Fears Magazine

A brand new terror is emerging from the shadows of John Carpenter’s dark imaginings this summer. Out August 4, 2026 via Storm King Comics, CATHEDRAL is Carpenter’s highly anticipated first original graphic novel. The release is accompanied by a new John Carpenter single “Revenge” which will appear on the book’s corresponding album CATHEDRAL arriving this Friday, August 7 on Sacred Bones Records. Get ready for extreme horror on all fronts – the Lord of the Underground is emerging!

Storm King Variant (Francesco Francavilla)

Downtown Los Angeles sets the scene for John Carpenter’s CATHEDRAL in the book co-written with acclaimed producer and editor Sandy King and writer Sean Sobczak, illustrated by renowned artists Federico De Luca and Luis Guaragna, colored by Sian Mandrake, and lettered by Marshall Dillon. For collectors, limited editions of the book will feature covers by some of the greatest talents in illustration right now: Storm King exclusive by Francesco Francavilla, Storm King Album exclusive by Luis Guaragna with Sian Mandrake; Sacred Bones exclusive by Leonardo Colapietro; and Midsummer Scream exclusive by Jason Shawn Alexander, in addition to the main cover by Federico De Luca.

Storm King Album Variant (Luis Guaragna with Sian Mandrake)

The story begins where an abandoned cathedral stands, fenced in and ignored by the world around it. The preoccupied passers-by have long since ceased to notice the dilapidated church in their midst, never mind sensing the danger and centuries old evil trapped inside its walls. A gruesome murder one late night pulls the structure into the spotlight, triggering a police investigation into the loss of one of their own. Lieutenant Christine Marks, along with detectives Paul Hernandez and Steve Mayfield, must enter the church in search of the monster that murdered her father. Every step takes them deeper into the belly of the church revealing the mystery of an ancient evil imprisoned within.

Sacred Bones Variant (Leonardo Colapietro)

A master storyteller in horror and science fiction across the disciplines of film, music, comics and games, John Carpenter has been terrifying audiences, writing, directing and producing timeless genre movies like Halloween, The Thing, and Escape From New York, and as an editor and contributor alongside Sandy King to graphic novel anthologies and series Tales for a HalloweeNight, Asylum and Tales of Science Fiction, just to name a few. More than five decades in, for the first time in his career fans can celebrate with his first original graphic novel CATHEDRAL.

Midsummer Scream Variant (Jason Shawn Alexander)

To support the release of CATHEDRAL, look for John Carpenter to make several singing appearances:

August 8 Midsummer Scream @ Long Beach Convention Center, Long Beach, CA

August 14-16 Fan Expo @ Donald E. Stephens Convention Center, Chicago, IL

Following these events where John will be signing the special variants of CATHEDRAL books and vinyl, The Horror Show Exhibition at The Academy Museum of Motion Pictures in Los Angeles will open September 28 featuring the John Carpenter: Prince Of Darkness screening series.

Pages from CATHEDRAL

Completing the audio/visual project is CATHEDRAL, the album which finds John Carpenter and longtime band mates Cody Carpenter (synths) and Daniel Davies (guitar) providing the soundtrack for an elevated terrifying experience. Each track on the album aligns with a chapter of the graphic novel, with liner notes guiding listeners through the story. As a result the story unfurls like a film and is the closest approximation to a new movie from Carpenter since 2010. “It was so cinematic and vivid,” Carpenter says of the dream that inspired the story. “I thought, ‘I have to score this.’ It’s kind of our first heavy metal album.”

Album Art & (L-R) Daniel Davies, Cody Carpenter, John Carpenter photo credit Sophie Gransard

Following the previously shared tracks "Lord of the Underground" and "The Ferryman" another chapter of CATHEDRAL is revealed with “Revenge.” It is here brave Lieutenant Marks perseveres against all odds for the final face-off with the great terror. “Revenge” soundtracks a climactic fight scene. “This dramatic climax started out as a rough demo from Daniel,” Cody Carpenter says. “It contains one of the themes that appears throughout the album, combined with rocking guitars and screaming riffs. For me, it invokes images and emotions that culminate in the awesome climax.”

CATHEDRAL is available now in bookstores (bookshop.org), online, and Storm King Comics (stormkingcomics.com), and on August 5, 2026 in comics shops (findyourcomicstore.com).

The “Revenge” visualizer:

Set in 1993, Carry the Darkness follows Travis Baldwin, a misunderstood teenage metalhead living in the shadow of the Satanic Panic. When a mysterious entity begins wreaking havoc in his small town, Travis becomes the prime suspect. Hunted by suspicion while the true evil remains hidden, he must protect himself and his friends before paranoia and darkness consume them all.

Blending supernatural horror, coming-of-age drama, and small-town mystery, Carry the Darkness captures the paranoia of the Satanic Panic through the lens of a generation raised on heavy metal, The X-Files, and Twin Peaks. Atmospheric, emotionally resonant, and steeped in '90s nostalgia, the film explores the high cost of moral panic—and the monsters it creates.

The film features a breakout lead performance from Joel Meyers and co-stars Jaden Gant, Helen Laser, Hollis Fox, Autumn Breaud, and David Boldt, with a score composed by Travis Bacon.

Release Schedule: BloodStream Exclusive Streaming: Friday, August 14, 2026 Rent/Purchase on Digital via Amazon, Apple TV, Direct TV, Google Play, Vimeo: Tuesday, September 8, 2026 Blu-ray (with audio commentary and deleted scenes): Tuesday, September 8, 2026 Streamable everywhere on: Tuesday, December 1, 2026

David Harbour reprises his role as Santa Claus in a propulsive new chapter in yuletide mayhem from 87North—the powerhouse producers of Bullet Train, John Wick, The Fall Guy, Atomic Blonde and the Nobody franchise—and returning action director Tommy Wirkola.

In 2022’s bare-knuckle holiday sensation, Violent Night, an embittered Santa, armed with lethal combat skills, took out a team of mercenaries to rescue a girl and her family. Now, not-so-jolly Saint Nick suits up again to take on a ruthless gangster (Emmy and Golden Globe nominee Jared Harris) terrorizing the merchants of the Silver Bell Mall.

But when Santa forgets the true meaning of Christmas, he finds himself in the heart of a lively mall community in desperate need of his help. Sapped of his magic, he’ll need another way to take on the goons threatening the mall, and time is running out. Santa has to rediscover his faith in goodness and call in some last-minute reinforcements from the one person no baddie wants to tangle with: Mrs. Claus (Emmy and Golden Globe nominee Kristen Bell).

Along with David Harbour, Jared Harris and Kristen Bell, the dynamic cast includes Emmy winning screen legend Joe Pantoliano (The Last of Us, The Sopranos), Daniela Melchior (Fast X, Guardians of the Galaxy Vol. 3), Andrew Bachelor (Greenland, The Walking Dead), and AEW professional wrestler Maxwell Friedman (The Iron Claw, Happy Gilmore 2).

Violent Night 2 is directed by returning filmmaker Tommy Wirkola and produced again by 87North founders Kelly McCormick and David Leitch. The film’s returning screenwriters are Pat Casey and Josh Miller. Violent Night 2 will be released by Universal Pictures.

VIOLENT NIGHT 2 – In Theaters December 4th, 2026

(L-R) Elise Rainier (Lin Shaye) and Gemma (Amelia Eve) in ScreenGems' INSIDIOUS: OUT OF THE FURTHER.

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 become aware of her power’s potential, they set their sights on our world and it becomes their playground.

Clare (Maisie Richardson-Sellers) in Screen Gems' INSIDIOUS: OUT OF THE FURTHER.

Insidious: Out of the Further is written and directed by Jacob Chase, best known for his 2020 feature “Come Play,” based on his 2017 short. The sixth installment in the Insidious franchise serves as a sequel to 2023’s “Insidious: The Red Door.”

(L-R) Amelia Eve, Director Jacob Chase, Lin Shaye on the set of Screen Gems' INSIDIOUS: OUT OF THE FURTHER.

It stars Amelia Eve, Brandon Perea and Maisie Richardson-Sellers, with Lin Shaye reprising her role as the psychic Elise Rainier from the previous films.

(L-R) Elise Rainier (Lin Shaye) and Gemma (Amelia Eve) in ScreenGems' INSIDIOUS: OUT OF THE FURTHER.

Also returning for the film is composer Joseph Bishara, who scored the first five films in the series.

Acolytes from Screen Gems’ INSIDIOUS: OUT OF THE FURTHER

INSIDIOUS: OUT OF THE FURTHER in theaters August 21, 2026, by Sony Pictures Releasing.

Hannah Einbinder as Kris, a young queer filmmaker hired to direct a reboot of the Camp Miasma franchise. Courtesy MUBI

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.

(L-R) Hannah Einbinder as Kris & Gillian Anderson as Billy Presley in Jane Schoenbrun's TEENAGE SEX AND DEATH AT CAMP MIASMA. Courtesy MUBI

TEENAGE SEX AND DEATH AT CAMP MIASMA is directed by Jane Schoenbrun (includes I Saw The TV Glow, We’re All Going To The World’s Fair), a loving yet highly irreverent homage to works like Friday the 13th and Sleepaway Camp franchises, with a dash of Psycho.

TEENAGE SEX AND DEATH AT CAMP MIASMA Image Courtesy MUBI

TEENAGE SEX AND DEATH AT CAMP MIASMA stars Hannah Einbinder and Gillian Anderson, and Patrick Fischler, Eva Victor, Zach Cherry, Sarah Sherman, Dyaln Baker, Jasmin Savoy Brown, Kevin McDonald and Kevin McDonald.

TEENAGE SEX AND DEATH AT CAMP MIASMA Image Courtesy MUBI

TEENAGE SEX AND DEATH AT CAMP MIASMA in theaters Aug. 7th, 2026.

(Center) Ari Millen as “Ice Cream Man” in the horror film, ICE CREAM MAN, from The Horror Section. Photo credit Valerie Flores, The Horror Section 2026.

Directed and written by Eli Roth, along with co-writer Noah Belson, ICE CREAM MAN stars Ari Millen, Benjamin Byron Davis, Eli Roth, Karen Cliche, Dylan Hawco, Sarah Abbott, Shiloh O’Reilly, Kiori Mirza Waldman, Charlie Zeltzer, & Charlie Storey.

[L-R] Sarah Abott as “Lizzie”, Charlie Zeltzer as “Jared”, Kiori Mirza Waldman as “Mia”, Shiloh O'Reilly as “Tommy,” and Dylan Hawco as “Chris” in the horror film, ICE CREAM MAN, from The Horror Section. Photo credit The Horror Section 2026.

The film features special makeup effects by Steve Newburn and Academy Award winner Adrien Morot. It features original music by legendary GRAMMY® nominated rapper/actor Snoop Dogg and Emmy Award winning Composer Brandon Roberts.

[L-R] Eli Roth as “Marty” and Karen Cliche as “Alison” in the horror film, ICE CREAM MAN, from The Horror Section. Photo credit The Horror Section 2026.

The Horror section presents Eli Roth’s ICE CREAM MAN in theaters nationwide on August 7th, 2026.

SYNOPSIS: Odysseus, the storied monarch of Ithaca and Trojan War mastermind, finds himself marooned on Ogygia alongside the nymph Calypso. After seven years he begins to be plagued by fractured memories of his post-Troy voyage and his thwarted homecoming, unaware of the turmoil his absence has caused in Ithaca. Having been gone for 20 years from his kingdom, a relentless pack of suitors, lead by Antinous, vies for Penelope's hand, seeking to seize the crown and displace his heir, Telemachus. Guided by Calypso through the labyrinth of his own recollections—from the fields of Troy to his odyssey's trials—Odysseus must confront his deep-seated trauma and return home to reclaim his kingdom and save his family.

REVIEW: Nolan weaves true cinematic magic as he tackles Homer's Greek epic, masterfully directing all production elements to deliver a gritty and raw odyssey that delves deep into the human condition for modern viewers.

Nolan crafts true cinematic magic through his meticulous direction of every production element, surpassing previous cinematic attempts to adapt Greek and Roman epics. He establishes a universe of gritty and raw magical realism, grounding the fantastical to make it accessible for modern viewers. While not diminishing the impact of Jackson’s Tolkien adaptations, Nolan’s holistic vision of Homer’s story is a rare cinematic event that immerses the audience, allowing the core elements of the human condition to surface organically. The battle sequences are designed with such intensity that they capture the raw horror and shocking awe of ancient combat, or any combat situation. Furthermore, the sequence where Circe transforms Odysseus’ crew into swine is a spellbinding moment reminiscent of a Francis Bacon canvas brought to life—a truly mind-blowing experience. It is clear that the technical brilliance of this work will be recognized with numerous awards during the upcoming season.

Composer Ludwig Göransson encases every visual element within a phenomenal score that resonates like a hypnotic hybrid of contemporary classical arrangements and the avant-garde scores of Tangerine Dream. This complex auditory work provides a visceral accent to the gritty battle sequences while effortlessly elevating the film’s more fantastical and spellbinding moments.

Nolan cinematic magic encompasses the entire production. While the project is populated by a vast gathering of celebrities, I found myself thoroughly engrossed in the narrative, only momentarily distracted by the initial introduction of a high-profile actor. Nolan exhibits phenomenal direction, guiding his ensemble to deliver spellbinding performances that seem to emerge organically from the actors’ own psyches. By allowing them to construct their roles from the core, raw talents, he avoids kitschy accents or cliched characterizations that often plague such period epics. The entire cast is exceptional. Anne Hathaway delivers an intense and emotionally raw performance, with Matt Damon providing a sincere and fervent portrayal that serves as his most impactful work since "Good Will Hunting."

Having delved into Homer’s epic through the lens of classical literary psychology during my academic years, I find Nolan’s approach particularly fascinating. He initiates this narrative journey with an Odysseus marooned and haunted, grappling with the fractured remnants of a past that remains tantalizingly beyond his grasp. Nolan’s screenplay and direction transform Calypso into a spellbinding extension of the protagonist’s own subconscious, a theme further amplified by the presence of Athena. Their exchanges are masterfully designed to mirror his internal conflict—a visceral rebellion against divine influence in a desperate quest for agency over his own destiny. As Nolan meticulously peels back the layers of Odysseus’ emerging memories, the true weight of his trauma and the psychological toll of his voyage are laid bare. This profound exploration of the human condition renders the hero’s journey exceptionally accessible for modern viewers, a feat that would undoubtedly resonate with the scholarly spirit of Joseph Campbell.

Nolan crafts true cinematic magic as he tackles Homer’s Greek epic, masterfully molding all production elements to deliver a gritty and raw odyssey that delves deep into the human condition. This is a rare cinematic event that immerses the audience, allowing spellbound performances to emerge organically while grounding the fantastical within a universe of raw magical realism. This meticulously designed journey flows effortlessly from the screen, offering a visceral and mind-blowing experience that defines the very essence of a cinematic event.

One of several truly spellbinding epiphanies occurred during the film’s conclusion, as Odysseus and Penelope embark upon their ship. This sequence resonates with a poignant intensity, mirroring the bittersweet departure of Bilbo Baggins and the elves from Middle Earth in Tolkien’s "The Return of the King." Nolan’s direction masterfully highlights the literary lineage between Homer and Tolkien, crafting a visceral moment that signifies the closing of a storied era and the evolving glimmer of future hope.

CAST: Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Lupita Nyong'o, Samantha Morton, Zendaya, Charlize Theron, John Leguizamo, Jon Bernthal, Himesh Patel, Mia Goth, & James Remar. CREW: Director/Screenplay/Producer - Christopher Nolan; Producer - Emma Thomas; Cinematographer - Hoyte van Hoytema; Score - Ludwig Göransson; Editor - Jennifer Lame; Production Designer - Ruth De Jong; Costume Designer - Ellen Mirojnick; Creature Designers - Colin Shulver & John Slater; Visual Effects - DNEG, Universal Pictures, Creature Shop, Clear Angle Studios; and a vast number of local crew on location in Italy, Iceland, The United Kingdom, Morocco, Greece and Los Angeles. OFFICIAL: www.odysseymovie.com FACEBOOK: www.facebook.com/OdysseyMovie/ X: x.com/odysseymovie INSTAGRAM: www.instagram.com/theodysseymovie/ RELEASE DATE: In theatres & IMAX July 17th, 2026 Reviewed By: Joseph B Mauceri

SYNOPSIS: Grieving the recent passing of her spouse, Alice and her in-laws retreat to a remote and decaying family estate to grieve. Her brother-in-law, Joseph, has been occupying the residence while sifting through relics of their grandfather for inspiration for a book. His discovery of an ancient object inadvertently summons the Deadites, and a family meal descends into a visceral struggle for survival. As her in-laws are reborn as demons she must fight, and Alice realizes that the sanctity of marriage vows is shattered once her deceased spouse returns.

REVIEW: The sixth chapter in the saga, neither a prequel or necessarily a sequel, spawned by Rob Tapert, Sam Raimi, and Bruce Campbell, EVIL DEAD BURN finds French auteur Sébastien Vaniček at the helm, co-scripting with Florent Bernard. This film follows Vaniček’s initial feature outing, the 2023 creature feature “Infested.”

The narrative trajectory mirrors an episode of “Ozark” or “Shameless” transplanted into the familiar landscape of this franchise. This domestic nightmare is saturated with hallmarks of the established mythology, interspersed with various narrative pivots. While certain moments showcase ingenuity, others feel rather pedestrian and lack imaginative spark. The ensemble lacks any sympathetic anchor, as every character proves inherently unappealing. Alice’s history within a toxic partnership is overshadowed by a latent malevolence that stifles any genuine audience rapport. Even the elderly grandmother possesses a sinister edge that periodically surfaces. Joseph remains the solitary candidate for emotional investment, yet his sheer lack of fortitude makes him impossible to champion. Ultimately, this group is so wretched that the Deadites become the preferred victors. The humor is largely absent, with only a few instances providing minor amusement without ever hitting a comedic stride. A sluggish pace defines the narrative before the carnage begins, though once initiated, the onslaught isrelentless. One intriguing evolution is the Deadites' ability to manifest in daylight; while seemingly more restrained, they remain viciously cruel.

After a tepid response to the film’s logo and an initial scene featuring a familiar recording about the mythology, the narrative pivots to a lakeside sequence that essentially mirrors shots harvested from the prior entry, “Evil Dead Rise.” While minor deviations exist, especially when it comes to the carnage, the execution ultimately feels pedestrian and lacks a vital spark. Throughout the feature, various segments appear as mere expansions of legacy sequences, devoid of technical finesse or creative inspiration. Several moments are set up in an attempt to cleverly manipulate fan expectations and then veer in new directions, yet these narrative pivots feel rather cute without ever delivering a significant impact.

EVIL DEAD BURN prioritizes the deaths above all else. At the screening, the discourse among attendees centered heavily on the intricate special effects and legacy sequences from the series' history. This dynamic echoes the era of 80s and 90s slasher franchises, where the technical wizardry of the effects teams frequently eclipsed the narrative to become the true attraction. The integration of practical and digital craftsmanship is undeniably cutting-edge; based on the visceral reactions from the audience, at least three specific sequences elicited a palpable, audible jolt from the crowd.

The cinematography delivers a drab, desaturated, desolate winter aesthetic that frequently seems to lack focus, and the gore appears oddly muted. Though the editing is functional, the narrative pace is hampered by excessive exposition that leaves the film feeling sluggish. The score by French duo Double Danger offers an intriguing soundscape, yet its impact is stifled by a low mix that feels detached from the onscreen carnage and fails to elevate the tension.

The ensemble delivers functional performances that unfortunately feel anchored in trope-heavy execution, failing to provide any engaging spark. As previously noted, the characters are fundamentally unappealing, leaving the viewer without a sympathetic anchor. Tension and suspense are notably absent throughout, and the lack of humor is only briefly interrupted by a post-credits sequence that offers a fleeting glimpse of comedic relief.

EVIL DEAD BURN essentially functions like a lateral entry in a long-standing horror video game series. While the geography has shifted, the archetypal figures, the creatures, the auditory landscape, and the narrative beats feel strikingly familiar. The arsenal remains largely unchanged, save for a few minor additions. The trajectory toward a climactic confrontation with a "final boss" is predictable, as is the protagonist's inevitable transformation. This chapter introduces several fresh components, yet they remain mere iterations of the established mythology. Following the lead of its predecessor, this sixth outing prioritizes the Deadites over any charismatic protagonist, leaving the audience without an engaging screen presence to champion. The franchise has drifted into the territory of legacy slashers like "A Nightmare on Elm Street" or "Friday the 13th," the were put on hiatus and where the absence of a compelling central anchor leaves this narrative feeling somewhat adrift.

A seventh installment, titled “Evil Dead Wrath,” is set to be released on April 7, 2028, and it will be a prequel to The Evil Dead. Francis Galluppi serves as the writer and director. Principal photography began on February 21, 2026, in Auckland, New Zealand.

CAST: Souheila Yacoub, Tandi Wright, Hunter Doohan, Luciane Buchanan, Errol Shand and Maude Davey. CREW: Director/Screenplay - Sébastien Vaniček; Screenplay - Florent Bernard; Based on the characters created by Sam Raimi; Producers - Rob Tapert & Sam Raimi; Cinematographer - Philip Lozano; Score - Double Danger; Editor - Maxime Caro; Production Designer - Nick Connor; Costume Designer - Sarah Voon; Makeup & Effects Designer - Jane O’Kane; Visual Effects - Cousin Bizarre, Trimaran VFX, Dusk, and Mathematic. OFFICIAL: www.warnerbros.com/movies/evil-dead-burn FACEBOOK: www.facebook.com/evildead X: x.com/EvilDead INSTAGRAM: www.instagram.com/evildead/ RELEASE DATE: In theaters July 10th, 2026 Reviewed By: Joseph B Mauceri

SYNOPSIS: Seeking solace following her mother’s passing, Ellen moves to a quiet rural community. Her domestic peace is interrupted by a plea from family to care for her cousin, Winthrop, who is grappling with significant personal and psychological trauma. Their fragile stability is upended by the appearance of Vahana, a neighbor whose erratic and bizarre behavior feels immediately ominous. Vahana’s warnings regarding Winthrop’s potential for danger only deepens the tension as Winthrop’s unexplainable action escalates. When Winthrop suddenly vanishes, Ellen is forced to confront a Pandora’s box of otherworldly threats. In her desperate search, she discovers a malevolent entity pursuing her cousin and a group of enigmatic individuals who may possess the only means to save his soul.

REVIEW: Having previously helmed films like “The Last Exorcism” and “Prey For The Devil,” alongside directing for AMC’s “Fear The Walking Dead,” Daniel Stamm returns with his latest project. The filmmaker delivers a cinematic translation of "Lockbox," an installment from the highly regarded Knifepoint Horror podcast created by Soren Narnia.

The original podcast installment mirrors a true crime narrative. In this cinematic translation, much like the podcast, the focus is on Ellen, a compassionate and nurturing presence. Winthrop is presented as a fractured individual, visibly burdened by past trauma and psychological distress. The arrival of Vahana introduces an immediate sense of unease, as her bizarre efforts to befriend Ellen seem like a calculated attempt to reach Winthrop, who remains cautiously distant. Following Vahana’s sudden disappearance, Ellen’s search for answers uncovers a Pandora’s box of escalating supernatural threats and erratic behavior from her cousin. These events eventually draw Winthrop toward an enigmatic collective of modern exorcists and scientists who are convinced he is host to a malevolent entity. As they prepare a desperate ritual to reclaim his soul, Ellen’s faith is tested and she must decide what she is willing to sacrifice for her cousin.

The film’s overall aesthetic leans toward that of a Lifetime television production. While the screenplay devotes considerable runtime to developing its central figures, Ellen remains the primary focus while Winthrop frequently borders on being a genre archetype. Having felt compelled to listen to the podcast after this viewing, it is evident that the original Ellen possesses more depth than her cinematic counterpart. Furthermore, while the collective of modern exorcists and the young boy introduce intriguing elements, their backstories are noticeably sparse. The resolution ultimately arrives with a sense of convenience, leaving the narrative feeling somewhat nicely wrapped up and feels a bit too neat.

The production is restrained, largely devoid of coarse dialogue or visceral imagery. Both visual and practical effects are executed with a minimalist touch. During the narrative’s pivotal sequences, the staging adopts a utilitarian quality that fails to evoke significant tension or genuine scares. The cinematography is simple, lacking the stylistic flourish necessary to imbue the scenes with a palpable atmosphere. Matthew Rogers’ musical contribution remains largely imperceptible; though present in certain intervals, it misses the opportunity to heighten the film’s emotional beats. The production design utilizes some intriguing settings, yet the climactic confrontation between Winthrop and the young boy suggests a lack of creative vision and/or the constraints of a depleted budget.

Having previously helmed other feature film projects, alongside his contributions to episodic television, Daniel Stamm’s body of work often reflects a distinct creative signature. However, in this cinematic translation of "Lockbox," that certain je ne sais quoi which typically distinguishes his direction is noticeably absent. The film functions as a remarkably literal, almost verbatim recreation of Soren Narnia’s podcast, suggesting Stamm may have operated as a director for hire with limited creative control. The production mirrors the polished aesthetic of his television efforts, the overarching tone feels more aligned with a specific producer-driven vision rather than a singular directorial voice. Ultimately, the direction remains competent, and the screenplay offers a utilitarian, highly practical adaptation of the source material.

LOCKBOX presents a curious narrative that ultimately results in a mediocre translation of its source material, failing to elevate the essence of the original podcast. The collective talents of Daniel Stamm and his ensemble cast remain largely untapped, delivering a story where the supernatural components feel like a mere afterthought. While the narrative remains intriguing, the ensemble of modern exorcists, research scientists, and the young boy represents an untapped opportunity for a significantly more profound and immersive cinematic experience.

CAST: Carla Gugino, Lou Taylor Pucci, Katharine Isabella, Aeden Edwards; Darcey Johnson, Kevin McNulty, & Madeleine Kelders. CREW: Director - Daniel Stamm; Screenplay - Soren Narnia & Justin Yoffe; Based on Soren Narnia’s Knifepoint podcast; Producer - Kearie Peak; Cinematographer - Alfonso Chin; Score - Matthew Rogers; Editor - Bridget Durnford; Production Designer - Daren luc Sasges; Costume Designer - Vladimir Markovich; Makeup FX Designer - Joel Echallier; Visual Effects - Ingenuity Studios, LLC OFFICIAL: N.A. FACEBOOK: N.A. X: N.A. INSTAGRAM: N.A. RELEASE DATE: In theaters July 3rd, 2026 Reviewed By: Joseph B Mauceri

After the loss of her husband, a woman seeks solace with her in-laws in their secluded family home. As one by one they are transformed into Deadites—turning the gathering into a family reunion from hell—she comes to discover that the vows she took in life live on… even in death. EVIL DEAD BURN unleashes the franchise’s most savage and terrifying ride to date, with an all-new chapter of carnage and demonic mayhem.

The film is directed by Sébastien Vaniček and written by Sébastien Vaniček and Florent Bernard. It is produced by Rob Tapert and Sam Raimi. The executive producers are Bruce Campbell, Romel Adam, Sarah Spurway, Jose Cañas and Lee Cronin. EVIL DEAD BURN stars Souheila Yacoub, Tandi Wright, Hunter Doohan, Luciane Buchanan, Errol Shand and Maude Davey.

Click on the name of the book to enter, if you dare - NECRONOMICON

EVIL DEAD BURN Only In Theaters July 10th, 2026

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(L-R) Phinehas Yoon, Akira Jackson, and Noah Toth in IT ENDS, ©2025 NEON

Cramped together inside a Jeep Cherokee and with the miles stretching infinitely ahead, they face a choice: embrace their new existence or fight to escape it.

Written and directed by Alex Ullom, IT ENDS stars Mitchell Cole, Akira Jackson, Noah Toth, & Phiehas Yoon.

Scaring comic shops this September is ANY GIVEN SMILE, a frightening five-issue story crafted by Eisner Award-nominated writer Stephanie Williams, GLAAD Media Award-winning artist Pablo Collar, and featuring colors by Triona Farrell and letters by Ariana Maher.

The year is 1995 and all eyes are on the American Arena League football championship game. The Sharks gear up for the most significant event in the AAL’s 20-year history, and their sudden-star backup quarterback is feeling the pressure from his teammates, his fans, and his debts to the city’s gambling underworld. A string of suicides hits the community hard, drawing a suspicious sports journalist deeper into that world to examine their connection to the big game. No one can trust anything or anyone as a mind-bending and mysterious Smile Entity and its horrifying visions threaten their payouts, their sanity, and their lives…

Cover A by Ashley Witter

Shhhhh. Don’t make a sound this November when A QUIET PLACE: RISING TIDES crawls into comic shops. The tense and captivating five-issue thriller is created by the acclaimed duo of writer Declan Shalvey and artist Luke Sparrow, featuring colorist Colin Craker and letterer Jodie Troutman.

When a young woman named Grace tracked down her estranged father to a run-down houseboat in the Florida Keys, she expected disappointment, resentment, maybe even closure. Instead, the entire world ended.

Cover A by Declan Shalvey

Now stranded in the aftermath of the invasion that shattered civilization, she and her sick, aging father cling to survival on the open water – the only space safe from the creatures who attack at the sound of a single breath. But his oxygen is running low, supplies are disappearing quickly, and the deadly predators circling the shoreline are learning fast. And on the horizon, a hurricane is coming.

ANY GIVEN SMILE and A QUIET PLACE: RISING TIDES are the latest additions to IDW Publishing’s hit horror imprint IDW DARK. The acclaimed line of comics includes beloved licensed properties like Event Horizon, The Twilight Zone, and Sleepy Hollow, as well as fan-favorite IDW originals like BENEATH THE TREES WHERE NOBODY SEES, THE EXORCISM AT 1600 PENN, 30 DAYS OF NIGHT, and more. The successful line of horror comics is spreading across IDW's entire publishing line this October as well with IDW GOES DARK VARIANTS.

SYNOPSIS: Following Woody’s departure to stay with Bo Peep and assist abandoned toys find owners, Jessie becomes the sheriff of Bonnie’s toy collection alongside Buzz Lightyear. However, eight-year-old Bonnie is struggling to make friends and asks her parents for a Lilypad, a frog-themed tablet, to play with her friends online. Confronted by this digital rival, Buzz seeks out Woody’s expertise to regain their place in Bonnie's heart.

REVIEW: Our favorite plaything companions return in a fresh installment featuring some new additions to the toy chest as they are beset by a modern-day hurdle that jeopardizes the very nature of childhood imagination and play.

The narrative focus shifts in TOY STORY 5, as Buzz and Woody find themselves in supporting roles while Jessie, Bonnie, and Bullseye take center stage. After a fun Buzz centric open scene we are presented with a sequence that beautifully captures the essence of Bonnie's vivid imagination through a spirited play session with her toy companions. However, the whimsy is short-lived when Bonnie’s heartfelt attempts to connect with local children are thwarted by her lack of a Lilypad, a digital barrier that leaves her isolated from her tablet-toting peers. As evening descends, the neighborhood is illuminated not by streetlamps, but by the cold glow of screens. Moved by their daughter’s struggle, Bonnie’s well-meaning parents break down and provide her with the coveted device, and she is instantly captivated by its electronic allure. It is Jessie and the gang—rather than the adults—who recognize the encroaching digital threat. Jessie’s attempt to parley with the gadget backfires spectacularly and the Lilypad outmaneuvers them. Undeterred, Jessie and Bullseye embark on a rescue mission to reclaim Bonnie's childhood, prompting a concerned Buzz to call upon Woody for his guidance.

The narrative for TOY STORY 5 leans into more sophisticated territory than its predecessors, balancing a toy’s perspective with Bonnie’s personal journey through the existential crisis of modern play. It tackles the sobering reality of childhood imagination being eclipsed by digital distractions, where authentic social interaction is increasingly rare. We meet a new child, Blaze, whose unique spirit mirrors Bonnie’s own struggle to find kinship. Amidst the drama, it delves deeper into Jessie’s origins and the experiences that fuel her spirit. This poignant odyssey portrays the toys as emblems of innocence compared to their human counterparts, offering a hopeful resolution to the technological hurdles facing today’s youth. The film peppers this message with a heavy dose of bathroom humor via the character of Smarty Pants, a toilet-training gadget voiced with comedic flair by Conan O’Brien. Not to be outdone, the delightfully bizarre Forky—now joined in matrimony to an equally odd utensil—delivers a handful of sharp, side-splitting lines clearly aimed at the adult audience.

Buzz and Woody grapple with the Lilypad’s influence in Jessie’s absence, eventually pursuing their companion once the reality of her mission surfaces to unify the toy chest for a final stand. The duo operates with a seasoned maturity, reflecting their evolution as venerable guardians of the playroom. Woody’s character remains tethered to his traditional roots, seemingly oblivious to his own vintage, whereas Buzz has become an anxious romantic, his comedic journey punctuated by several botched marriage proposals to Jessie.

The franchise continues its tradition of employing cutting edge technology, as this visually breathtaking entry renders its predecessors somewhat archaic by comparison. Pixar achieves a remarkable photorealism in the plastic textures of our toy friends, while human characters maintain a more stylized, caricatured aesthetic. The surrounding environments and animals—specifically Blaze’s horse and companion pig—possess a lifelike quality. The resulting atmosphere is nothing short of mesmerizing, fully immersing the audience in that quintessential sense of Disney magic.

The musical landscape of the film remains anchored by Randy Newman’s score, which stands as a pillar of the franchise just as vital as the state-of-the-art visual and vocal performances. Taylor Swift provides an original track, "I Knew It, I Knew You," for thefilm. While the song lacks the emotional resonance of Newman’s legendary "You've Got a Friend in Me," it serves its purpose, though it is relegated to the initial animated credits rather than being woven into the narrative itself.

For those of us who have grown up with the franchise, the shift in vocal talent for Slinky Dog and Mr. & Mrs. Potato Head is discernible, yet this change is graciously balanced by the comforting return of veteran performers like John Ratzenberger, Wallace Shawn, Annie Potts, and Bonnie Hunt.

For those of us who have journeyed with these toys, TOY STORY 5 offers a poignant reunion steeped in nostalgic warmth. While the narrative pivot toward Jessie and Bonnie is a welcome shift, the film occasionally veers into more didactic territory, aiming its message squarely at both the younger audience and their parents. Ultimately, this installment appears destined to secure its place as another commercial triumph for Disney-Pixar, likely fueling a fresh wave of playroom essentials. My particular screening lacked a significant youth presence, making it difficult to gauge the broader reception, though the younger viewers in attendance clearly delighted in the slapstick humor crafted for them. Despite the somber pacing that accompanies its weighty themes, the experience remains a heartfelt opportunity to reconnect with cinematic companions who truly feel like old friends. I’m quite sure that if the filmmakers come up with a viable plot, the future might hold another sequel.

CAST (voices): Tom Hanks, Tim Allen, Joan Cusack, Greta Lee, Conan O'Brien, Tony Hale, Craig Robinson, Shelby Rabara, Scarlett Spears, Mykal-Michelle Harris, Matty Matheson, John Ratzenberger, Wallace Shawn, Blake Clark, Jeff Bergman, Anna Vocino, Annie Potts, Bonnie Hunt, Melissa Villaseñor, John Hopkins, Kristen Schaal, Ernie Hudson, Bad Bunny, Keanu Reeves, Ally Maki, Alan Cumming. CREW: Director/Screenplay - Andrew Stanton; Screenplay - McKenna Harris; Producers - Jessica Choi & Lindsey Collins; Cinematographers - Jean-Claude Kalache & Matt Aspbury; Score - Randy Newman; Editor - Jennifer Jew; Production Designer - Bob Pauley; Visual Effects Supervisors - Jordan Thomas & Bill Watral; Animation Supervisor - Bret 'Brook' Parker. OFFICIAL: movies.disney.com/toy-story-5 FACEBOOK: www.facebook.com/Pixar/ X: x.com/pixar INSTAGRAM: www.instagram.com/pixar/ RELEASE DATE: in theaters June 19th 2026 Reviewed By: Joseph B Mauceri

SYNOPSIS: When a shadowy criminal syndicate abducts Wang Wei’s daughter and the local police are shackled by a corrupt captain, the stoic father embarks on a relentless crusade to find her. He finds an unexpected comrade in Navin, a reporter possessing lethal fighting skills whose own spouse vanished while tracking a string of child disappearances. Driven by a raw, unbridled desire for retribution, this determined pair carves a brutal path through the kidnappers in a high-octane martial arts spectacle with an explosive showdown.

REVIEW: THE FURIOUS is a breathtaking, edge of your seat thrill ride that is a spectacular tribute to the history of cinema and Asian cinema.

The narrative is lean and punchy, wasting no time plunging us into the plight of Wang Wei, a mysterious, mute Chinese immigrant in Thailand whose world is shattered when his daughter is snatched. After being blindsided during a desperate rescue attempt, he seeks aid from the local authorities, only to find a dedicated sergeant's efforts sabotaged by a captain clearly on the take. Wei’s solitary crusade gains a lethal ally in Navin, a reporter whose investigation into his own wife's disappearance has led him to a dark network abducting children. With the clock ticking, their paths converge in an out-of-control battle royale culminating in a high-octane martial arts showdown featuring the formidable Yayan Ruhian from “The Raid: Redemption.”

The narrative paints Wang Wei in the tradition of legendary, stoic martial arts anti-heroes, while also evoking the spirit of Clint Eastwood’s “Man with No Name” from his iconic spaghetti westerns—a persona Xie Miao embodies with flawless precision. THE FURIOUS also unleashes a pair of henchmen destined for cult status thanks to their distinct combat styles and larger-than-life personalities. Fellow “The Raid: Redemption” veteran Joe Taslim delivers a performance that injects the film with occasional “Butch Cassidy and the Sundance Kid” vibes as they fight their way through hordes of gangsters. I found young Enyou Yang absolutely captivating as Wang Wei’s daughter, Rainy; she crafts a character who is both resilient and vulnerable, possessing a grounded moral compass and the grit to survive when the stakes turn deadly. The onscreen chemistry between Yang and Xie is simply a delight to watch.

The cinematic DNA of this feature pulses with reverence for the genre, featuring narrative and visual beats that will resonate deeply with devotees of “Lone Wolf & Cub” and “Zatoichi,” while drawing from the visceral energy of modern masterpieces like “The Raid: Redemption” and “The Raid 2.” At times, the film seems to offer a stylish nod to De Palma’s “Scarface” or a playful wink toward the early stylized violence of John Woo. The fight choreography delivers a mindblowing blend of hand-to-hand mastery, utilizing a lethal array of blades and blunt instruments that elicit genuine, wincing reactions from the audience. For those who believe they’ve witnessed every possible combat configuration, THE FURIOUS serves up an inventive buffet of blazing action set pieces, including a standout, bone-chilling sequence set within an icehouse - chilling!.

Director Kenji Tanigaki and editor Chris Tonick masterfully orchestrate an exceptional balance between narrative depth, nuanced character arcs, and colossal fight sequences. These personas transcend typical genre cliches, inviting the audience to truly empathize with their journey. Despite the sprawling chaos, the production team does an exceptional job of maintaining a believable internal clock, ensuring the pacing never feels implausible. The score—a collaborative effort by Elliot Leung, Olivia Xiaolin, and Flying Lotus—floats gracefully behind the visuals, injecting a sense of poetic elegance into the visceral madness unfolding before our eyes.

THE FURIOUS is a breathtaking, edge of your seat thrill ride that serves as a spectacular tribute to the history of Asian cinema. This audacious feature is an adrenaline-fueled cinematic experience that makes heading back into the theaters feel essential. While the enigma of Wang Wei’s origins remains slightly veiled, the prospect of a sequel reuniting this formidable father and daughter duo to carve a brutal path through a new syndicate of henchmen is an enticing prospect. Bring it on!

CAST: Xie Miao, Joe Taslim, Yang Enyou, Jeeja Yanin, Brian Le, Joey Iwanaga, Yayan Ruhian. CREW: Director - Kenji Tanigaki; Screenplay - Mak Tin-shu, Lei Zhilong, Shum Kwan-sin, & Frank Hui; Producers - Bill Kong, Frank Hui & Shan Tam; Cinematographer - Meteor Cheung; Score - Elliot Leung, Olivia Xiaolin & Flying Lotus; Editor - Chris Tonick; Production Designer - Pongnarin Jonghawklang; Costume Designers - Dammaros Sukhaboon & Chung-Man Yee; VFX Supervisor - Chirag Grover; Visual Effects Company - SS-VFX; Action Director - Kensuke Sonomura. OFFICIAL: www.lionsgate.com/movies/the-furious FACEBOOK: www.facebook.com/lionsgate/ X: x.com/lionsgate/ INSTAGRAM: www.instagram.com/lionsgate/ RELEASE DATE: in theaters June 12, 2026 Reviewed By: Joseph B Mauceri

SYNOPSIS: Disclosure Day opens with Daniel on a perilous mission to rescue his girlfriend, Jane, from the clutches of a hostile government contractor. Their freedom hinges upon the return of stolen classified data and an artifact. Following their successful getaway, we meet Margaret, a meteorologist in Kansas City, whose life is altered by an encounter with a mysterious cardinal that triggers latent mysterious abilities. During her broadcast she starts speaking in a strange language and becomes a target for Noah Scanlon, the high-ranking Wardex executive pursuing Daniel. Guided by the cryptic protector, Hugo, Margaret and Daniel must navigate a high-stakes pursuit to facilitate a monumental shift in human existence—the arrival of the day of the ultimate alien revelation.

REVIEW: Cinematic icon Steven Spielberg returns to the realm of extraterrestrials, weaving a high-stakes narrative around two individuals thrust into the heart of a monumental discovery concerning the government's clandestine history with alien visitors on our planet and opposing forcing trying to conceal and disclose that information.

Before delving into the narrative, it is worth noting that Spielberg is once again behind the lens, collaborating with a seasoned assembly of crew members who he has established relationships with over his long career. A Spielberg production would seem incomplete without his longtime collaborator, cinematographer Janusz Kamiński. In this outing, Kamiński masterfully orchestrates a diverse array of visual motifs, breathing life into every frame as he fluidly navigates between them. Whether crafting an adrenaline-fueled chase, a whimsical fairy tale feeling sequence, or a stark tech and science fiction landscape, he immerses the audience in a vibrant tapestry of visual storytelling.

Spielberg was able to get legendary composer John Williams to come out of retirement to score DISCLOSURE DAY. Williams was there with Spielberg on “Jaws” and almost every one of his films since. Williams was the composer on “Close Encounters of the Third Kind,” “E.T. the Extra-Terrestrial” and “War of the Worlds.” There are movements within this score that capture the essences of these past compositions as he creates something fresh and original for this story. There is a scene in the film where he blends a Disney classic into his score, enhancing the cinematic magic and wonder similar to what he did in “Close Encounters of the Third Kind.” For those viewers who have grown up with the films of Spielberg and the music of Williams his work here is an enchanting nostalgic wonder.

Spielberg was able to entice the legendary maestro John Williams to come out of retirement to score DISCLOSURE DAY. Having been at the director's side since "Jaws," Williams' evocative touch has graced nearly every film of Spielberg's career, including the seminal scores of "Close Encounters of the Third Kind," "E.T. the Extra-Terrestrial," and "War of the Worlds." Within this latest masterclass, Williams weaves movements that echo the soul of those previous works while fashioning a fresh, original tapestry for this narrative. In one particular sequence, he seamlessly integrates a Disney classic into the orchestration, heightening the sense of cinematic magic and awe reminiscent of his work on "Close Encounters." For audiences who have matured alongside Spielberg's visuals and Williams' compositions, this score is an enchanting, nostalgic wonder.

Spielberg presents a masterclass of cinematic storytelling as a refined and mature narrator. While he retains an evocative sense of wonder and awe, the narrative is unmistakably imbued with the gravity and somber realism found in "Lincoln," "Munich," and "Saving Private Ryan." He seamlessly orchestrates the stark complexities of our contemporary world with quintessential cinematic archetypes—the adrenaline-fueled chase, the high-stakes thriller, and the classic action-adventure—immersing the audience in a vibrant thrill ride of moving performances and spectacular visual sequences. Working with editor Sarah Broshar he creates a keenly orchestrated movement of performances and action, character interactions and visuals. To fully experience this monumental achievement, it absolutely must be witnessed in IMAX.

The ensemble delivers nothing short of a phenomenal performance. Colin Firth portrays a zealot villain with a chilling intensity that evokes the gravitas of a classic Bond villain. He serves as a formidable foil to Colman Domingo’s portrayal of a wise mentor and protective guardian. Josh O'Connor, as Daniel, strikes a delicate balance between fervor and manic desperation; thrust into a whirlwind of danger, he maintains a core of vulnerability and empathy. His lighter, comedic beats emerge with a natural grace. Emily Blunt is a cinematic dynamo. From the instant her character is awakened, she radiates an energy akin to Brad Pitt in “12 Monkeys,” fluidly transitioning between states of frantic agitation and grounded lucidity. When she eventually reaches a breaking point, the raw anguish in her performance is palpable. Blunt guides the audience through a harrowing emotional journey toward her ultimate epiphany—a riveting turn that is undoubtedly worthy of Academy Award consideration.

Screenwriter David Koepp adapts Steven Spielberg’s original vision into a grand hero's journey, deeply rooted in extraterrestrial mythology while mirroring the anxieties of our contemporary zeitgeist. This is not a sequel to any of Spielberg’s prior work, yet it undeniably exists within that universe. During a recent discussion regarding his latest literary endeavor, “Take Me to Your Leader,” Neil deGrasse Tyson posited that the film industry often projects humanity's own violent tendencies onto alien visitors; however, Koepp and Spielberg subvert this trope by anchoring their narrative in visceral, headline-driven realism. The story depicts a shadowy private entity exerting total control granted by the government, utilizing a relentless tactical team whose pursuit of Daniel and Margaret evokes the chilling nature of ICE. The contractor’s treatment of the visitors conjures somber, haunting parallels to Guantanamo Bay or private immigrant detention facilities, and even echoing the dark legacy of clandestine programs like MKUltra, here reimagined through the lens of sophisticated alien technology.

DISCLOSURE DAY serves as a beacon of optimism. While the narrative depicts a world teetering on the edge of disaster, this impending alien revelation offers a transformative path toward redemption. Koepp’s screenplay masterfully explores the profound implications such an unveiling would have on the collective human psyche, particularly regarding the foundations of organized religion and governments. Throughout the journey, he crafts moments of pure cinematic alchemy where specific dialogue is delivered with such precision that it resonates deeply within the viewer's consciousness. One particularly poignant instance features Colman Domingo’s character invoking the word "empathy," a moment that struck my mind with a resonant clarity, unfolding its significance across multiple intellectual and emotional layers.

DISCLOSURE DAY is a cinematic masterclass in storytelling, both the narrative and visuals. It is Spielberg’s perfect summation of his story of otherworldly visitors and the human race. The film embodies the legacy of Spielberg’s career, quintessential Spielberg. It is an entertaining and thought-provoking experience that charges the audience to “listen.” My paternal grandfather often told me to pay attention, to be aware, because you never know when you’ll turn a corner and walk into a dream or a nightmare. Given our current state of the world, how tech is clouding everyone’s minds, we need to "listen,” to wake up and step away from technology because everything they’ve told us about aliens might be wrong. They may just be here to save us from ourselves. I can only hope he is right.

DISCLOSURE DAY stands as a cinematic masterclass, an exquisite fusion of sophisticated narrative and visual grandeur. It represents Spielberg’s definitive orchestration of the human encounter with otherworldly visitors. This quintessential production offers a vibrant thrill ride that is simultaneously an evocative, thought-provoking journey, ultimately challenging the viewer to simply "listen." The film embodies a real sensation of what summer used to be and should be.

DISCLOSURE DAY reminded me of my paternal grandfather's counsel to remain alert and aware, for one never knows when simply turning a corner may take you into a dream or a nightmare. In our contemporary zeitgeist, where technology increasingly obscures our collective consciousness, there is a palpable necessity to awaken and disengage from our digital mental restraints; and the long-held narratives regarding extraterrestrial life may be intentionally corrupted. Perhaps these visitors serve as a beacon of optimism, arriving to facilitate a monumental shift toward humanities redemption by saving us from ourselves. We can only hope.

CAST: Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo, Wyatt Russell, Elizabeth Marvel and Henry Lloyd-Hughes. CREW: Director/Story/Producer - Steven Spielberg; Screenplay - David Koepp; Producer - Kristie Macosko Krieger; Cinematographer - Janusz Kamiński; Score - John Williams; Editor - Sarah Broshar; Production Designer - Adam Stockhausen; Costume Designer - Paul Tazewell; Visual Effects Supervisor - Matthew Butler; special makeup effects artist - Rich Krusell; special effects - Legacy Effects; Visual Effects - Digital Domain, Picture Shop, Territory Studio, Storm Studios & Universal Pictures. OFFICIAL: www.disclosuredaymovie.com FACEBOOK: www.facebook.com/disclosuredayfilm/ X: x.com/disclosureday INSTAGRAM: www.instagram.com/disclosureday/ RELEASE DATE: In theaters June 12th, 2026. Reviewed By: Joseph B Mauceri