There’s been so much of a veil of secrecy surrounding this new Steven Spielberg movie that even now, with the trailer finally revealed, it still feels like we’re not getting the full story of what this film is really about. That said, we definitely know more than we did before.
And apparently, this is officially a summer event movie.
The film is titled Disclosure Day, and it stars Emily Blunt as a Kansas City TV meteorologist. She’s joined by Josh O’Connor, who plays a passionate UFO whistleblower.
Here’s the official description:
“An uncanny exploration of an alien invasion as initially experienced by a meteorologist (Emily Blunt) and a passionate UFO whistleblower (Josh O’Connor) who want to share the truth with the world all at once.”
The movie hits theaters on June 12, 2026.
The trailer is genuinely cool—we’ll link it below—and after watching it, I think it’s fair to say this could end up being the most hyped movie of 2026. That doesn’t necessarily mean it’ll be the best movie of the year… —or, on the other hand, it could turn out to be one of the best films Steven Spielberg has ever spearheaded.
Either way, I can’t wait to see more. Because based on what we’ve seen so far, this looks really promising.
Steven Spielberg is reportedly making a new movie, and if the rumors are true, it’s going to rock the world of UFO enthusiasts — or at least get their hopes way up. Of course, a lot of that could simply be marketing hype mixed with existential wish-casting. But if there’s anyone who could stir that kind of anticipation, it’s Spielberg. After all, this is the man behind Close Encounters of the Third Kind and E.T. the Extra-Terrestrial — films that didn’t just entertain people, but quietly rewired how an entire generation thinks about alien contact.
The recent UK Telegraph article describing the project leans heavily into a familiar narrative within UFO culture. One story that always resurfaces is the alleged White House screening of E.T. for Ronald Reagan. Supposedly, when the film ended, Reagan stood up and said — maybe joking, maybe not — that there were people in the room who knew that everything they had just watched was true. Whether that moment actually happened exactly as described almost doesn’t matter anymore. It’s become part of the mythology.
The new Spielberg film itself is still wrapped in secrecy, but one detail from the article jumped out at me — and I had completely forgotten this — a significant portion of it was filmed in New Jersey. That immediately brings to mind the so-called New Jersey drone sightings that dominated headlines just a year ago and then vanished entirely. Not even below the fold — just gone. But if you talk to people in New Jersey, you’ll hear that the drones never really stopped. They’re reportedly still seen regularly. They’ve just become so common that no one talks about them anymore. Like planes in the sky.
That’s part of what makes this Telegraph article so fun, and what makes this Spielberg project so intriguing. There’s even a rumor floating around — clearly conspiracy-theory territory — that a real alien might “star” in the movie. Obviously, that’s not happening. For one thing, it would probably violate every Screen Actors Guild rule imaginable, not to mention require the creation of an entirely new galactic union chapter. Unless, of course, the alien is playing itself. Or themselves. Or itself. The grammar alone would be a nightmare.
THE TELEGRAPH MOCKS:
Tinfoil hat wearers have reacted with characteristic calmness and sagacity to the news that Spielberg is returning to his sci-fi roots with his new production, filming of which was completed in the summer. It is said to have had several working titles, including The Dish and Non-View, but is now reported to be called Disclosure.
The new name, if it is correct, would provide “evidence” for the conspiracists that Spielberg knows more than he is letting on – “disclosure” being a key term for the alien truthers. They hold that the American authorities have secret information about UFOs and extraterrestrial life and want it to be publicly revealed, in a process they term “disclosure”.
Chris Ramsay, a Montreal-based magician who has a YouTube channel devoted to UFO theories, went viral with a tweet in which he most clearly set out the conspiracists’ thinking about Spielberg’s new film. Like any good conspiracy theorist, he described his thesis as something “that’s so crazy it just might be brilliant”.
Still, the idea is entertaining. And beneath the humor is a more interesting possibility: that Spielberg, over decades of filmmaking, may have become acquainted with enough people in enough rooms to suspect that something is going on. That maybe Reagan wasn’t joking. That maybe E.T. wasn’t just a children’s movie, but a soft disclosure story told in the safest way possible.
Regardless of what ultimately comes of this new film — whenever it’s released, and whatever it ends up being called — the anticipation is already enormous. The marketing machine seems primed, the speculation is growing, and expectations are high. We have little doubt the movie will be good. And even if it isn’t…
Five Nights at Freddy’s Part 2 might not be a Christmas movie, but it’s absolutely the anti-Christmas movie for anyone trying to dodge holiday fluff right now.
And dodge it they did. The fanbase showed up hard and the movie unseated Zootopia 2, pulling in around $63 million domestic and over $100 million worldwide on opening. That’s a lot more than many people expected it to do heading into the post-Thanksgiving, pre-Christmas window. This movie is hot right now in that weird in-between space where people are kind of done with turkeys but not quite ready for carols.
Domestically, that’s the second-biggest horror opening of the year for Blumhouse–Atomic Monster, after The Conjuring: Last Rites at $84 million. Yesterday’s numbers were solid too, with a drop of about 33%, which is actually better than the 39% drop the first Five Nights at Freddy’s movie took. It’s always an open question whether a film like this can keep that kind of momentum going, but at least for this weekend, it has absolutely blown past a lot of expectations—and even outpaced its own predecessor.
So, Merry Christmas to Blumhouse and the whole gang at Freddy Fazbear’s.
If holiday joy isn’t your thing this year, there’s always a killer animatronic waiting for you in the dark.
So we are all really weirded out by Ariana Grande and Cynthia Erivo making their rounds promoting WICKED FOR GOOD..but hey, maybe weird worked!
The box office has been thankful for the oddity..
Universal Pictures‘ musical sequel “For Good” swept up a spectacular $68.6 million across Friday and preview screenings from 4,115 locations in North America. That puts it on pace for a $151.5 million opening weekend through Sunday.
It’d be the biggest release ever for a Broadway adaptation and the second-biggest ever for a Universal release, only behind “Jurassic World.”
It’s also well ahead of the $112 million haul that the first “Wicked” debuted to in the same pre-Thanksgiving frame last year. If the Cynthia Erivo and Ariana Grande film hits its current projections, it’ll rank among the biggest domestic openings of the year, currently led by “A Minecraft Movie” ($162 million) and the “Lilo & Stitch” remake ($146 million).
Pope Leo told a group of leading Hollywood actors and filmmakers at an audience in the Vatican on Saturday that cinemas were struggling to survive and that more should be done to protect them and preserve the shared experience of watching movies..
“Cinemas are experiencing a troubling decline, with many being removed from cities and neighbourhoods,” he said.
“More than a few people are saying that the art of cinema and the cinematic experience are in danger. I urge institutions not to give up, but to cooperate in affirming the social and cultural value of this activity.”
We’re really excited about the upcoming Backrooms movie, currently set for a 2026 release, even though we still don’t know too much about its development beyond the creative team involved.
20-year-old director Kane Parsons is helming one of the most anticipated analog-horror adaptations ever — has announced that work on the Director’s Cut is officially complete. That doesn’t mean the Final Cut is anywhere near done, but it’s another step toward that 2026 release window.
The Backrooms has always been something mundane and frightening at the same time, and that’s the magic of it. Honestly, I love the Backrooms so much that I’ve even fallen asleep to those endless looping YouTube videos of yellow hallways humming in the background. I know I’m not alone — a lot of us have had moments in life where a strange hallway or empty office building at night made us feel like we accidentally “noclipped” into level 0 ourselves.
If the movie captures that eerie mix of nostalgia, dread, and liminal weirdness, the concept alone is strong enough to make this a huge success. We’re hoping for a lot here.
In the meantime, I want to direct your attention to a TikTok creator named tater tot.
Whoever they are, they’ve been doing God’s work: creating Backrooms videos using AI, trapping all sorts of figures — especially Ronald Reagan — deep inside the maze. And quite frankly, a full movie of Ronald Reagan wandering the Backrooms, confused and doomed, would absolutely work for me.
Popeye, Mickey Mouse, and Winnie the Pooh aren’t alone anymore—now they’re being joined by a bloodthirsty, horrific Betty Boop.
More copyright licenses hit expiration, and Hollywood is wasting no time jumping on the trend.
Furst Class Productions is moving ahead with a new horror take on the curly-haired icon, turning her into a full-blown villain.
The story follows a group of horror podcasters who sneak into an abandoned theater, only to discover the legendary starlet herself—Boop—still lingering in the shadows and now very thirsty for blood.
Betty Boop will be played by Devanny Pinn, with Katisha Shaw, Spencer Breslin, Colton Tran, and Eva Hamilton rounding out the cast.
There’s going to be a lot of opinions on this one, especially from people who already feel like these horror remakes are the “degradation” of everything once meant for kids.
And sure—maybe there’s some truth to that. But horror fans seem to love these approaches, and a lot of these public-domain reimaginings are becoming low-budget, surprisingly profitable cult favorites.
Movies like this aren’t trying to win Oscars; they’re capitalizing on a moment in time when a famous character becomes available and blood and gore suddenly reign supreme
There have been rumors for years—maybe decades—about another Gremlins movie. Every so often, whispers would pop up online and then fade away. Well, it looks like this time it’s actually happening. Several entertainment outlets are now reporting that a new Gremlins film is officially on the way, with a planned release sometime in 2027.
Chris Columbus is reportedly returning to lead the project, and Steven Spielberg will also be involved, which makes the entire thing feel like a genuine continuation of the franchise rather than a cash-grab reboot. That alone gives fans a reason to be optimistic.
Details are being kept under wraps for now—no confirmed plot, no confirmed cast, nothing concrete beyond the creative team. But if this is moving forward the way it’s being discussed, we’ll definitely be getting more updates in the coming months.
Honestly, the biggest shock might not even be that Gremlins is coming back…it’s realizing that 2027 is only two years away. Time is moving fast. Maybe too fast. But hey—if we’re speeding into the future, at least we’re bringing the Mogwai with u
Apparently they are despite the fact that we’ve never seen the movies they tell us to..
If Ryan Coogler’s Sinners or Guillermo del Toro’s Frankenstein make the cut this year, it’ll mark the first time in the Academy Awards’ 97-year history that a horror film has been nominated in consecutive contests.
And honestly—maybe that’s one of the main reasons people have stopped caring about the Oscars.
Sure, we’ll talk about who wins, we’ll share the highlights, we’ll glance at the “Best Picture” list. But let’s be real—most people haven’t even seen these movies. A lot of them are the kind of films critics love and audiences sleep through. Pretentious, overly symbolic, and sometimes just flat-out unwatchable.
Meanwhile, the movies that actually get people talking? They’re the ones with life, adrenaline, and imagination. The action blockbusters of summer. The horror movies that get under your skin.
Take The Black Phone 2 — we just reviewed it, and it was epic. Masterfully done, deeply unsettling, and emotionally sharp. Even Weapons — which wasn’t our pick for the best of the year — had a cinematic energy that felt alive. And yes, Sinners was powerful too. It brought real weight to the horror genre this year.
But that’s the thing: horror has been delivering for decades, and the Academy just refuses to acknowledge it. From Hereditary to The Conjuring, from Get Out to The Black Phone, horror consistently gives us stories that are bold, imaginative, and yes—crowd favorites.
Yet when award season rolls around, horror is treated like the weird cousin who showed up uninvited.
So, if Sinners or Frankenstein manage to claw their way into the Best Picture category, kudos to the Academy for finally giving the genre a little respect.
But don’t hold your breath for the next one. History tells us it might be a long, dark wait before the Oscars dare to honor horror again.
“The Oscars claim to celebrate cinema. But when’s the last time they celebrated fear?”
Halloween II picks up right where John Carpenter’s 1978 classic left off .. literally seconds after Michael Myers disappears into the darkness. The sequel takes us deeper into the same October 31st night, only now the screams echo through Haddonfield Memorial Hospital instead of quiet suburban streets.
The movie doesn’t wastes little time with new setups or character introductions; it just drops you right back into that same world, that same panic, that same cold air that hung over the end of the first film. You feel the chaos in the cold night.. even Mrs. Elrod screams as she makes a sandwich and finds blood–to this day we don’t know if her husband wanted mayo or mustard.
There a few interesting back stories to Halloween II almost .. one major point is that it almost didn’t happen the way we know it.
Carpenter himself didn’t originally plan a direct sequel and he envisioned the Halloween name turning into an anthology of different scary stories. He was YEARS ahead of his time on that thought process.
Moustapha Akkad sensed a hit… and it was time to capitalize ..
After the studio pushed for more Michael Myers Carpenter grudgingly agreed to write it. He’s even said he wrote the script with a six-pack of beer by his side, just trying to make sense of what would happen next. That might explain the surreal, dream-like pacing the film has. The movie is admittedly a little sloppy, but hazier, and far more violent than the first.
The mask was back. It was still the same Shatner face, but this time yellowed by chain smoking that Debra Hill subjected it to. Also the new inhabitant with a different face shape. Dick Warlock’s mug was rounder while Nick Castle was longer, hence the difference in appearance.
The new film also had more blood–Carpenter did that on purpose to match what audiences were then wanting. Akkad wasn’t overly happy with that because the TV broadcasts had to be tamed down ..
Jamie Lee Curtis’ Laurie Strode became the face of the “final girl” trope. But in the sequel, she spends much of the movie confined to a hospital bed, drugged and traumatized, yet still somehow finds the strength to fight back. Donald Pleasence returns as Dr. Loomis, more unhinged than ever, shouting his famous lines about evil and destiny as he hunts Michael through sterile hallways. It is the hospital scenes that give the most feeling of the film. The fluorescent lights, the empty corridors, beeping heart monitors, all building to that fiery ending.
There were several points of Halloween 2 that feel like a docu-drama. You can feel the chaos and panic of the police in the movie–this is exactly how small town America police faced with a gory bloody scene of teenagers being killed would actually react. Now poor Ben Tramer got the brunt. Was it Loomis’ fault by the way? We never really get the chance to flesh that out..
To us, not only scarier but quite frankly better. Halloween II seems to get better with each passing year despite Carpenter still unwilling to embrace the face that he and Hill either accidentally or unwittingly created a classic.
Perhaps the only pet peeve is that this movie could have been renamed ALL SAINTS DAY since it mostly took place after Halloween, mostly on November 1 if you think about the continuity.
It’s often overshadowed by the original, but Halloween II deserves more credit. It’s the movie that closed the story of Laurie and Michael (at least until later recreations), expanded the mythology, and gave us the twist that Laurie was his sister .. love it or hate it, it was a plot line that shaped the franchise for decades.
When Halloween ENDS came out, fans watched.. and never watched again. But they loved the opening 7 minutes that herald back to the original night he came home. There is lure in a way to what Michael Myers did in the immediate aftermath to Loomis’ six shots.
While ENDS gives us a perspective of a movie that Carpenter never made, we still love the one he did: Halloween II is better than Halloween 1.
