Scary Movie (2026)

Director: Michael Tiddes
Starring: Marlon Wayans, Shawn Wayans, Anna Faris, Regina Hall, Kenan Thompson, Dave Sheridan, Lochlyn Monro, Kim Wayans, Cheri Oteri, Chris Elliott, Damon Wayans Jr., Heidi Gardner, Olivia Rose Keegan, Cameron Scott Roberts, Savannah Lee Nassif, Sydney Park, Gregg Wayans, Benny Zielke, Ruby Snowber, Jon Abrahams, Deon Cole, Carmen Electra, Teyana Taylor, Kai Senet, Anthony Anderson, Shaquille O' Neal 
Running Time: 96 min.
Rating: R

★★½ (out of ★★★★) 

At least on paper, rebooting or requeling the Scary Movie franchise a little over a decade since its last installment isn't the worst idea in the world, especially given how many new horror films seem ripe for parody. And while there's minimal nostalgia to be found in reuniting a cast that starred in half a dozen of these already, the Wayans brothers do make good on their promise to temporarily resurrect the politically incorrect comedy with this entry. So regardless of how many jokes land or flop, they can't be accused of playing it safe. 

The real problem is that it's sort of a mess, with randomly inserted and characters whose actions inconsistently waver depending on how ridiculous the story needs to be at any given moment. But that's almost a silly complaint to lodge against a franchise that's always been about getting to the next gag at any expense, including quality. They're just especially blatant about it this time, with parodies flying at us a mile a minute as it spoofs every popular horror movie of the past five years and skewers a variety of hot button social issues. 

Now a paranoid recluse and alcoholic, Cindy Campbell (Anna Faris) is estranged from her two daughters when the youngest, Tuesday (Savannah Lee Nassif) is attacked by a recently resurfaced Ghostface killer.  Older sister Sara (Olivia Rose Keegan) and her boyfriend Jack (Cameron Scott Roberts) try to narrow down the suspects, getting help from Brenda's (Regina Hall) kids Brad (Gregg Wayans) and Dei (Sydney Park), Brad's girlfriend Elle (Ruby Snowber) and Sheriff Phillippe's (Lochlyn Monro) transgender son Jess (Benny Zielke). 

While at odds with pill popping daughter Sara, Cindy reunites with Brenda and Shorty (Marlon Wayans), convinced Ghostface is back to kill off the original legacy characters. And as the religious, churchgoing Brenda deals with husband Gay Ray's (Shawn Wayans) ambivalence about his homosexuality, original Ghostface and mentally challenged former deputy Doofy Gilmore (Dave Sheridan) reemerges, aiding Sara and the gang. But with the body count rapidly rising, everyone's a suspect.

What's most noticeable is how determined the Wayans are to go to those uncomfortable places that permeated the 2000's era spoof films, challenging the notion it still can't be done today. And it's a relief they're fully committed to the offensiveness considering this material is so wildly uneven that holding back would really sink it.  

The opening scene featuring Teyana Taylor as "herself" in the franchise's meta movie within a movie spoof immediately quells concerns, providing enough laughs to wish they'd continue along this trajectory. But as quickly as this occurs, the action immediately shifts to the actual story, with a plot that shares an outline with the latest batch of Scream sequels, right down to the terrorized sisters and suspicious boyfriend. 

Of course, all of this highlights the challenge of basing an entire series of films on spoofing an existing horror franchise that's already a self-referential parody of its own. As usual, the Wayans solve this problem by sending up everything else, whether it's Sinners, Smile, Weapons, Get Out, Terrifier, M3GAN, Longlegs, Wednesday, K-Pop Demon Hunters, The Substance and even Michael. The Substance spoof featuring a returning Cheri Oteri as the Courtney Cox-inspired reporter Gail Hailstorm is probably the funniest while multiple, oddly placed jabs at Sinners bomb, especially a lengthy church "conversion" scene with Gay Ray that overstays its welcome. 

Ironically, the film does best when tackling the riskiest material, such as the sheriff's interactions with trans son Jess, COVID or a train scene centered around the nonbinary, not so subtly named Dei's obsession with pronouns. It's when the plot has to move forward that this stalls, but that's nothing new for the franchise. Anyone labeling it a huge step down from the others or an affront to cinema may want to rewatch those to remind themselves how bad these can get. Or maybe not.

A returning Faris enters her grizzled Jamie Lee Curtis phase from the most recent Halloween trilogy, putting her own comedic spin on the drunk, mentally unstable, gun toting survivalist driven to insanity from the previous films' events. If there's a Final Girl, it's Sara, who Olivia Rose Keegan plays as over-the-top and in-your-face as possible, recognizing that the most appropriate performance in a Scary Movie sequel is always an intentionally bad one. Marlon Wayans takes a page out of that book as permanently baked high school student Shorty while Dave Sheridan's Doofy reverts to his original "special needs" incarnation, stepping back into his uniform as if it were yesterday.

Stumbling from one Ghostface scenario to the next with hardly a plot to speak of, director Michael Tiddes throws jokes at the wall to see what sticks. Probability dictates a bunch will, even as others fall flat in the span of a 96 minute running time that feels just a bit longer. The parodies that do hit tend to hit hard, and if they weren't directly followed by awkward character moments that slow the momentum, this could have been something. But by its end, the Wayans brothers seem just as bored seeing the legacy characters interact with these new faces as we are. And if that's the biggest takeaway, they might have a better understanding of this franchise than we thought.                                                            

Disclosure Day

Director: Steven Spielberg
Starring: Emily Blunt, Josh O' Connor, Colin Firth, Eve Hewson, Colman Domingo, Wyatt Russell, Henry Lloyd-Hughes, Elizabeth Marvel, Hettienne Park, Tommy Matinez, Gabby Beans, Jeremy Shamos, Brandon Wilson Courtney Grace 
Running Time: 145 min.
Rating: PG-13

 

★★★ ½ (out of ★★★★)  

A sense of excitement surrounded the news that Steven Spielberg's sci-fi thriller Disclosure Day would find the legendary director returning to the genre where he experienced some of his greatest success. And while the filmmaker who helmed so many cultural touchstones has grown older and more experienced, he's continued to show flashes of greatness in adapting to the times. Still, no one can be blamed for entering this with lowered expectations, as its title and trailers suggested something closer to a reboot of M. Night Shayamalan's Signs, complete with matching crop circles. 

Understandably choosier about the projects he takes on, we should know by now not to underestimate Spielberg, who wouldn't put his weight behind a premise done to death by Hollywood unless it's something's special. And David Koepp's script is, resulting in an intelligent, visually gripping spectacle far superior to what its advertising implied. Frenetically paced and spectacularly shot, this doesn't let up for a minute, trusting viewers to keep up as it builds to an emotional, thought provoking climax.   

With countries hovering on the brink of World War III, U.S. cybersecurity specialist Daniel Kellner (Josh O' Connor) has stolen classified information from his employer, the government contracted Wardex Corporation. Now in possession of a mysterious extraterrestrial artifact and a hard drive containing proof of alien life dating back to Roswell, he's a hunted man. Evading the company's CEO Noah Scanlon (Colin Firth), he flees with girlfriend Jane Blankenship (Eve Hewson) while maintaining communication with disillusioned Wardex co-worker Hugo Wakefield (Colman Domingo). Having assembled his secret team at an undisclosed location, Hugo's already set in motion a plan to reveal the truth to the world.

Meanwhile in Kansas City, local meteorologist Margaret Fairchild (Emily Blunt) alarms musician boyfriend Jackson (Wyatt Russell) with her increasingly odd, erratic behavior. Speaking in foreign languages she shouldn't know and suddenly displaying psychic abilities, things only get stranger when she delivers an incomprehensible weather report on KCXE's newscast that quickly goes viral. Now under siege from Wardex agents who recognize her extraterrestrial language, she hits the road to find Daniel, with whom she shares an inexplicable bond. Together they'll try to unlock their repressed memories and expose this cover up to the world, unless Scanlon gets to them first.                

The story's well underway by its opening scene, posing more questions than answers when Daniel's seemingly held hostage by Wardex agents. He's clearly in possession of something Scanlon wants and the fact these characters are already way ahead of us makes for an exciting dynamic that quickly piques our interest. And though Daniel and Jane each know considerably less about each other than they originally assumed, he still holds most of the secrets, remaining committed to seeing this through with Hugo's help.

Spielberg's biggest surprise is that the whole film feels like two extended, action packed road trips with protagonists barely given enough time to process the enormity of what's happening. Like Daniel, Blunt's Margaret is a target, but must also grapple with psychic powers she doesn't appear to fully comprehend, at least not yet. While Hugo knows it's imperative she and Daniel unite in publicly disclosing the contents of the Archive, the consequences and specifics come later. Just not before some awe inspiring chase scenes set at a barn house and on a speeding train. 

That Firth's Scanlon isn't your typical one dimensional villain can be credited to both Koepp's screenplay and the actor's turn as a man broken enough to convince himself he's right. Even if Scanlon brings up valid points about the public's potential response to this info, the root of his concern stems from a monetary desire to maintain power and control following a deeply personal loss. As a former nun, Jane's worries are largely rooted in moral and religious fears, making for an intriguing clash when Scanlon uses the extraterrestrial artifact to telepathically infiltrate her consciousness. But this device isn't just a clever narrative tool, as it causes nearly as much physical and emotional distress to its user as their intended target.

O' Connor is engagingly effective as this whistleblower sure in his beliefs, if a little fuzzy on how he'll pull it all off. Blunt's given a lot more to juggle as Margaret, a TV personality whose newfound abilities turn her world upside down, affecting everyone she encounters. The whole performance plays like an outer body experience as the actress simultaneously conveys the fear and confusion accompanying such a bizarre phenomenon. But her work really kicks into high gear once Margaret gets a handle on her powers and embraces what they'll eventually come to mean in a larger sense. 

Domingo's part is pivotal, with Hugo's knowledge carrying a certain air of mystery as we speculate why he's guiding Daniel from what looks like the confines of a giant stage set. Ultimately though, his goal is to facilitate Daniel and Margaret's connection, which receded into their subconsciousness long ago. This retrieval process leads to the film's most divisive section, featuring childhood flashbacks shot by cinematographer Janusz Kamiński in a style that visually resembles a Thomas Kincaid painting.

A lack of full disclosure in a film titled Disclosure Day would be the ultimate bait and switch, and while we do know where that'll occur, it's all about the "how," especially when the struggle to expose the truth becomes a race against time. The final act is surprisingly powerful, not only due to the unearthed footage that raises the film's believability quotient or even John Williams' quietly stirring score, but one unforgettable performance. It comes from relatively unknown actress and former real life TV reporter Courtney Grace, who's tasked with the herculean feat of delivering this live breaking news. With astonishingly authentic facial reactions and delivery, her unnamed NBC anchorwoman becomes the world's eyes and ears, lifting the conclusion to a place we didn't think it could possibly reach.

Easily one of Spielberg's better recent efforts, this is a worthy entry in his rich sci-fi catalogue, earning thematic comparisons to Minority Report, and more directly, Close Encounters of the Third Kind. After an opening that might have audiences scratching their heads, the ideas gradually grow as we're taken on a wild ride with two intrinsically linked characters who spend the majority of the picture on separate but interwoven quests.  

Spielberg proves less interested in the existence of extraterrestrial life than what our collective reaction says about us as a species. The idea we're not alone definitely isn't new, but this posits a gripping dramatization of what happens when conspiracy meets reality. Rather than focusing on the aliens and their intentions, he takes a riskier, less traveled route by questioning whether we'd ever have enough empathy, faith and understanding to accept them.   

The Invite

Director: Olivia Wilde
Starring: Seth Rogen, Olivia Wilde, Penélope Cruz, Edward Norton
Running Time: 107 min.
Rating: R

★★★ (out of ★★★★)  

Of the three films Olivia Wilde has directed, The Invite feels like a breakthrough of sorts, especially for those previously unconvinced of her skills behind the camera. But if that's not enough, we're also reminded here just how engaging an actress she is, directing herself to one of her best performances. So even those joking that she didn't have a high bar to clear after Don't Worry Darling would find it difficult to deny this tidy, low budget sleeper took serious skill to make, especially given its challenging setup. 

It's easy to imagine another filmmaker failing to navigate all the tonal shifts present in Will McCormack and Rashida Jones' witty, thought provoking script, but Wilde manages it, keeping viewers anxiously hooked on the psychology of these characters for the duration of its running time. Though it starts with an invitation, the film's title comes to have another meaning as signals get crossed, lies and jokes are told, weed is smoked and arguments break out at a moment's notice between two couples with very different expectations about how the night will play out.       

Failed San Fransisco musician Joe (Seth Rogen) works as a jazz band teacher at a local school, coming home late to discover his wife Angela (Wilde) has invited upstairs neighbors Piña (Penelope Cruz) and Hawk (Edward Norton) over for dinner at their apartment. While the plans were supposedly ironed out a while ago, a tired, cranky Joe demands Angela reschedule as she frantically puts the finishing touches on the meal, spawning a heated argument. 

When Piña and Hawk arrive, awkward small talk leads to uncomfortable tension as the couples feel each other out. With a panicked Angela doing her best to impress their guests, an unfiltered Joe shares exactly what's on his mind, no matter how rude or inappropriate. But with Piña and Hawk indicating they came for reasons unrelated to dinner, an oblivious Angela and Joe prove too busy arguing to take the hint. By now, their marriage has deteriorated to the point that even this welcome jolt of excitement from their neighbors may not be enough to repair the damage they've already inflicted on each other. 

From the minute an aching Joe struggles to fit his folding bicycle through the door, he and Angela's bickering begins. Whether it's about him removing his shoes before entering, their shortage of wine or his plans to devour the "twenty pounds" of cheese intended for their guests, everything's a potential screaming match. As a desperate Angela stresses about winning over the neighbors, she soon finds herself in the throes of a full-blown panic attack, only made worse by Joe's sarcastic, passive aggressive insults. 

Joe's a self-loathing complainer while Angela's wound way too tightly, on pins and needles worrying what her husband will say or do next. She's also given him instructions not to mention a specific complaint he has that could trigger a conflict with the guests. So of course Joe taunts her with that, at least until it's finally brought out into the open. His "complaint" really cuts to the crux of the film as the neighbors' true intentions are hilariously revealed, establishing this visit as more than just a friendly get together. 

While it's hardly a shock to anyone watching that Piña and Hawk are propositioning them for a four-way, Angela and Joe's befuddled reactions provide the real pay off. Capturing Angela's long brewing unhappiness with a marriage on life support, Wilde's never played such a hyper sensitive, insecure people pleaser, while a perfectly cast Rogen buries Joe's pain and regret behind a facade of self deprecating humor. They're also convincing enough as quarreling spouses that we buy them as once happy and in love, the fleeting glimpses of which are seen in a hazy opening flashback. 

Cruz and Norton are outstanding as these dinner guests who aren't nearly as perfect or normal as Angela's convinced herself. Cruz flies delightfully off the rails as the feisty sex therapist and a brilliantly eccentric Norton plays straight man to all the histrionics, complete with a self imposed character nickname that carries an odd origin story of its own. And if Angela and Joe's bumbling antics, constant fighting and ability to squander this proposal isn't enough to convince them of their incompatibility, it's possible these outsiders can.    

Eventually, Angela and Joe wake up to how bad it's gotten and realize there's probably more than enough blame to go around. They seem down for the count, if not for a tiny glimmer of hope suggesting their marriage isn't quite as doomed as it appears. But if that's true, the road back might require more work than either are willing to put in. 

It's somewhat cheap even mentioning Wilde's last directorial effort, but also necessary, highlighting how far she's come in the span of a single film. Even if Darling wasn't the creative catastrophe it's been painted as, it's still strangely impersonal, with fascinatingly weird elements that seem assembled by committee. Despite this looking visually indistinguishable from other similarly themed indies, it's at least the work of a filmmaker with a voice, capably juggling this four person entanglement within the confines of a single location. 

The Invite almost feels like the kind of twisted relationship comedy Woody Allen would have taken a stab at decades ago, and not just due to the presence of Rogen as leading man and a closing dedication to the late Diane Keaton. At first, its premise doesn't seem like much, but once the performances gather steam and Wilde gradually peels back its layers, there's real depth and unexpected tension bubbling just below the surface.                                              

Supergirl

Director: Craig Gillespie
Starring: Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet, Jason Momoa, Ferdinand Kingley, Diarmaid Murtagh, Clara Rosager, Heather Agyepong, Alice Hewkin, Paul Hunter
Running Time: 108 min.
Rating: PG-13

★★★ (out of ★★★★)   

If Craig Gillespie's Supergirl seemed like it never stood a chance, it wasn't due to quality, but the realization everyone had already made up their minds. And even if a standalone film centered around this character was always considered a tough sell for DC, the hostility still stung. Whether it was complaints about casting, its script or nearly any other aspect of a picture no one yet laid eyes on, financial failure gradually became inevitable. So despite the enthusiastic reception Supergirl's cameo got at the end of 2025's Superman, skeptics' knives were sharpened a while ago  

It's never a good sign when your interest in a project rests on finding out whether it really is as bad as everyone says. And considering all the venom spewed in its direction, you can't help but think it must be. But that's the thing with Supergirl. There are no "correct" versions of her, just varying incarnations of a character that needs constant reinvention to stay relevant. This is the latest, and though she's a mess, the movie isn't, as writer Ana Nogueira sets her on a journey to move past the pain and find some version of "home." Clocking in at just under two hours, it has a clear mission and equally strong execution, making for a fun, breezy watch that's superior to lot of the underwhelming superhero fare it's accused of resembling.   

Growing up on Argo City, Kara-El (Alcock) was raised by scientist father Zor-El (David Krumholtz) and mother Alura In-Ze (Emily Beecham) after they fled their destroyed planet of Krypton. But when the citizens of Argo suddenly start dying from the effects of Kryptonite, Zor-El sends Kara and her dog Krypto on a ship to Earth, where they're taken in by her cousin Kal-El/Superman (David Corenswet). Now on the eve of her 23rd birthday, Kara spends most of her time planet hopping and getting drunk, much to Superman's concern. 

Partying on the planet Holzherr, Kara encounters young Ruthye Marye Knoll (Eve Ridley), who seeks vengeance on the Krem of the Yellow Hills (Matthias Schoenaerts) for brutally murdering her family. Initially, Kara dismisses Ruthye's pleas for help, at least until Krem shoots Krypto with a poisoned dart. Desperate to locate Krem and the antidote to save Krypto, Kara reluctantly takes Ruthye along as they face numerous obstacles, like a cocky bounty hunter named Lobo (Jason Momoa) who has a score of his own to settle with the Brigands. But as Krypto's life hangs in the balance, Kara and Ruthye must somehow move beyond their traumatic pasts to help each other. 

Rather than digging into Kara's origin story right away, it's inserted into the film's middle section, allowing for a more memorable, attention grabbing introduction. And given her bratty, wisecracking attitude, the rebellious Supergirl does immediately leave a lasting first impression. That the script's adapted from Tom King and Bilquis Evely's beloved comic book series, Supergirl: Woman of Tomorrow sets the bar high, but producer James Gunn picked the right actress in Alcock, who successfully captures an unconventional version of the character most haven't been exposed to. 

Apathetic and perpetually hung over, Kara wears a brown duster, sunglasses and a Blondie tee in place of that iconic suit for most of the running time. But it works, largely because it's a welcome departure that temporarily frees us from your usual superhero tropes. Just as Melissa Benoist wouldn't copy what Helen Slater did or Sasha Calle didn't pattern her performance after Benoist's, no Supergirl can fill the other's shoes. It's apples to oranges when we debate our favorites, each of whom personified a version of the role that suited their story's specific vision. So in this sense, Alcock fits right in, carrying on the tradition of being different from whoever came before.

Alcock does have a tight rope to walk in depicting a Kara who appears to be the polar opposite of her altruistic cousin, but still likeable enough to really root for. And her explanation that Superman sees the best in everyone when she sees "the truth," is a great line made better by the actress's dry, matter-of-fact delivery. But if Kara's recklessness and pessimism seems understandable once we recognize it as survivor's guilt, an even angrier Ruthye is hellbent on revenge, despite the further emotional scarring it'll bring. Of course, Kara's recognition of that and the begrudging willingness to take this girl under her wing suggests a bit more of Clark in her than she's willing to admit.

Cinematographer Rob Hardy's grungy, brownish, hue has drawn considerable comparisons to Mad Max, but Gillespie's entire approach is more reminiscent of Star Wars, as there's definitely a Mos Eisley cantina vibe to the bar scenes and a thrilling mid-air sequence featuring a plethora of alien species. As for all the complaints about its effects, they're surprisingly strong, even as the digitized Krypto has you wondering if they'd be better off casting a real dog. Doing that comes with its own set of challenges, but considering he spends most of this film asleep on a gurney, now was probably the time to do it. There's just something to be said for a pet owner's connection to their dog that can't be replicated with CGI stand-in.   

Alcock and Ridley share natural big sis/little sis chemistry throughout, but when Kara's incapacitated, the latter actress proves herself capable of carrying the load alone with spunk and vigor. It also doesn't hurt that Schoenaerts' Krem makes for a formidably menacing villain who gets just the right amount of screen time to make an impact. And while many already believed the charismatic Momoa was born to play Lobo, his turn as the vicious but cool anti-hero supports that theory, stealing every scene he's a part of. Corenswet's effectively used as the Man of Steel, mostly because Gillespie doesn't get bogged down by it, wisely incorporating him in key spots to emphasize Kara's past and present. 

Kara slipping into the suit for the action packed final act carries weight because it feels earned by a simple story told well, which in this frequently overcomplicated genre, shouldn't be dismissed. Lacking unnecessary sub-plots, distracting DCU crossovers or anything else that shifts the focus, it's briskly paced and efficiently constructed, creatively eclipsing this summer's The Mandalorian and Grogu and The Masters of the Universe. Unfortunately, Supergirl had people rooting against it in ways those other two didn't. Maybe now with more time and distance, this gets another look, and a renewed appreciation for all it gets right.                                                                                   

Backrooms

Director: Kane Parsons
Starring: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell, Avan Jogia, Robert Bobroczkyi, Krista Kosonen
Running Time: 110 min.
Rating: R

**This Review Contains Plot Spoilers**

★★★ ½ (out of ★★★★) 

Certain expectations will accompany a film with a premise as far out there as Kane Parsons' creepy and mesmerizing Backrooms. So much so that even fans of the web series on which it's based doubted how such a sparse, high concept idea would play as a feature. But with a staggering directorial debut, Parsons proves them wrong, transporting us into a seemingly endless hell of liminal spaces and quietly foreboding dread. It's a hypnotizing world where stacked furniture, barren corridors and humming florescent lights appear to be the biggest threat, until we realize the gravest danger facing anyone who enters are themselves. 

It's a place that misremembers details in shockingly disturbing ways, creating an endless loop where the search for answers only results in more questions and frustration for those willing to take the risk. Since coming and going is fairly simple, Will Soodik's puzzle box script really revolves around why its protagonist feels so compelled to stay, aside from his adventurous curiosity. But as each corner beckons the latest human guinea pig to go further, it absorbs every piece of their lives in the process, drawing visual and thematic comparisons to Cube, The Shining, Twin Peaks, Vivarium, Severance and even The Blair Witch Project. And yet there still isn't anything quite like it. 

It's 1990 in Santa Clara, California and financially struggling former architect Clark (Chiwetel Ejiofor) owns and manages Clark's Ottoman Empire, a furniture store with a peg-legged pirate as its mascot. Battling alcoholism and struggling to cope with his wife leaving him, therapist Dr. Mary Kline (Renate Reinsve), grows exasperated by Clark's refusal to take responsibility for any of it. And as he continues to blame everyone but himself, she engages him in role playing exercises that frustratingly confirm his chronic complacency. 

Rather than attempt to change, Clark doubles down, obsessing over an invisible portal in the furniture store's basement showroom that leads to an eerily threatening maze of dimly lit hallways and unoccupied office spaces. He also convinces reluctant employee Kat (Lukita Maxwell) and her stoner boyfriend Bobby (Finn Bennett) to join him in documenting this on video to show Mary he isn't crazy. But the deeper they go, it's clear this hidden space poses a far greater threat than anyone anticipated, including Mary, who searches for him just as the dimension's terrifying truths start to surface. Though for Clark, it may already be too late. 

The first thing we see isn't Clark, but a prologue featuring a hazmat suited researcher with a camcorder filming the backrooms, frantically searching for a way out after being separated from the rest of his group. A lesser story would have employed a first person shaky cam perspective for the film's entire duration and probably focused solely on efforts to retrieve him. But this isn't your ordinary horror. Overwhelmed by the endless continuation of long corridors, the man runs from an unseen entity, failing to reestablish communication as we're shown a pair of scientists later studying this recovered footage. It's the ultimate tease, setting the stage for what Clark and Mary will ultimately experience.

Many of Clark's problems stem from his own denial as he dodges accountability at every turn. Mary sees through him right away, indulging his worst impulses with the hope he'll eventually have a breakthrough. Instead, he seems more comfortable listening to himself complain about his ex-wife. And if the biggest surprise about Clark's therapy sessions is him agreeing to go at all, Ejiofor's performance invests you in a flawed character whose fleeting moments of clarity conceal his resentful bitterness. 

It's also hard not to share in Clark's excitement when he walks through that wall, dumbfounded by what he finds on the other side. Parsons lets us follow him into these rooms with the same sense of urgency as he that ill fated researcher did before things went south. None of this is about leaving, but what's left behind, as Ejiofor lets Clark's nervous silence do all the talking while he finds the way out, desperate to share what he's uncovered. 

That Clark's so willing to tell this to a therapist who could have him committed speaks to how desperate he is. But it's only when a concerned, incredulous Mary reacts as anyone would that he goes off the deep end, selfishly dragging Kat and Bobby along for the ride. Aside from some excellent sound design, Parsons creatively employs found footage by confining it to the section where it's most needed. And though Clark doesn't have a clue just how dangerous it is in there, after a while, we start to wonder whether he even cares. 

As an architect and personality, few are more likely to appreciate this space than Clark, who's finally found a home for the self satisfied smugness that defines his life. He is, after all, just "wired differently." Except the biggest problem with this new home isn't getting lost, attacked by furniture or even dying of starvation or thirst. It's something more sinister and possibly supernatural, despite Parsons' ability to keep one toe firmly rooted in reality. Mary's overtaken by the urge to find her patient not because she believes him, but out of a concern he's become a harm to himself or others. And she's not far off.   

Some of the film's more underappreciated scenes involve flashbacks to Mary's tumultuous childhood under the care of her agoraphobic mother. And when we first meet the therapist, she's watching the house she grew up in get demolished, along with all the complicated memories that accompany it. Understandably gravitating toward a psychology career, she's tucked away painful parts of her past she'd rather not confront. Unfortunately, the backrooms will unlock it by trapping her in a prison similar to the one she grew up in, shut off from the real world.

Reinsve provides a lot while saying very little, as an empathetic Mary displays more patience with Clark than most could, plowing past his obnoxious facade and explosive temper to help. But as the story wears on, you slowly see her therapy mask slip and a fighter emerge when Clark's "connection" to this environment grows stranger. And in keeping with Parsons' brilliant melding of practical and digital effects, a terrifying figure emerges, culminating in a spectacular, vertigo inducing shot of Mary looking down at this phenomenal space in all its overwhelming expanse. 

At one point, Clark equates his discovery as describing a dog to someone for the first time and asking them to draw it. And while that feels oddly accurate, it's also a lot more. By the time its conclusion arrives, we understand why Mark Duplass' mysterious researcher seems so permanently awestruck. By making us believe he's only scratched the surface of this bizarre universe, Parsons goes all the way down the rabbit hole with a final scene that's the stuff of nightmares. It'll provides answers, if only just enough to help viewers interpret the rest for themselves.