Disclosure Day (Steven Spielberg, 2026)

I'm an alien, I'm an illegal alien

Easy enough to call Steven Spielberg's Disclosure Day his reworking retelling reboot of Close Encounters of the Third Kind, a film so elegantly worked out on the big screen you can recall most shots as being not just effortlessly lyrical but inevitable, locking in place to present a vast sound and light show, a once in a lifetime rock concert burnt into your brain the way the shape of Devil's Tower is burnt into Roy Neary's.

Disclosure is a different creature flavorwise. Spielberg's visual grammar (using his present favorite cinematographer Janusz Kaminski) has grown more sophisticated, his color palette more complex and mutedly realistic, his editing chops (with the relatively unfamiliar Sarah Boshar) if anything more daringly intricate. But that wide-eyed spirit is still there, for better or worse, that willingness to lift one's head up and look around to check if there's someone really out there. 

Pressure (Anthony Maras, 2026)

Sunny with a chance of rain 

Anthony Maras' Pressure (2026)-- based on a 2014 play by David Haig-- answers a question no one thought to ask before: can a riveting thriller be made out of weathermen? Not storm chasers (looking at you Twister); not disaster flicks involving climate change (You too Day After Tomorrow and Geostorm)-- I mean weathermen, folk who pore over isobaric maps and stare at thermometers and take windspeed readings. The science nerds.

Apparently the answer is yes if-- big if-- 1) We're talking Operation Overlord, 160,000 troops launched on 7,000 ships supported by 12,000 aircraft, arguably the largest seaborne invasion in history; and 2) Landing point's on the Normandy coast in France, at the center of one of the most unpredictable weather systems on the planet. 

Backrooms (Kane Parsons, 2026)

Labyrinth

Talked about Curry Barker's Obsession and how his premise of the obsessed lover isn't anything new; Kane Parsons' Backrooms is if anything even less new dressed in world wide web clothing.

First to come to mind are the mindscapes described by Stanley Kubrick late in his career-- the vast redcarpeted mansion in Eyes Wide Shut; the urban ruins that stand at the end of Full Metal Jacket; above all the Overlook in The Shining with its infinite corridors dotted with secretive doors, looping on itself again and again like an intestine and lined with a carpet of repeated design dyed that maddeningly distinct burnt orange you see in interiors of the late '70s and '80s. Folks always maintained Jack Torrance was nuts from the beginning of the picture; I think that rug helped him along.