Fears Magazine

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

Based on the Knifepoint Horror Podcast "The Lock Box" by Soren Narnia, directed by Daniel Stamm (The Last Exorcism, Prey for the Devil), with a screenplay by Narnia and Justin Yoffe, LOCKBOX stars Carla Gugino, Lou Taylor Pucci and Katharine Isabella.

LOCKBOX will be in theaters July 3rd, 2026, from AURA Entertainment

From the survival hit by Jonathan Frank & Scott Mann that tapped into the fear of heights and left two friends stranded at the top of a tower comes a climb that goes higher, gets deadlier, and hits with next-level adrenaline. Two friends take on new heights in Thailand, where unpredictable terrain, extreme exposure, and nowhere to hide push survival further than ever before.

The film stars Harriet Slater, Arsema Thomas, Tom Brittney.

FALL 2: DEADPOINT will be in theaters September 2, 2026, from Lionsgate.

His only ally is Navin – a relentless journalist whose wife has mysteriously disappeared. Fueled by a furious vengeance, the unlikely duo ruthlessly fights against the kidnappers in this explosive martial arts showdown.

THE FURIOUS is directed by Kenji Tanigaki and screenplay by Mak Tin Shu, Lei Zhilong, Shum Kwan Sin, & Frank Hui.

The film stars Xie Miao, Joe Taslim, Yang Enyou, Brian Le, Joey Iwanaga, Sahajak Boonthanakit, Manatsanun Phanlerdwongsakul, Guo Junqing, Winai Wiangyangkung, and a special appearance by Yayan Ruhian & Jija Yanin.

THE FURIOUS in theaters June 12, 2026, from Lionsgate.

(L-R) EWAN Mc GREGOR as Greg Platt, CHRISTIAN CONVERY as Brian Platt, MAISY STELLA as Audrey Platt and ANNE HATAHAWAY as Denise Platt in in “The End Of Oak Street,” a Warner Bros. Pictures Release. Photo Courtesy Warner Bros. Pictures

Starring Anne Hathaway and Ewan McGregor, THE END OF OAK STREET also stars Maisy Stella and Christian Convery. The film is written and directed by David Robert Mitchell and produced by J.J. Abrams, Hannah Minghella, Jon Cohen, David Robert Mitchell, Matt Jackson and Tommy Harper. The executive producers are Chris Bender, Jake Weiner, Joanne Lee and Leeann Stonebreaker.

(L-R) EWAN McGREGOR as Greg Platt and ANNE HATHAWAY as Denise Platt in “The End of Oak Street,” A Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures

Mitchell’s team behind the camera includes director of photography Michael Gioulakis, production designer Maya Shimoguchi, editor John Axelrad, composer Michael Giacchino and costume designer Erin Benach.

A Scene from “The End of Oak Street,” A Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures

Warner Bros. Pictures Presents A Bad Robot Production, A Jackson Pictures Production, A David Robert Mitchell Film: THE END OF OAK STREET. The film will be distributed worldwide by Warner Bros. Pictures, only in theaters and IMAX in North America on August 14, 2026, and internationally beginning 12 August 2026.

DC Finest: Horror: The Devil’s Doorway — A chilling collection of Bronze Age horror stories from House of Secrets, House of Mystery, The Witching Hour, and more, spotlighting DC’s haunting history of ghoulish and genre-driven comics.

And for science fiction fans:

DC Finest: Science Fiction: The Gorilla World — A sweeping anthology of mid-century DC sci-fi comics from Action Comics, Strange Adventures, and Mystery in Space, featuring some of the era’s most inventive stories.

These new DC Finest releases highlight the full breadth of DC’s catalog, from foundational character arcs to genre-defining sci-fi and horror. More DC Finest titles will arrive soon, reinforcing DCUI as the premier destination for exploring DC’s library of comic books. Each DC Finest volume features key moments in the adventures of the greatest characters in comics. Written and drawn by classic creators, these are the stories that transformed the DC Universe forever!

The feature is set to begin production July 14 in Albuquerque, New Mexico.

Written and directed by Ruczko, Who Put That There? follows Leon, a meticulous contractor who works behind the scenes for serial killers, sourcing props and weapons, dressing locations, and making sure every eerie object and ominous detail is in place before the bodies drop. Part horror film and part mockumentary, the film looks at the unglamorous logistics behind genre-style murder.

Daniel Ruczko is an award-winning director, writer and composer born in Bremen, Germany. He began his creative career in music as an internationally touring DJ and producer before moving into filmmaking. His short films have earned more than 65 international awards, including Best Director, Best Original Music and Best Short Film honors, with three different shorts selected for the Short Film Corner of the Festival de Cannes three years in a row. He relocated to Los Angeles in 2018. Who Put That There? marks his feature directorial debut.

Manoux, who leads the film as Leon, has credits including How I Met Your Mother, ER, Community and Netflix’s Running Point. Miller is known for Ransom Canyon, The Rookie and Bosch: Start of Watch, while Merrick is the bassist and backing vocalist for All Time Low.

“Who Put That There? feels like the perfect debut feature for me because it blends cinematic horror with documentary and mockumentary language in a way that feels incredibly natural to how I think and create,” said Ruczko.

Ruczko added, “Having Christopher Young involved honestly means the world to me. I grew up idolizing horror films from the ’80s and ’90s, including classics he scored, as well as one of my favorite horror films, Sinister. His soundtrack for that film was so unique, and it was actually close to what I do in my own electronic music. That was very impressive to me, and he really shaped the movie into what it is.”

The project will launch its Kickstarter campaign June 1.

Who Put That There? marks Ruczko’s feature directorial debut. The film is produced through Black Corridor Pictures, the production company founded by Ruczko and Miller.

SYNOPSIS: A strange doorway appears in the basement of a furniture showroom. The owner, Clark, steps inside to explore. When his therapist, Dr. Kline, receives a cryptic message from him she ventures into this otherworldly dimension in search of her missing patient.

REVIEW: Drawing from a creative lineage as the child of a game developer and a therapist, filmmaker Kane Parsons first captivated audiences with his viral YouTube series in early 2022, “Backrooms.” This feature film debut showcases a unique cinematic skillset fueled by a deep-seated passion for both music and visual effects. While transitioning to long-form storytelling with this adaptation, Parsons remains dedicated to his digital roots with his latest online venture, “People Still Live Here.”

The narrative unfolds with an evocative prologue, granting a fleeting look into the "backrooms" before the opening act establishes the complex lives of Clark and Dr. Kline. Both are portrayed as deeply flawed individuals grappling with personal demons; Clark, in particular, is burdened by the weight of a collapsing furniture business. His accidental discovery of a gateway within his basement showroom sparks a feverish obsession to decode its surreal enigmas. This carefully developed groundwork encourages the viewers to empathize with Clark’s difficult situation. When he eventually confides in Dr. Kline initially dismisses his claims as a psychological episode, but he vows to bring her proof. Yet, a brief, ominous and cryptic message compels her to investigate the furniture store, a common fly provides the catalyst drawing her across the threshold and into the unknown.

Within the lexicon of genre cinema, the "monster" typically resides in the darkness of a closet or beneath a bed. However, the true potency of the creature lies in the viewer's own imagination to conjure up truly terrifying nightmares. Often the eventual reveal is disappointing and anti-climatic. In a masterstroke of atmospheric world-building, Soodik and Parsons immerse the audience in imagery that plays on the viewer’s subconscious fears. The production design evokes a surreal architectural marriage between the impossible geometries of M. C. Escher and the melting landscapes of Salvador Dalí. Every corner and shadow in this sprawling, cryptic environment serves to heighten suspense, punctuated by ominous warnings that trigger a primal flight-or-fight response. Even the mundane artifacts of our world appear corrupted, fused into the very infrastructure to cultivate a lingering sense of unease.

Furthermore, the entities that populate these corridors are equally unsettling, appearing as nightmarish distortions of the human form. Their presence feels like a feverish, horrifying reimagining of the surreal inhabitants of Wackyland from the Looney Tunes cartoons, filtered through a particularly dark and psychedelic lens.

I enjoyed the understated approach to the origin and mechanics of this realm and the gateways. It’s a stroke of brilliance that bypasses tedious scientific exposition to plant a seed of wonder directly into the audience’s imagination. It invites a suspension of disbelief that feels both accessible and profoundly unsettling, operating within the finest traditions of science fiction without the need for complex math or science theories. This lack of definitive answers is superbly mirrored by the character of the scientist, whose visible anxiety underscores the terrifying gap between observation and comprehension. Such a sequence masterfully ignites the viewer’s imagination, conjuring a vast multiverse of surreal possibilities and lingering nightmares.

Adding to the unsettling nature of the visual experience is an amazing score by Edo Van Breemen and Kane Parsons. There are these dreamlike compositions that compliment the characters and camera movements. These hypnotic movements feature moments where the instruments are electronically modified to be slightly modified or off key to add to the viewer’s unease. There are times when it conveys a character’s state of mind, from wonder to dread and terror. There is an aspect to the score reminiscent of the great film scores by Tangerine Dream, and Van Breemen and Parsons utilizes many technical advances since the group's founding in 1967. It blends an ethereal quality with gritty technology sounds.

Adding to the haunting nature of the visual experience is an exceptional score from Edo Van Breemen and Kane Parsons. Their dreamlike compositions harmonize beautifully with the film’s character arcs and fluid cinematography. These hypnotic sequences frequently employ electronically distorted or slightly dissonant instrumentation to amplify a lingering sense of unease within the viewer. The music masterfully mirrors the protagonists’ shifting psychological states, oscillating between wide-eyed wonder and primal dread. Evoking the legendary electronic scores of Tangerine Dream, Van Breemen and Parsons leverage contemporary technical innovations to transcend the group’s since its first appearance in 1967. The result is a sonic tapestry that weaves ethereal beauty with the gritty, abrasive textures of modern technology sounds.

Actors Chiwetel Ejiofor, Clark, and Renate Reinsve, Dr. Kline, deliver excellent performances that sell the complexity of these characters, their unique positions in deal with this phenomenon and their turbulent emotional states. There is a sublime contrast to characters that these actors build upon to create an smoldering intensity that lingers with the viewer. There is a moment when Kline and Clark confront each other in a bizarre location that offers a contemporary take on the human condition that plays out like the confrontation between Marlow and Kurtz. There is a final scene that carries a similar impact as when Brando’s Kurtz in “Apocalypse Now” utters “The Horror.”

The performances from Chiwetel Ejiofor and Renate Reinsve are nothing short of extraordinary, breathing life into the fractured psyches of Clark and Dr. Kline. Their nuanced portrayals masterfully convey the heavy toll of this surreal phenomenon, manifesting in turbulent psychological states that feel both authentic and harrowing. Through a series of sublime character beats, the actors cultivate a smoldering intensity that remains etched in the viewer's mind long after the credits roll. A pivotal confrontation between the two in a particularly warped environment serves as a profound meditation on the modern human condition, echoing the iconic literary collision between Marlow and Kurtzin Conrad’s “Heart of Darkness.” This thematic resonance culminates in a final, haunting sequence that strikes with the same primal, devastating force as Brando's Kurtz in “Apocalypse Now” when he famously whispers, "The Horror."

Kane Parsons artistic background provides him with a unique cinematic skillset that he will continue to evolve and fine tune as he continues to create. His first feature film clearly demonstrates his gift as a filmmaker and storyteller who creates memorable characters that connect with audiences. BACKROOMS is an emotionally engrossing thought experiment that is a skillfully constructed cinematic experience that builds into a terrifying ride. I am excited to see what he serves up next.

Kane Parsons’ creative heritage gives him a distinctive cinematic toolkit that will continue to evolve with each new project. This feature-length debut serves as a powerful testament to his prowess as a visual storyteller, capable of breathing life into evocative characters that resonate deeply with the viewer. BACKROOMS functions as a haunting, intellectually stimulating thought experiment—a meticulously crafted masterstroke of atmospheric world-building that steadily escalates into a visceral journey of primal terror. One can only imagine what surreal nightmares he will manifest in his future endeavors.

CAST: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, and Lukita Maxwell. CREW: Director - Kane Parsons; Screenplay - Will Soodik; Based on “Backrooms” by Kane Parsons; Producers - James Wan, Michael Clear, Roberto Patino, Shawn Levy, Dan Cohen, Dan Levine, Osgood Perkins, Chris Ferguson, Peter Chernin, Jenno Topping, & Kori Adelson; Cinematographer - Jeremy Cox; Score - Edo Van Breemen & Kane Parsons; Editor - Greg Ng; Production Designer - Danny Vermette; Costume Designer - Mica Kayde; Makeup Effects Designer - Werner Pretorius; Special Effects Set Supervisor - Jeffrey Kennett; Visual Effects Supervisor - Edward J. Douglas; Visual Effects Studios - Outlanders VFX, Zoic Studios, Rotomaker, Mr. Wolf VFX Inc., Barnstorm Visual Effects, Roxel Creative, Cosa VFX; Stormborn VFX. OFFICIAL: a24films.com/films/backrooms FACEBOOK: N.A. X: N.A. INSTAGRAM: N.A. Reviewed by: Joseph B Mauceri RELEASE DATE: In theaters May 29th, 2026

SYNOPSIS: Tyler and Maddie are a few weeks into their van life adventure when the young couple witnesses a horrific accident that leaves the driver dead. As they continue on their journey they learn from a veteran nomad, Diana, that they've been marked and have picked up a relentless demonic entity who's impossible to outrun and will pursue them wherever they go. Their only hope lies in a myth surrounding the Catholic St. Christopher and the story of a truck driver who survived the Passenger.

REVIEW: André Øvredal continues his streak of crafting unsettling cinematic experiences that expertly disarm the audience before unleashing well-timed thrills making them easy prey. His ability to draw viewers into dark, atmospheric worlds remains a highlight of his filmography.

The production values are fine, and Christopher Young’s score does an excellent job of adding to the atmosphere and intensity of the film. The special and visual effects are satisfactory, and the look of the Passenger is reminiscent of a more classic creature look. The couple’s final approach to the isolated church was creepy and spine-chilling, but could have used a bit more sinister finesse. I was a bit let down by the production designs in the film’s climax for the church and the St Christopher statue.

I had issues with the internal logic of the story. I went back and checked this legend about the saint and a fellow traveler, which I had never heard of and could not find any reference to. In fact, if you take a moment to look up the legend of St. Christopher, there are some creepy elements to his tale. I get the idea of the sacred ground of the church and that the statue would be blessed; however, the statue would never be placed as the centerpiece on the altar. Also, and an even cooler idea, is that when a church is consecrated in the name of a saint, a relic of that saint is placed under the altar of the church. So (SPOILER), if you really wanted to take out the demon, based on the legend they created, the relic would have been his ultimate kryptonite and has a lot more potential than the “Jaws” final battle.

Another film homage is the opening sequence, featuring two Gen Z characters in their vehicle, which calls to mind the interaction between Brooks and Aykroyd in "Twilight Zone: The Movie."

While the story spends significant time developing the characters and their relationship, Tyler’s decision to hang the saint’s medallion from the rearview mirror at the start of their journey is clearly a setup for a later plot point. This action should touch upon the characters’ faith—or lack thereof—yet these thematic elements are never explored and cast aside. Plus, such plot devices should only truly resonate if the characters possess or finds a genuine sense of belief or faith.

PASSENGER is fun and, much like “JAWS” was a summer cautionary tale about the beach, this is a warning to travelers heading out on the open road for their summer vacations. Clearly there is a lot of franchise potential, but also it feels like it was winking at the studio executives for a Halloween haunted attraction. Also, one can’t help but wonder if this horror film with “christian” themes and the slightest of sexual innuendos is a result of Paramount’s purchase and mergers - politically correct horror.

PASSENGER is a fun film, and much like “Jaws” served as a summer cautionary tale about the beach, this movie functions as a warning to travelers heading out on the open road for their summer vacations. While there is clearly a lot of franchise potential, the film also feels like it is winking at studio executives about its viability as a Halloween haunted attraction. It's the perfect drive-in film. Furthermore, one can’t help but wonder if this horror film—with its “christian” themes and the slightest of sexual innuendos—is a result of Paramount’s purchase and mergers: politically correct horror.

CAST: Jacob Scipio, Lou Llobell, Melissa Leo and Joseph Lopez. CREW: Director - André Øvredal; Screenplay - Zachary Donohue & T.W. Burgess; Producers - Walter Hamada & Gary Dauberman; Cinematographer - Federico Verardi; Score - Christopher Young; Editor - Martin Bernfeld; Costume Designer - Kimberly Adams-Galligan; Special Makeup Effects Designer - Justin Raleigh; Visual Effects Supervisor - Jason Van Haverbeke; Digital Effects - Cadence Effects. OFFICIAL: www.passengermovie.com FACEBOOK: www.facebook.com/PassengerMovie X: x.com/PassengerMovie INSTAGRAM: www.instagram.com/passengermovie RELEASE DATE: In Theatres May 22nd, 2026 REVIEWED BY: Joseph B Mauceri

Forced between open water and a relentless human predator, the wedding party must fight for survival as secrets surface and loyalties shatter. As the newlyweds are pushed to their limits, they’re forced to confront the cracks in their relationship to determine who lives, who dies and who stays married.

CHUM is directed by Jonathan Zuck, with a screenplay by Zuck and Joe Leone, based on a story by James Kondelik, Ryan R. Johnson and Dick Grunert.

CHUM stars Alice Eve, Eric Michael Cole, Elle Haymond, Sarah Siadat, Johnny Gaffney, Lisa Yaro, and Jim Klock.

CHUM, in select theaters & VOD/Digital Platforms June 5, 2026, from IFC.

The sixth installment, and the third standalone entry, in the Evil Dead film series is directed and co-written by Sébastien Vaniček, and produced by Rob Tapert and series creator Sam Raimi. The film stars stars Souheila Yacoub, Tandi Wright, Hunter Doohan, Luciane Buchanan, Erroll Shand, Maude Davey and George Pullar.

EVIL DEAD BURN is scheduled for a theatrical release in the United States on July 10, 2026.