Psychosexual gender troubles at ‘Camp Miasma’

Teenage Sex and Death at Camp Miasma: a transgressive queer slasher whose meta commentary on the genre itself is a horror theorist’s wet dream, as it oozes allegories and subversions.

August 31, 2026

Eli Roth’s reliance on generative AI is a recipe for disaster that’s giving audiences and critics alike a brain freeze.

August 31, 2026

Matt Johnson shines a different light on a beloved cultural icon

August 31, 2026

The Screening Room’s annual CatVideoFest has returned, aimed at supporting animal welfare.

Unfortunately for classicist purists, Christopher Nolan’s mythic action epic blends antiquity with modernity.

Does Stop! That! Train! get cute? Or is it drop dead gorgeous.

The success of Curry Barker and Kane Parsons’ debut studio films Obsession (2025) and Backrooms (2026), and their past careers on YouTube have led to many predicting a new era of self-made directors who make a name for themselves beginning on social media.

Canadian cinema is in its comeback era.

Love Overboard is what reality TV looks like when it knows exactly how ridiculous it is.

As Hollywood wraps up another awards season celebrating cinematic excellence, a different kind of ceremony has also crowned its winners, not as films recognized for artistic achievement, but for spectacular failure.

The third show in HBO’s A Song of Ice and Fire franchise signifies a bright future for George R. R. Martin’s new television adaptations. 

John F. Kennedy Jr. and Carolyn Bessette-Kennedy are back in the spotlight in FX’s new series Love Story (2026).

In the midst of an eventful awards season highlighting many incredible films, some great movies have been swept under the rug.

I laughed. I cried. I felt compelled to try the CN Tower’s EdgeWalk.

On Valentine’s Day, I found myself in the last place most people would choose: a dark theatre, watching a film about grief. Yet it felt exactly right.

Between family expectations and personal freedom, some desires are taught to remain silent.

Sunday evening at the Broom Factory was marked by what seemed like an endless round of applause.

Mile End Kicks made me long for the joy of early 2010s Montreal hipsterdom.

When “Wuthering Heights” concluded at The Screening Room, there wasn’t a dry eye in the theatre. Except for three—mine, and my two new friends beside me who’d also read the book.

The concept of colour-blind casting becomes problematic when producers don’t stand up for cast members against racist audiences.

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