[EXPRESSO] Teenage Sex And Death At Camp Miasma (2026) | QueerAngela

Freshly released in theathers here, Teenage Sex And Death At Camp Miasma is a classic slasher for the ages… as in, this age, the modern age.

Kris is a queer horror director known for a Psycho remake from the prospective of the shower curtains, that has been tasked with directing the reboot of 80s cult slasher series Camp Miasma (a sort of Friday The 13^th crossed with Sleepaway Camp entity), as she is a notorious superfan, but she struggles under the pressure of her own ambition to do something fresh with it, and especially because of the studio push-back to have actress that played thef inal girl in the original film, Billy Presley, come back.

Kris is adamant about it, and decides to meet up nonetheless with Billy, whom has been pretty much living as a recluse in the same place where the first Camp Miasma film was shot….

Yes, it’s indeed a meta-horror that works both as tribute and satire of the 80s slasher, it’s significance today, how the sexual themes reflected anxieties of the era and how this applies in an age where sexuality is very different, especially from a queer prospective, but while it delivers a lot of kills, gore and hilariously excessive geysers of bloods, and it’s more heavy on comedy that you’d expect.

And while it does have an unique “meta twist” that isn’t quite what you’d expect, it’s also fairly straighforward – and deliberately unsubtle- in tackling the genre as a way of sexual self-discovery and emancipation, sold thanks to the amazing performances of Gillian Anderson and Hannah Heinbinder.

Though at times the pacing could be better, and frankly i would have preferred if it ended a scene earlier than it does, but still, Teenage, Sex And Death At Camp Miasma is quite good.

Monster Armageddon/2025 Armageddon (2022) [REVIEW] | #giantmonstermarch

I’ve lamented the downright lethargic, nearly comatose state and distinct disinterest, so nested and in a rot The Asylum is with their output in this last period, i’ve done that before.

It’s clear whatever “magic” they summoned with Sharknado didn’t last long, and now just rest on their laurels, so to speak, as even the usual aficionados of trash got disinterested in the same way the company itself seems to be with whatever they cram out, they keep doing their thing but just because it’s what they have always done, and will keep doing until there’s not any money left off mockbustering.

I remember from a class in genre cinema i once took that – broadly speaking – a genre has reached a stage of severe stagnation when it starts becoming metatextual, to speak of itself more than anything else, as it can obstensibly find nothing else to iterate on, so it “turns on itself”.

And while it no longer hold completely true, as we’re now in a post-meta phase, if you will, there’s still a valid argument in there, because films like Monster Armageddon (released as 2025 Armageddon in trying to fool more people) validate the implied drying up of the “creative well”, and are a testament to this decade of post-irony, meta overdosing incestinal multiverse crossovers, of finding out there’s no bottom of the barrel, no real lowest of the low that can’t be “improved” upon.

I remember buying the DVD for this one for 5 bucks, sight unseen, on Amazon back in 2023, i knew it was an Asylum joint, and the cover art was nice, featuring a lots of monsters and creatures.

As with Monster Island (their mockbuster response to 2019’s Godzilla II: King Of The Monsters), the cover art is way better than the movie itself, but this time around it isn’t a complete lie like it was with that movie… as in it’s not technically a lie.

It’s worse… or is it?

Continua a leggere

[EXPRESSO] The Bubble (2022) | Comedy Out Of Time

Decided to dip my toes once again into the Netflix new releases, still not much luck.

The Bubble it’s honestly kinda sad as it has a nice idea, being a comedy happening on the set of the new movie in the fictional “Cliff Beasts” B-movie series, completely taking place in the hotel where the cast it’s quarantined in until the movie it’s finished.

The first problem is that The Bubble it’s a satirical comedy that not only loses all its edge as it dwells on the expected themes and almost comes off as hypocritical, poking fun at the movie industry when it was written in a rush in early 2021 in order to make itself relatable to the viewer, goes for a lot of comedy low-hanging fruits, and hopes the excellent cast of comedy actors would suffice.

The other problem is that it feels incredibly dated already and worse, it’s not really that funny, to be blunt.

It has its moments where it works, undeniably, so it’s not a completely laugh-free Netflix affair, and it’s not grating, but the straightforward approach and scattershot nature of the movie as a glorified series of improv sketches doesn’t help, and makes one wonder why the fuck it’s 2 hours long.

The self-awareness about content for content’s sake might have worked if it didn’t feel so depressingly leaning into the audience having compassion for it more than being entertained by, which gets extra depressing and ironic due to how incredibly ancient it feels out of the box.

It’s a shame because there could have been something to it, there’s an effort in making the premise work, but instead it comes off a depressing and kinda desperate comedy that even at peak freshness feel like it was imprisoned in a space capsule alongside Rita Repulsa.