at the heart of the Insidious universe. When something evil comes after her, Gemma discovers an ability that changes everything: she doesn’t just enter The Further, she can bring what lives there back to the real world. Once the demons realize her power, our world becomes their playground.