The vast cloud consists of extremely dry, dust-filled air that forms over the Sahara Desert before being carried thousands of miles westward by strong winds.
Light to moderate Saharan dust has already begun drifting into South Florida, including the Miami area, creating hazy skies, suppressing thunderstorm activity and contributing to hotter, drier conditions.
Forecasters said a drier air mass, fueled by an approaching plume of Saharan dust, will move into the region beginning Tuesday.
The dust is expected to continue filtering across the state through the week, with its effects becoming increasingly noticeable by midweek.
This news being exclusively reported by Deadline tonight is a bit surprising, reviews for the duffer Brothers produced Netflix show the Boroughs was pretty strong but the rating for pretty tepid..
We offered our own review of season 1 and we liked it. But now Netflix is ensuring that it will not come back for season 2..
The news comes as somewhat of a surprise. Deadline hears there had been talk about renewing the series starring Alfred Molina, Geena Davis, Alfre Woodard, Denis O’Hare, Clarke Peters and Bill Pullman, and a Season 2 writers room had been opened, a standard practice for many high-profile series. According to sources, one of the ideas floated was to film Seasons 2 and 3 back-to-back.
Former child actress Daveigh Chase, known for her roles in “The Ring” and “Lilo & Stitch,” has died. She was 35 years old.
LChase died on Tuesday following a case of meningitis and an infection in her blood, which caused her to suffer septic issues and lead to her body shutting down, according to her boyfriend Roy Hernandez.
This review is going to contain spoilers for the movie Disclosure Day. Read at your own peril. If there was ever a film you should see with your most intelligent friends, the ones who can debate whether disclosure of alien life would help or hurt the planet, this is the film.
Some of the ads give away a few notable scenes that appear in the movie, and they make Disclosure Day look a little more frightening than it actually is. But those scenes are still effectively used in the film itself. But if you’re going to this movie thinking you’re seeing some sort of a horror you’re not, you’re more seeing a thriller chase movie with deep questions..
Steven Spielberg is back, giving us the famous camera angles, wide shots, close-ups, and dramatic moments he’s known for. Emily Blunt gives the kind of strong performance we’ve come to expect from her. Couple that with the rest of the cast, a strange and somewhat bizarre CGI alien at the end, and we have Disclosure Day.
And it’s arriving at a weird time.
Disclosure seems to be slowly happening in the real world, as UFO files continue to be released by the government. At the same time, people are actively debating whether the whole thing is just a big fake distraction from “the real agenda” .. and you can choose whichever real agenda you think it’s distracting us from.
But in this movie, the world is not distracted by something insignificant. World War III has begun, and the mass media in Disclosure Day is covering it 24/7.
That is, until a rogue group of contracted government workers decides to sneak evidence from the UFO files and reveal it to the entire planet.
The race is on between the good guys and the bad guys.. and you can take your pick as to which is which .. until the climactic ending, when we as a civilization are forced to pause our wars and confront something much deeper and more profound.
The positives here are the acting, the score, the writing, and the film itself.
The negatives could also be the acting, the score, the writing, and the film itself.
This movie is surprisingly divisive. In fact, the audience I saw it with seemed split right down the middle. A few people clapped. Others sighed. It perfectly fits the divided Rotten Tomatoes score currently online. Even the critics seem divided. It’s not getting the roaring praise that other Spielberg films have received, and it’s not dominating the box office the way it probably would have 25 years ago with Spielberg’s name attached.
That alone shows how much things have changed. Generationally speaking, this year’s horror movies — Obsession and Backrooms — have shown younger directors becoming more popular with younger audiences than Spielberg himself. But the truth is, Disclosure Day is good. Maybe not great, but good. And more than that, it feels significant. It feels important.
A lot of us conspiracy-minded folks have wondered for a long time whether Steven Spielberg knew something. And if he doesn’t, he’s very good at faking it.
But the movie matters not just because of the acting, the filmmaking, or the spectacle. It matters because of the questions it asks and, more importantly, the questions it refuses to answer.
Disclosure Day may not be Spielberg’s greatest film. But it is one of his most interesting in years. And at this moment in history, that might be enough to spawn an important debate at America’s 250th..
One of the more fascinating UFO stories of the past several weeks didn’t involve a whistleblower, a congressional hearing, or a strange object in the sky. It involved a Catholic exorcist.
Monsignor Stephen Rossetti, a well-known exorcist in the Catholic Church, was recently removed from his position after publicly discussing UFOs and suggesting that many UFO encounters could be demonic in nature. What’s interesting is that he was not removed because the Church officially declared his theory false. Instead, the controversy appears to stem from the fact that he was presenting a personal theory with the authority of an exorcist, despite the Catholic Church having no official teaching that UFOs are demons.
I really love this story in a way because it showcases the way that a lot of religion will have to grapple with disclosure if disclosure really happens.
And here’s the strange thing. There seems to be a tide that has turned. We’re quietly acknowledging or admitting that UFOs are real. Not necessarily aliens. Not necessarily spaceships. Not necessarily little green men. But there seems to be an increasing acceptance that something is going on, even if we have no idea what it is. We’re not really saying the quiet part out loud, but we’re keeping it quiet while simultaneously believing it loudly.
The truth is we don’t know if there are aliens. We don’t know if there are demons. We don’t really know much of anything. People can have beliefs and spiritual denominations can teach certain things about these subjects, while people on the other side of the coin will argue that it’s all made-up fairy tales anyway.
Listen, disclosure is going to be weird if and when it really occurs.
It will be abrasive to the human psyche in ways most people haven’t considered. I suspect that some people who have believed in aliens their entire lives will suddenly become skeptics once official disclosure arrives. Others who spent decades dismissing the subject may suddenly become believers. Human beings are funny that way.
For religions such as the Catholic Church, this may be one of the first examples of the dominoes and how they might fall. The Rossetti controversy wasn’t really about whether UFOs are demons. It was about who gets to define what UFOs are and how much certainty anyone can claim to have.
After disclosure, if disclosure ever comes, we may not be debating whether aliens are real at all. Instead, we’ll be debating what they are.
Are they extraterrestrials from another world.. time travelersl.. interdimensional beings?
Are they some future version of ourselves?
Or, as some religious thinkers have suggested, are they something spiritual in nature either good or bad?
The removal of one Catholic exorcist over comments about UFOs may someday be remembered as one of the earliest signs that humanity was beginning to wrestle with questions it isn’t remotely prepared to answer.
The latest review score for Masters of the Universe sits at less than 70% from critics but more than 85% from audiences on Rotten Tomatoes. The question is, who exactly is watching it?
It’s pretty clear the audience is made up largely of people over 35, and probably even more so people over 45. Many dads are bringing their kids, and a lot of viewers are showing up with a sense of nostalgia for a time that’s long gone. That nostalgia is mixed with laughs, memories, and a chance to revisit characters they grew up with.
Here’s the thing: the movie is great. It’s perfectly fine entertainment, and in many ways it doesn’t deserve to be judged by the same standards people use for every other blockbuster because it creates its own path. The film is funny. It laughs at itself. It pokes fun at the excesses of the 1980s while simultaneously paying tribute to them. It even laughs at He-Man from time to time, but somehow still turns him into a genuine hero in a very unusual and surprisingly effective way.
The villains are buffoons and boobs, as Skeletor himself might say, but they’re also just scary enough to work. The army of evil feels more brutal than expected, and the movie itself has a surprisingly high body count. There are plenty of jokes for the adults in the audience too, including a few sexual innuendos that land well without becoming the type of over-the-top humor you’ll find in something like Scary Movie 6. The kids won’t catch most of them, and that’s probably for the best.
This is also the type of movie that should be seen in a theater. It made $29 million opening weekend .. probably not too good for a movie that reportedly cost $177 million to make, but honestly that almost feels irrelevant when discussing the experience itself for fans..
Yes it could have done better.. but it didn’t. Amazon seems okay with that, a new universe has been born..
As a standalone action film, this is one of the better ones I’ve seen in quite a while. It reminds me of the artistic creativity and visual confidence that made the original Guardians of the Galaxy feel special. The movie embraces colorful imagery and larger-than-life fantasy in a way that modern films often seem afraid to do. It’s refreshing.
It also gives of Four Non Blonds.. a young Adam naming heroes and villains (perfect way for characters to get their names) … and Skeletor in an office in a tie. Jared Leto surprised the detractors with his performance..
And yes, I’ll spoil one thing for you. Just like in the cartoons, good wins and evil loses. But the bad guys will be back because evil never truly goes away. Goodness has to remain strong and vigilant because darkness is always waiting for another opportunity. It’s a simple moral lesson, but one that has always been at the heart of He-Man.
What surprised me most was the battle itself. When I was a kid, the battles in the cartoon felt incredible. As I got older, they became a little laughable. This movie somehow managed to recreate that feeling of importance. The stakes actually felt real. You felt like the villains couldn’t win because if they did, the universe itself would somehow be thrown out of balance.
That’s why He-Man’s journey works here. He repeatedly offers Skeletor opportunities to choose a different path, but Skeletor remains what he has always been: evil. Well, mostly evil. We all remember that Christmas special where he briefly discovered a holiday spirit and didn’t quite know what to do with it.
If you’re planning to see the movie, stick around for all three post-credit scenes. They’re worth it and do a solid job setting up what could be a very fun sequel.
The only question is whether the box office will allow that sequel to happen. Is this the beginning of a franchise revival, or will it end up being a one-time celebration for hardcore fans, Generation X, and Xennials who grew up with these characters?
If I were giving it a rating, this would be five Power Swords out of five.
It’s a throwback to childhood, a classic hero’s tale for a modern audience, and somehow manages to be goofy, fun, and heartfelt without ever becoming ridiculous.
There are going to be a couple of things to watch very closely over the next several days, namely how well Obsession and The Backrooms perform during their next weekend at the box office now that some fresh competition is arriving.
Remember, Obsession was originally scheduled to hit streaming this week, but that date was pushed back due to its continued success in theaters. Meanwhile, The Backrooms just keeps plugging away, posting surprisingly strong numbers even on weeknights. Neither film appears ready to disappear just yet.
This week, however, brings us a pair of nostalgia-fueled challengers. One is built on 1980s superheroes and the other on early 2000s comedy. Whether either one connects with modern audiences remains to be seen.
Scary Movie 6 premieres this weekend, as does Masters of the Universe. Both films have generated anticipation and, in theory, should attract decent crowds. Yet early projections suggest that the He-Man adaptation could be surprisingly ill-fated at the box office, while Scary Movie 5 may not be nearly as funny as audiences had hoped.
While regular moviegoers have not yet fully weighed in, paid reviewers certainly have. For the most part, the reviews for Masters of the Universe have been lukewarm, while Scary Movie 6 has been getting hit even harder.
If we were to compare them to beverages, Masters of the Universe would be a flat seltzer water and Scary Movie 6 would be that same seltzer after somebody microwaved it.
As a matter of fact, when comparing the two films, Masters of the Universe should easily dominate the box office. The question is whether Generation X and older Millennials can convince their kids to care about He-Man. The kids may not be all right when it comes to 1980s nostalgia. The decade is long gone, and nostalgia for it may have finally started running out of steam.
Then again, Scary Movie has its own problem. If the jokes don’t make people laugh, nothing else really matters.
There is one important caveat, however. Critics have never been particularly fond of movies like Scary Movie. They didn’t like the earlier Scary Movie films. They didn’t like many of the National Lampoon’s movies. They weren’t exactly champions of The Naked Gun either. Irreverent comedies that exist primarily to make audiences laugh have often received a chilly reception from reviewers.
We’ll see how it all plays out.
Maybe the critics are right.
Maybe audiences will disagree.
And maybe, just maybe, Obsession and The Backrooms will once again dominate the weekend.
We just saw The Backrooms, and I’m left sort of speechless.
As the credits rolled, I found myself paying less attention to the screen and more attention to the people around me. The entire theater just sat there. Nobody rushed for the exits. Nobody immediately grabbed their phones. People looked like they were trying to process what they had just experienced.
Let me first say that I saw this at a relatively packed theater on a Sunday afternoon. Kids, adults, entire families. People who easily could have gone to see The Mandalorian instead chose The Backrooms, and that alone showcases why this movie is on track to make more than $80 million this weekend.
Kane Parsons, you did a heck of a job.
One debate we have seen all over social media and TikTok is whether you need to watch the original YouTube shorts or know all of the Backrooms lore before seeing this movie. I don’t think you do.
If you’ve seen the shorts, you’ll probably catch some Easter eggs and appreciate certain moments a little more. But prior knowledge is not required to enjoy what was created here.
At the same time, even if you know the lore, you still may not completely understand what you’ve just watched.
Here’s my interpretation.
We create the Backrooms.
The movie seems to be about how we create the insanity inside our own minds. It’s about loops and about obsession. It’s about continually wandering into places we know we shouldn’t go.
There were several scenes that genuinely left me anxious. Not jump scares, either. Those weren’t the moments that got me.
One scene involving the giant pirate-like flesh eater with its impossibly long arms reaching toward Dr Mary Kline felt claustrophobic and unsettling. Other scenes used distorted faces, fuzzy imagery, and shaky camera work that made you question whether your own eyes were playing tricks on you.
The movie was effective in a very unusual way.
It made me despise the Backrooms while simultaneously wanting to stay there.
I can’t really explain it any better than that.
Just like the characters who repeatedly venture deeper into the Backrooms because they need to discover what’s around the next corner, I think that’s exactly how many people in the audience felt. The place is terrifying, but it’s also impossible to stop exploring.
The found footage elements and flashbacks were probably the most effective use of found footage since The Blair Witch Project. The acting was so convincing that you almost leave the theater wondering if the Backrooms could somehow be real.
On my way to the bathroom after the movie, part of me felt like I might accidentally slip through a wall.
What fascinated me most, though, was the audience.
This was a packed house. The kind of crowd that twenty years ago would have definitely filled a theater for a major Star Wars release.
The times have changed.
Parents who brought younger children looked somewhat bewildered, as if they had just spent two hours watching something they didn’t fully understand. The younger kids seemed entertained but weren’t entirely sure what they had seen either ..
There were a lot of teenagers in the audience. I expected talking and cell phones lighting up.
There was none of that.
During several scenes, you could hear a pin drop.
There were also moments where the audience laughed. Not because the movie became a comedy, but because some situations were so strange and uncomfortable that people almost laughed in spite of themselves. The humor never undercut the horror. The movie maintained its credibility as a genuinely unsettling experience from beginning to end.
I’ve seen comparisons to Alfred Hitchcock, and honestly, that’s fair.
For people who don’t understand the movie, don’t want to understand the movie, or simply aren’t interested in trying to interpret it, that’s fine. They probably won’t watch it again.
Others may find themselves returning to the theater more than once.
There’s something about that buzzing yellow aura, those endless hallways, and the stained carpets that almost makes you feel like you can smell them.
The long-term success of this movie will depend on word of mouth. The initial excitement was clearly there this weekend. Fans, parents, teenagers, and entire families came out in force.
I’ve seen some people absolutely hate it.
I’ve seen others love it.
Put me firmly in the camp that loved it.
I honestly think it’s one of the greatest horror films I’ve ever seen.
Not because it was the scariest or had the best monsters with a big budget, but because it was more than a movie.
It was an experience.
For two hours, you felt like you were there.
Kane Parsons did an amazing job.
And perhaps the best review I heard wasn’t inside the theater at all.
It happened afterward in the parking lot.
On a bright, sunny early summer afternoon, families were heading back to their cars. Younger movie goers were talking about their favorite scenes. Parents were looking at each other with confused expressions.
Then one grandmother, walking away from the theater with her family, finally broke the silence.
“I’ll call you later. I need to take a break because I don’t know what the f*** that just was.”
Maybe none of us do.
But it’s the Backrooms.
It’s meant to be explored no matter what the f*** it is ..
Eyewitnesses in New England and National Oceanic and Atmospheric Administration (NOAA)’s GOES-19 satellite reported a bright fireball on Saturday, May 30, at 2:06 p.m EDT accompanied by a loud noise.
The meteor appears to have fragmented at an altitude of 40 miles over northeastern Massachusetts and southeastern New Hampshire.
The energy released at breakup is estimated to be equivalent to about 300 tons of TNT, which accounts for the loud noise.
What was that sound? We're hearing from so many people across Massachsuetts who heard a boom at approximately 2:11 p.m. — This is all that we know so far: https://t.co/F12h1ppyTQpic.twitter.com/iCICg4PXTi
We have written about how exciting the summer box office of 2026 is for horror! But back in 2001 in the stone ages of the internet, we were not that excited .. From the annals and the deeply old records, we opened the vault to see what we were saying in May 2001 about ‘cutting edge’ horror that was mostly just dull and boring…
…for your review.. were were less than enthralled then at what Hollywood was giving us..
Sit back in the chair, sip a warm Pepsi … and watch a Late Night jam session between Conan O’Brien and Martha Stewart. I am. But off in the distance flashes halloweenmovies.com’s latest Halloween 8 update. Rick Rosenthal saves the day! H20, the fabled 20th anniversary film, wasn’t too final. We needed another sequel, this being a sequel of the H20 film, which was a sequel of 1 and 2, not including 4 and 5 and especially not harboring love for 3…Season of the witch.
The May 9th flash reads: ….May 10, 2001 Star of MTV’s THE REAL WORLD SEATTLE and URBAN LEGENDS: FINAL CUT, Jacinda Barrett, has been cast in HALLOWEEN 8…
Shocking, especially since their May 10 report was filed May 9. I check my computer date. No, it’s May 9. Thought so.
Wonderful. The director adds another MTV generation star to the roster. Make some room, Busta Rhymes. Save a chair, Bianca Kajlich, and save the last dance, Sean Patrick Thomas. And if it’s not too much to ask, keep your hands in the aisle, Tyra Banks. You might be next. And you might all be in nine, unless Mike hacks you up this go around.
Speaking of which, will Carson Daly play Michael Myers? Why not reprise the role of Dr. Loomis with the ever trustworthy Kurt Loder. MTV news. All Snoop, all the time…
Clamoring Halloween fans asked to make sure Jamie Lee Curtis’ character was treated with at least some respect, maybe more than she got in H20. Sip some Bianco, Ms. Tate. What might come from the latest motions from the office of the director as told to Halloweenmovies.com as told to the American and world public as reported 4th handedly on this website is the ultimate finale of a Jamie Lee Curtis death scene. Laurie Strode, from tight pants to fatal H8 conclusion.
Rick Rosenthal, evidently signaling and end of the “Strode girl’s” work told the big honchos at halloweenmovies.com about a “strong” role for Curtis during the first half hour of the film. Read between the lines…see the blood. She will die…my sources tell me. Rumors at this point, but then again, so is Freddy Vs. Jason–for 6 years now.
Not only the absence of sense from H8 appears to be in the works, but also the missing link of Dr. Samuel Loomis’ presence. Made difficult by the death of Mr. Donald Pleasance himself…don’t worry, they gave tribute to him in the wretchedly edited H6, although they spelled his name wrong in the credits and killed his character off without remorse.
Oh, the state of modern horror. We had been Forsaken long enough, then Along Came a Spider, and Mummified again, driving out Driven, riding with Croc Dundie..again…This time in LA. An original concept. You’re not in Australia anymore, Crocodile…then again, were the Survivors? Did we put a man on the moon?
Coming soon Spiderman will save us from reality TV, maybe even be more realistic than Rob Burnett’s Survivor which subsisted from a rating bonanza and a bout of hunger in the outback….Was that Colby? Tina? Or their doubles, Mr. Mooves? The Rock left the World Wrestling Federation, Stone Cold turned heel, and Vince McMahon lost his status as engineer of a genius operation with his X(extreme)F(football)L(league). But the Rock appeared in a film for ten minutes and became an ‘actor.’
And without the drug busts of late and the possible strike that never happened, Hollywood would have been quite boring. Nicole Kidman would have been stunned to find her short handed ex husband to be gay, though he denied and sued, but the stalker was most surely fond of the rumor.
True horror has become more fascinating and sensational than even that which graces big and small screens alike. Tim McVeigh will soon die, Europeans cannot eat meat, NBC is the strongest link with their Weakest Link, and Kentucky Thoroughbreds are dying unexpectedly. Gas costs and arm and leg, plus $1.65 a gallon for regular as a whole…California is darker than even Hollywood thriller sets.
Did I mention Elvira was coming back to screen? No? Guess it can’t get scarier than this.
Horror Report Filed Thursday May 10, 2001 1:14 AM EST
