While the project remains in its earliest stages, creator and director Kane Parsons is reportedly seeking a screenwriting collaborator as development moves forward on a sequel for A24.



Since arriving in theaters on May 29, “Backrooms” has become one of the year’s biggest success stories. The psychological sci-fi horror picture opened to an estimated $118 million worldwide, setting a new benchmark for A24 and turning Parsons into the youngest filmmaker ever to top the North American box office. The strong commercial performance has accelerated conversations about where the property could go next.



<h2>A Franchise Beyond the Original Film</h2>



Parsons has indicated that the feature film was never intended to be the final stop for the eerie universe he first introduced through his viral YouTube series. During the promotional campaign for “Backrooms,” the filmmaker spoke openly about his interest in expanding the concept into a larger anthology format, exploring new corners of the unsettling dimension that helped make the online series a phenomenon.



For now, however, the focus appears to be on building the sequel’s creative foundation. Deadline reports that Parsons is searching for a writing partner to help develop the screenplay. No casting announcements have been made, and the project has not yet received an official green light. The report notes that Parsons remains under contract with A24 for additional “Backrooms” projects.



The original film marked Parsons’ feature directing debut and expanded the mythology established in his web series. Starring Chiwetel Ejiofor and Renate Reinsve, the story follows a struggling furniture store owner who discovers a gateway to a vast labyrinth of distorted spaces hidden beneath his business. As the mystery deepens, the seemingly endless environment reveals connections to a secretive research organization and manifestations of personal trauma.



Produced on a reported budget of under $10 million, “Backrooms” transformed an internet born horror concept into a major theatrical event. The picture’s success has reinforced Hollywood’s growing interest in creators who first build audiences online, while also giving A24 one of the biggest commercial victories in the company’s history.

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‘Backrooms’ Sequel in the Works as Kane Parsons Looks for a Screenwriting Partner - Spoiler US

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According to Deadline, a limited series inspired by “The Birds” is currently being shopped to potential buyers, with Sarah Snook attached to star and Tom Spezialy set to write the project.



The show comes from Universal International Studios and Heyday Television. Rather than revisiting the events of Hitchcock’s 1963 film, the adaptation is designed as a contemporary reinterpretation that borrows from both the classic movie and Daphne du Maurier’s original short story while charting its own narrative path.



<h2>A New Story Takes Flight in Alaska</h2>



Set in present day Alaska, the project centers on Myra Massey, a traveling magistrate played by Snook. What begins as a routine trip back to her hometown for a presumptive death hearing quickly spirals into something far more dangerous. Upon her return, Myra discovers the body of a childhood friend riddled with gunshot wounds, pulling her into a murder investigation that forces her beyond the boundaries of her judicial role.



As she searches for answers, the environment around her becomes increasingly hostile. A wave of aggressive bird attacks sweeps through the region, turning an already unsettling criminal case into a fight for survival. 



The involvement of Spezialy signals a notable creative direction for the project. The writer is known for his work on acclaimed television dramas including “The Leftovers” and “Watchmen,” both of which combined genre storytelling with character driven narratives. Snook, meanwhile, continues to expand her television profile following her Emmy winning performance in “Succession” and her role in “All Her Fault.”



The original “The Birds” remains one of Hitchcock’s most influential works. Released in 1963 by Universal Pictures, the film starred Rod Taylor, Jessica Tandy, Suzanne Pleshette, and introduced Tippi Hedren in her screen debut. 



Centered on a series of unexplained bird attacks in the California town of Bodega Bay, the picture earned greater critical recognition over the decades and is now widely regarded as a landmark of horror cinema. Its cultural impact was further cemented when it was selected for preservation in the National Film Registry by the United States Library of Congress.

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‘The Birds’ Is Returning: Sarah Snook to Star in New TV Reimagining of Hitchcock Classic - Spoiler US

Hollywood’s newest box office phenomenon did not emerge from film-school corridors or studio internships. It came from YouTube thumbnails, late-night editing sessions and the strange digital ecosystems where horror stories now travel faster than trailers. 



In a year dominated by franchise sequels and corporate spectacle, Kane Parsons (20) and Curry Barker (26) have suddenly become the youngest directors ever connected to the top of the domestic box office, turning internet-born storytelling into one of the industry’s biggest commercial forces.



<h2>Kane Parsons, Curry Barker Make Box Office History</h2>



Kane Parsons and Curry Barker are quickly becoming the faces of a generational shift in Hollywood, turning internet-born horror projects into legitimate box office events before either filmmaker reached 30. 



Parsons made history with A24’s “Backrooms”, while Barker transformed the microbudget horror film “Obsession” into one of the biggest surprise hits of 2026. Their rise has not only broken age-related records, but also challenged the traditional idea that successful directors must emerge from film schools or studio systems.



Parsons first gained attention online under the name Kane Pixels, where his eerie “Backrooms” videos exploded across YouTube thanks to their unsettling liminal-space atmosphere and detailed visual effects. 



What began as an internet horror myth eventually evolved into a full theatrical production backed by A24, James Wan and Shawn Levy. Industry tracking projected the film for a domestic opening between $40 million and $50 million, putting Parsons in position to become the youngest filmmaker ever to top the domestic box office.



The film itself became a symbol of how internet culture is now directly feeding Hollywood’s creative pipeline. Parsons, who taught himself animation and VFX as a teenager, reportedly designed detailed digital models for the movie before filming even began. 



Actors including Mark Duplass publicly defended the young director after online rumors questioned whether someone his age could truly lead a major production, insisting Parsons was fully in control on set throughout filming.



Meanwhile, Curry Barker’s story followed a similarly unconventional route. The Alabama-born filmmaker built his audience through YouTube sketch comedy and ultra-low-budget horror shorts before directing “Milk &amp; Serial”, a viral indie horror film reportedly made for around $800. 



That project helped launch his career and led to “Obsession”, a supernatural horror movie produced for less than $1 million that went on to earn nearly $80 million globally through word-of-mouth momentum and strong Gen Z support.



Hollywood reacted quickly to Barker’s breakout success. Reports revealed that studios had already begun offering him massive deals for future projects, while A24 tapped him to direct a reimagining of “The Texas Chainsaw Massacre”.

Backrooms' Kane Parsons and Obsession's Curry Barker Become Youngest Directors to Top Domestic Box Office

Backrooms’ Kane Parsons and Obsession’s Curry Barker Become Youngest Directors to Top Domestic Box Office

Backrooms' Kane Parsons and Obsession's Curry Barker Become Youngest Directors to Top Domestic Box Office - Spoiler US

In the entertainment industry, some presences do not need loudness to stand out. Inde Navarrette belongs to that category of performers who seem to move between layers: what they show on screen and what they suggest off it rarely fully align. 



Born in 2001, the American actress of Mexican and Australian roots has been building a career in which emotional intensity has become her signature, especially after her breakout roles in productions such as 13 Reasons Why, before finding in Obsession a role that expanded both her critical profile and her international reach.



<h2>Who Is Inde Navarrette? Rising Star Behind Obsession</h2>



Inde Navarrette is an American actress whose career has been steadily building momentum across television and film since her debut in the late 2010s. Born Danielle Fabiola Navarrette in Tucson, Arizona, she began appearing in short films and TV projects before landing roles that would push her into mainstream visibility.



These include Netflix’s 13 Reasons Why and The CW’s Superman &amp; Lois, where she played Sarah Cushing. Her rise, however, has accelerated dramatically in recent years thanks to her shift into genre cinema, where emotionally demanding roles have become her signature.



<h2>Early Life and Multicultural Roots</h2>



Navarrette was born on March 3, 2001, and grew up between Arizona and California in a multicultural household with a Mexican father and an Australian mother. Her upbringing was shaped by constant movement and adaptation—changing schools multiple times during childhood due to her family’s circumstances. 



This nomadic early life is often cited as one of the reasons she developed a strong observational instinct, something that later translated into her acting style: restrained, intuitive, and emotionally precise.



<h2>From Small Roles to Breakthrough TV Recognition</h2>



Her first screen appearances included short films and minor roles, but her breakthrough came when she joined 13 Reasons Why in its later seasons, portraying Estela de la Cruz. 



This exposure led to her casting in Superman &amp; Lois, where she became part of a key ensemble in a long-running DC television universe. While the role established her in mainstream television, it also set the stage for a shift toward more complex and psychologically layered characters in film.



<h2>The Obsession Breakout Moment</h2>



Navarrette’s most recent and defining role arrives in the 2026 horror-thriller Obsession, directed by Curry Barker. In the film, she plays Nikki, a character caught in a descent fueled by emotional distortion, desire, and psychological unraveling.



Critics and audiences have pointed to her performance as a breakout moment, highlighting the intensity and physical commitment required for the role, which pushed her into what many describe as “scream queen” territory.



The performance has been widely discussed for its emotional range—shifting between vulnerability and extremity—cementing her status as one of the most talked-about rising actresses in genre cinema.



<h2>Love Life, Privacy, and Life Outside the Screen</h2>



Despite growing public attention, Navarrette maintains a deliberately private personal life. She rarely engages with social media commentary and has been open about prioritizing mental well-being over online visibility, especially during the release cycle of Obsession.



Her romantic life has also drawn curiosity, with reports linking her to musician Nick Aiello, although neither has publicly confirmed the relationship in detail.



Beyond acting, she has expressed interest in creative outlets like painting and maintains a lifestyle that avoids overexposure—an approach increasingly uncommon among rising Hollywood figures.



<h2>Inde Navarrette on Fourth Wing Dreams and Her Future in Horror</h2>



Inde Navarrette’s recent turn in Obsession has not only amplified her visibility in genre cinema but also reshaped the way she approaches future roles, particularly within horror. In interviews surrounding the film’s release, she has reflected on the intensity of playing Nikki, describing the experience as a creative “high” she continues to pursue in new projects:



<blockquote class="wp-block-quote">“There is a high I am chasing that I got from playing Nikki in ‘Obsession’ that I would like to find in every role moving forward”.</blockquote>



That same momentum has naturally carried into how she views upcoming opportunities, including fantasy television. Navarrette herself has expressed admiration for Rebecca Yarros’ Fourth Wing and specifically identified Violet Sorrengail as a role she would love to play in Amazon MGM Studios’ adaptation.



<blockquote class="wp-block-quote">“If I had to pick a specific role that I’ve secretly been keeping my eye on, it would be Violet Sorrengail. I am a huge ‘FOURTH WING’ fan and I heard they were making it into a series”.</blockquote>

Who Is Inde Navarrette? Everything About the ‘Obsession’ Star – Age, Love Life and More

Who Is Inde Navarrette? Everything About the ‘Obsession’ Star - Age, Love Life and More - Spoiler US

Backrooms, the A24 horror film based on the viral internet universe created by Kane Parsons, has officially positioned its young director at the center of a historic milestone, with multiple reports confirming he is now the youngest filmmaker ever to lead a major studio release and that the project is being closely watched for its box office impact.



The film, which expands Parsons’ original YouTube mythos into a full theatrical feature, is backed by A24 and major producers including James Wan and Shawn Levy, and is shaping up as one of the studio’s most ambitious horror releases.



<h2>Backrooms Opens Strong at the Box Office</h2>



Backrooms, the A24 sci-fi horror film directed by Kane Parsons, has officially been released in theaters and is now playing nationwide after opening on May 29, 2026. 



Early industry estimates had already positioned the film as a major breakout candidate, with tracking pointing to a $40M–$50M domestic opening weekend driven by strong online anticipation and its built-in fanbase from Parsons’ viral YouTube universe.



The release marks a rare transition from internet mythology to full theatrical scale, with Parsons expanding his original found-footage concept into a studio-backed feature produced by A24 and major horror names like James Wan and Shawn Levy. 



The film’s arrival also places immediate attention on its commercial performance, as industry observers watch whether its digital-native origins can translate into sustained box office momentum beyond opening weekend.



<h2>Kane Parsons Makes History at 20</h2>



At just 20 years old, Kane Parsons has become the youngest filmmaker ever positioned to top the domestic box office if Backrooms meets its projected opening range. 



His leap from self-taught VFX creator on YouTube to studio feature director reflects a broader shift in Hollywood toward internet-native storytelling and creator-driven filmmaking.



What began as a low-budget digital horror experiment has now evolved into a major theatrical release shot on massive practical sets and backed by A24’s genre pedigree. 



The film’s performance is being closely watched not only as a box office test, but as a potential turning point in how viral online worlds translate into mainstream cinematic success.

‘Backrooms’ Could Make Kane Parsons the Youngest Director Ever to Lead the Box Office

‘Backrooms’ Could Make Kane Parsons the Youngest Director Ever to Lead the Box Office - Spoiler US

Curry Barker’s Obsession has rapidly escalated from micro-budget curiosity to one of the most profitable horror releases of 2026, with Box Office Mojo reporting a global haul of approximately $79.7 million against a production budget of just $750,000.



Released in May 2026 through Focus Features after its festival circuit buzz, the film opened to strong domestic numbers and quickly expanded its reach internationally, fueled by intense word-of-mouth momentum and unusually strong weekday holds for a genre title.



<h2>Obsession Accelerates Box Office Run as Microbudget Horror Stretches Its Theatrical Lifespan</h2>



Curry Barker’s Obsession continues its unusual theatrical trajectory, with current estimates placing its worldwide total at roughly $74–80 million against a production budget reported between $750,000 and $1 million. 



Released by Focus Features following its festival run, the film opened in mid-May 2026 and immediately overperformed projections, debuting to strong domestic numbers before extending its reach through sustained weekday holds and steady international expansion.



What has distinguished its run is not a single explosive weekend, but a prolonged accumulation of earnings driven by strong audience reception and unusually low drop-off rates for a horror release. 



After a $17 million debut, the film has continued to post solid daily grosses, allowing it to compete in the same conversation as far larger studio titles while operating on a fraction of their costs. 



As it nears the $80 million threshold, Obsession has become a reference point for how original horror, when amplified by word-of-mouth and efficient distribution, can still break through the modern theatrical hierarchy.



<h2>Obsession Cast: Who Brings Curry Barker’s Nightmare to Life</h2>



Curry Barker’s Obsession is led by Michael Johnston as Bear, a socially awkward music store worker whose impulsive wish sets the film’s disturbing chain of events into motion. Opposite him, Inde Navarrette plays Nikki Freeman, the emotional core of the story whose transformation drives much of the film’s psychological tension. 



The supporting cast includes Cooper Tomlinson as Ian and Megan Lawless as Sarah, both anchoring the human relationships that unravel as the supernatural element takes hold.



<h2>What Obsession Is About</h2>



At its center, Obsession follows Bear, who discovers a mysterious object known as the “One Wish Willow,” capable of granting a single desire. In a moment of emotional desperation, he wishes for Nikki to love him “more than anything,” only to see that wish spiral into a controlling, nightmarish bond that strips away autonomy and reality itself. 



What begins as a grounded portrait of unspoken longing gradually mutates into a darker exploration of obsession, consent, and the terrifying consequences of wanting to control another person’s feelings. The story unfolds as a modern horror fable about desire gone wrong, where intimacy becomes distortion and affection turns into something suffocating. 



Rather than relying on traditional jump scares, the film builds unease through emotional escalation, turning a simple wish into a force that reshapes identity, relationships, and perception of love itself.

Curry Barker’s ‘Obsession’ Nears $80M Global Box Office on $750K Budget Breakout Run

Curry Barker’s ‘Obsession’ Nears $80M Global Box Office on $750K Budget Breakout Run - Spoiler US

Released in 1980, “The Shining” has evolved from a divisive literary adaptation into one of the most analyzed horror pictures ever made. Directed by Stanley Kubrick and based loosely on the novel by Stephen King, the movie initially received mixed reactions from critics and even skepticism from some horror audiences. Over the decades, however, its reputation transformed dramatically, becoming a landmark title in psychological horror and an enduring cultural obsession.



<h2>Why ‘The Shining’ Still Feels Unsettling 46 Years Later</h2>



Set inside the isolated Overlook Hotel, “The Shining” follows struggling writer Jack Torrance, played by Jack Nicholson, as he accepts a winter caretaker job that slowly unravels his grip on reality. Alongside him are Wendy Torrance, portrayed by Shelley Duvall, and their son Danny, whose psychic abilities expose the hotel’s violent history. Rather than relying heavily on jump scares, the film built tension through silence, repetition, and emotional instability.



Kubrick approached the material with a colder and more ambiguous tone than King’s original novel, a decision that sparked years of debate between fans of the book and admirers of the picture. The director leaned into visual unease, using symmetrical framing, long tracking shots, and haunting sound design to create an atmosphere that felt disorienting even during quiet scenes. Many of those techniques later became staples of elevated horror filmmaking.



The performances also became central to the film’s legacy. Nicholson’s increasingly erratic portrayal of Jack Torrance produced some of the most recognizable moments in horror history, while Duvall’s emotionally raw performance has undergone major critical reappraisal in recent years. The title’s imagery, from the twin girls in the hallway to the flood of blood pouring from the elevator, remains instantly recognizable across generations.



Although it underperformed expectations with some critics upon release, “The Shining” steadily gained influence through home video, academic analysis, and decades of reinterpretation. Its fingerprints can now be seen across modern horror cinema, particularly in pictures that prioritize dread, psychological collapse, and atmosphere over conventional scares.



Forty six years after its debut, the movie continues to inspire documentaries, fan theories, and scholarly debates about hidden meanings and symbolism. Few horror films have remained as culturally active for as long as “The Shining,” which still occupies a unique place between mainstream studio filmmaking and deeply unsettling art house cinema.

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‘The Shining’ Turns 46: How the Film Redefined Psychological Horror Forever - Spoiler US

According to Variety, the Focus Features release is projected to rise 16% in its second weekend, an uncommon feat for a wide release, especially in the horror genre. The film is expected to earn roughly $19.9 million for the weekend and about $24.8 million through the extended Memorial Day frame.



<h2>‘Obsession’ Continues Rare Box Office Climb in Week Two</h2>



Written, directed, and edited by Curry Barker, the supernatural horror picture opened last weekend with $17.2 million after initially tracking far lower before release. The latest estimates would push its domestic total to approximately $55.1 million after just over a week in theaters, placing it behind only “The Mandalorian and Grogu” during the holiday corridor.



The film stars Michael Johnston as Bear, a music store employee whose desperate wish for his longtime friend Nikki to fall in love with him spirals into psychological and supernatural violence. Inde Navarrette co stars as Nikki, whose increasingly obsessive behavior drives much of the movie’s escalating horror. Supporting cast members include Andy Richter, Cooper Tomlinson, and Megan Lawless.



Before its theatrical release, “Obsession” premiered in the Midnight Madness section at the Toronto International Film Festival, where it attracted attention from distributors and genre audiences. Focus Features ultimately secured worldwide rights in a deal reportedly valued between $14 million and $15 million, one of the largest acquisitions for a genre title in the festival’s history.



The film was produced on a reported budget of roughly $1 million, making its theatrical performance especially notable. Barker, who previously gained online attention for “Milk and Serial,” developed the feature after drawing inspiration from a classic monkey’s paw style premise involving wishes gone wrong. Jason Blum later joined the project as an executive producer under the Blumhouse Productions banner ahead of the movie’s festival rollout.



Horror titles often experience steep declines after opening weekend, particularly once word of mouth spreads beyond core genre fans. Instead, “Obsession” appears to be expanding its audience heading into the Memorial Day holiday, giving Focus Features one of its strongest commercial performers in recent years.

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Horror Hit ‘Obsession’ Is Defying Box Office Expectations With a Bigger Second Weekend - Spoiler US

Curry Barker’s “Obsession” might have given the impression that horror cinema has already peaked this year, but the truth is quite the opposite. The second half of 2026 is still packed with major releases that range from unsettling original stories to long awaited franchise returns and ambitious video game adaptations. Here, we take a look at the 10 biggest horror movies still on the way.



<h2>Passenger</h2>



Paramount Pictures is kicking off the summer scare season early with this highly anticipated supernatural thriller directed by master of suspense André Øvredal. Centering on a demonic stalker that relentlessly pursues its victims across inescapable distances, the film combines a claustrophobic atmosphere with a stellar cast that includes Jacob Scipio, Lou Llobell, and Academy Award winner Melissa Leo. 



<h2>Backrooms</h2>



Building on the viral found-footage phenomenon that captivated millions online, filmmaker Kane Parsons is bringing his surreal labyrinth to the big screen courtesy of A24 and Atomic Monster. Striking theaters on May 29, this sci-fi horror feature promises to strictly honor the lore established in the original YouTube videos while expanding the narrative with a cast led by Chiwetel Ejiofor and Renate Reinsve. Rather than spelling out easy answers, the production leans heavily into liminal spaces, existential dread, and the unsettling psychological toll of getting lost in endless yellow hallways.



<h2>Leviticus</h2>



Fresh off its breakout premiere at the Sundance Film Festival, Australian filmmaker Adrian Chiarella’s highly buzzed-about debut is slated to bring psychological dread to theaters via Neon on June 19. This unsettling queer horror feature focuses on two teenage boys, played by Joe Bird and Stacy Clausen, who inadvertently unleash a shape-shifting supernatural entity after being subjected to a radical conversion ritual in their deeply conservative community. 



<h2>Evil Dead Burn</h2>



The legendary Necronomicón claims its next victims on July 10 in a brutal family reunion directed by French filmmaker Sébastien Vaniček. Produced by franchise pillars Sam Raimi and Rob Tapert through Ghost House Pictures, this standalone spin-off follows a grieving woman, played by Souheila Yacoub, who seeks solace at an isolated estate only to inadvertently unleash a fresh wave of Deadite chaos. Vaniček has promised an uncompromisingly vicious, physically punishing cinematic experience.



<h2>Ice Cream Man</h2>



Master of macabre Eli Roth is serving a chilling dish of suburban nightmare on August 7 under his newly minted production banner, The Horror Section. This twisted slasher transforms an otherwise idyllic summer town into a playground of madness when a local vendor begins distributing sweet treats embedded with fatal ingredients. Starring Ari Millen, Benjamin Byron Davis, and Roth himself, the feature aims to capture the unhinged, darkly comedic energy of classic mid-tier horror while delivering the filmmaker’s signature visceral stomach-punches.



<h2>Insidious: Out of the Further</h2>



Blumhouse and Sony Pictures invite audiences back into the dark purgatory of the supernatural realm on August 21 with the franchise’s terrifying sixth installment. Directed and written by Jacob Chase, the story shifts focus to a young mother, portrayed by Amelia Eve, who discovers she can manipulate the boundary of the afterlife to pull physical objects and entity attachments into the real world. Franchise anchor Lin Shaye returns as the iconic Elise Rainier, anchoring a fresh narrative that aims to reinvent the lore of the multimillion-dollar supernatural property.



<h2>Resident Evil</h2>



Sony Pictures is hitting the reset button on its multi-billion dollar zombie franchise with a gritty, claustrophobic survival horror film arriving in theaters on September 18. Directed by Zach Cregger, the plot tracks a desperate courier who becomes trapped inside a remote hospital during the sudden onset of a viral outbreak, forcing him to fight through hordes of mutated monstrosities. Moving away from the high-flying action of past iterations, this adaptation focuses squarely on resource management, biological body horror, and intense, intimate suspense.



<h2>Terrifier 4</h2>



Art the Clown is set to unleash another wave of unrelenting chaos when the franchise’s highly anticipated fourth installment slashes into theaters on October 1. Written and directed by series creator Damien Leone, this chapter pivots away from the previous film’s Yuletide backdrop to plunge Lauren LaVera’s resilient Sienna Shaw into a chaotic New Year’s Eve nightmare. Production insiders hint that the narrative will dive deeper into the supernatural origins of its monochromatic tormentor while continuing to deliver the boundary-pushing, practical special effects that transformed the underground property into a global phenomenon.



<h2>Clayface</h2>



DC Studios is making its first official foray into absolute body horror on October 23 with a tragic villain origin story integrated into the new DC Universe’s “Gods and Monsters” chapter. Penned by genre auteur Mike Flanagan and directed by James Watkins, the narrative tracks an ambitious actor, played by Tom Rhys Harries, whose facial disfigurement drives him to accept an experimental clay-based treatment from a mysterious scientist, played by Naomi Ackie. Shot on location in Liverpool to capture a moody, gothic aesthetic, the cinematic piece adapts a fan-favorite classic comic arc into a deeply unsettling psychological nightmare.



<h2>Werwulf</h2>



Focus Features is anchoring its Christmas Day release slate on December 25 with a prestigious piece of period gothic horror crafted by visionary director Robert Eggers. Co-written alongside frequent collaborator Sjón, this atmospheric nightmare features an elite ensemble cast consisting of Aaron Taylor-Johnson, Lily-Rose Depp, Willem Dafoe, and Ralph Ineson. True to Eggers’ meticulous filmmaking style, the production promises historical accuracy, folklore-driven psychological terror, and a deeply haunting exploration of lycanthropy that stands completely apart from typical Hollywood monster films.

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From ‘Backrooms’ to ‘Resident Evil’: The 10 Biggest Horror Movies Still to Come in 2026 - Spoiler US

The Scary Movie franchise is officially crawling back into the spotlight, reviving one of the most recognizable parody brands of the early 2000s, when horror cinema was booming with slashers, found footage experiments and supernatural hits that practically invited satire.



With a new installment coming in 2026, the question is less about the return itself and more about the targets waiting to be skewered. Modern horror has evolved into a more self-aware landscape, dominated by films like M3GAN and the resurgence of legacy sequels such as Scream (2022).



<h2>Which Horror Hits Are About to Get Roasted in Scary Movie’s Return?</h2>



After more than a decade away, the Scary Movie franchise is officially staging a comeback, with a new installment slated for release in 2026 and the original creative force behind the Wayans brothers returning to shape its direction. 



The rebooted sequel was developed at Paramount and Miramax, marking the first time in years that the series has attempted to re-enter a horror landscape that has dramatically evolved since its early-2000s peak. 



What makes this return particularly intriguing is not just the revival itself, but the sheer volume of contemporary horror films now in its crosshairs. The movie will arrive in theaters on June 5 and will parody:



<ul><li>Sinners</li><li>Weapons</li><li>The Substance</li><li>Longlegs</li><li>Get Out</li><li>Smile</li><li>Terrifier</li><li>Ma</li><li>Scream</li><li>M3GAN</li><li>Wednesday</li><li>A Quiet Place</li><li>Nope</li><li>Heretic</li><li>I Know What You Did Last Summer</li></ul>



This new wave of horror provides a radically different target list compared to the original Scary Movie, shifting from late-90s slasher culture into a digital-age ecosystem where horror trends spread fast, mutate quickly, and often blur the line between seriousness and satire.



The result is a setup that feels almost tailor-made for parody. Modern horror has become self-referential, emotionally stylized, and increasingly fragmented across subgenres — from prestige psychological horror to TikTok-fueled monster concepts. 



That gives Scary Movie a broader, sharper canvas than ever before, where anything from viral killers to existential dread films can be turned inside out. As anticipation builds, the biggest mystery isn’t the return of the franchise itself, but which cultural fear it will choose to laugh at first.

Scary Movie Is Back — But Which Horror Hits Will Get Roasted This Time?

Scary Movie Is Back — But Which Horror Hits Will Get Roasted This Time? - Spoiler US

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According to Deadline, Lionsgate has chosen Sam Raimi to direct a new adaptation of “Magic,” the psychological horror story originally written by William Goldman and adapted into the 1978 film.



Raimi had already been attached as a producer on the project before stepping into the director’s chair, marking another return to horror territory for the filmmaker behind “The Evil Dead.”



<h2>A New Version of a Disturbing Psychological Horror Story</h2>



The original “Magic,” directed by Richard Attenborough, centered on struggling magician Corky Withers, a ventriloquist whose career changes after introducing a foul mouthed dummy named Fats into his act. As his success grows, Corky’s mental state deteriorates, blurring the line between psychological collapse and supernatural influence. Hopkins played the role years before “The Silence of the Lambs” turned him into one of cinema’s defining faces of psychological terror.



The 1978 film developed a strong cult following over the decades thanks to its restrained atmosphere and Hopkins’ increasingly unstable performance. The story mixed romance, guilt, violence, and fractured identity rather than relying on conventional horror spectacle. Ann-Margret and Burgess Meredith rounded out the cast, while Jerry Goldsmith composed the score.



The road to the original production was unusually complicated. Before Attenborough took over, filmmakers including Norman Jewison and Steven Spielberg were connected to the material at different stages. Spielberg reportedly considered casting Robert De Niro in the lead role before the project ultimately moved in another direction. Goldman later described the picture as a commercial success even if it never became a major blockbuster.



For Raimi, “Magic” continues a recent stretch of darker projects. His latest feature, “Send Help,” saw him direct a survival horror thriller starring Rachel McAdams and Dylan O’Brien. The film performed solidly at the box office earlier this year and received positive reviews, reinforcing Raimi’s continued pull within the horror genre.



Lionsgate has not yet announced casting details or a release window for the new “Magic,” but Raimi’s involvement immediately positions the project as one of the more closely watched horror developments currently in the studio system.

Sam Raimi to Direct Dark New Take on ‘Magic,’ the Anthony Hopkins Cult Classic

Critics and Audiences Agree: ‘Obsession’ Is the Best Horror Movie of 2026

Sam Raimi to Direct Dark New Take on ‘Magic,’ the Anthony Hopkins Cult Classic - Spoiler US

When horror films break out critically, audience scores do not always follow. But according to Rotten Tomatoes, “Obsession” has managed to win over both sides of the divide with matching 95% scores from critics and verified viewers, making it the most unanimously praised genre release of 2026. 



The picture, written and directed by Curry Barker, opens in theaters today through Focus Features after first premiering in the Midnight Madness section at the Toronto International Film Festival last September.



<h2>A Horror Film Built Around Romance and Obsession</h2>



At the center of “Obsession” is Bear, played by Michael Johnston, a music store employee whose feelings for childhood friend Nikki spiral into something far darker after he uses a supernatural object called the “One Wish Willow.” The wish appears simple at first. He wants Nikki, portrayed by Inde Navarrette, to love him more than anyone else. The consequences quickly become violent.



The film blends supernatural horror with psychological tension, gradually transforming a romantic fantasy into a nightmare fueled by dependency, manipulation, and physical decay. Barker reportedly drew inspiration from the famous “The Simpsons” episode involving a monkey’s paw style wish, then expanded the concept into a feature centered on emotional fixation and escalating terror.



Much of the attention surrounding the picture has focused on Navarrette’s performance, which critics singled out repeatedly following the movie’s festival debut. Her portrayal shifts between vulnerability, instability, menace, and heartbreak as Nikki becomes consumed by the wish’s effects. Johnston’s performance as Bear anchors the story from the opposite direction, portraying a character whose desperation ultimately destroys everyone around him.



The supporting cast includes Cooper Tomlinson, Megan Lawless, and Andy Richter. Behind the scenes, Barker also handled editing duties while collaborating with cinematographer Taylor Clemons to create the film’s deliberately uncomfortable visual framing. Production designer Vivian Gray remodeled a home in Burbank, California, to serve as the primary setting for Bear’s increasingly claustrophobic world.



The movie’s path to release accelerated after its Toronto premiere, where distributor interest reportedly intensified almost immediately. Focus Features eventually secured worldwide rights in a deal said to exceed $15 million, with Universal Pictures handling international distribution in several territories. 



By the time the title reached theaters, “Obsession” had already developed strong word of mouth among horror fans, a reaction now reflected in its unusually matched Rotten Tomatoes scores from critics and audiences alike.

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Matthew Lillard’s career has never followed the traditional Hollywood blueprint. Instead, his filmography unfolded like a collection of cult transmissions passed from one generation to the next: a chaotic horror villain in Scream, a cyberpunk troublemaker in Hackers, a punk rebel in SLC Punk! and eventually the live-action face of Shaggy in Scooby-Doo. Over the years, many of the projects that once felt niche or wildly eccentric quietly evolved into enduring pop culture landmarks.



<h2>Stu Macher — Scream (1996)</h2>



When Matthew Lillard appeared as Stu Macher in Scream, he helped redefine what horror villains could look and sound like in the late ‘90s. Rather than portraying a cold, silent killer, Lillard injected Stu with frantic humor, nervous energy, and unpredictable emotional swings that made the character simultaneously absurd and terrifying. 



Directed by Wes Craven, the film became a massive critical and commercial success, revitalizing the slasher genre at a time when horror had begun to lose cultural momentum. What made the performance endure was how chaotic it felt. 



Stu’s final scenes, filled with screaming laughter and sudden tonal shifts, became some of the most quoted moments in the franchise. Over the decades, fans continued theorizing about the character’s possible survival, turning Stu into one of the most discussed figures in the entire Scream universe. 



Even now, Lillard’s performance remains central to the film’s identity, proof that horror icons do not always need masks to leave a permanent mark.



<h2>Shaggy Rogers — Scooby-Doo (2002)</h2>



Playing Shaggy in the live-action Scooby-Doo adaptation carried unusual pressure because the character already existed in the imagination of multiple generations. Yet Lillard approached the role with almost obsessive commitment, studying the original animated series and intentionally mirroring the voice patterns and physical mannerisms that made Shaggy recognizable. 



The result surprised audiences and critics alike, quickly becoming one of the most praised elements of the film. The role eventually became much larger than a single movie. After the success of Scooby-Doo and its sequel, Lillard inherited the official animated voice role for Shaggy following Casey Kasem’s retirement. 



That transition allowed him to remain tied to the franchise for years, turning what initially seemed like a comedic casting experiment into one of the defining chapters of his career. For many younger viewers, Lillard did not simply play Shaggy—he became inseparable from the character itself.



<h2>Stevo — SLC Punk! (1998)</h2>



Few performances in Lillard’s career captured emotional contradiction quite like Stevo in SLC Punk!. Set against the underground punk scene of 1980s Salt Lake City, the film followed a young man trying to reject conformity while quietly fearing adulthood and isolation. 



Lillard balanced sarcasm, rebellion, and vulnerability with unusual intensity, giving the movie a restless emotional pulse that later helped it become a cult classic. Unlike many teen films from the era, SLC Punk! aged into something more reflective over time. 



Audiences revisiting the movie years later often connected less with its punk chaos and more with the existential exhaustion beneath Stevo’s humor. Lillard’s performance evolved alongside that reinterpretation, increasingly recognized as one of the strongest dramatic turns of his career. The film’s final monologue in particular remains one of the most referenced scenes among fans of late-‘90s independent cinema.



<h2>Emmanuel “Cereal Killer” Goldstein — Hackers (1995)</h2>



Long before digital culture became fully mainstream, Hackers imagined cyberspace as a neon-colored underground rebellion. Lillard’s “Cereal Killer” embodied that energy perfectly, delivering a performance full of twitchy confidence, absurd humor, and exaggerated coolness. 



At the time of release, the film received mixed reviews, but its stylized version of internet culture gradually transformed it into a beloved cult favorite. Part of the movie’s staying power came from how openly theatrical it was. 



Lillard leaned into that exaggerated tone without restraint, making “Cereal Killer” one of the film’s most memorable personalities despite sharing the screen with stars like Angelina Jolie and Jonny Lee Miller. Years later, Hackers became a nostalgic symbol of early internet-era cinema, and Lillard’s eccentric performance remains deeply attached to its identity.



<h2>William Afton — Five Nights at Freddy’s (2023)</h2>



By the time Lillard joined Five Nights at Freddy’s, he was already closely associated with cult horror fandoms. Casting him as William Afton felt almost symbolic: a veteran of ‘90s horror stepping into one of the internet generation’s most influential horror franchises. 



The film itself became a massive commercial success despite mixed reviews, proving how powerful the fanbase surrounding the video game series had become.



Lillard approached Afton with calculated restraint rather than overt theatricality. That choice created a colder, more unsettling villain whose presence lingered beneath the film’s animatronic spectacle. 



The role also introduced him to a much younger audience unfamiliar with his earlier work, effectively connecting two different eras of horror culture. In many ways, the casting represented a full-circle moment for an actor whose career had quietly become intertwined with genre fandom across decades.



<h2>Dennis Rafkin — Thirteen Ghosts (2001)</h2>



In a film overflowing with elaborate ghost designs and supernatural chaos, Lillard somehow managed to stand out as Dennis Rafkin in Thir13en Ghosts. Playing a psychic dragged into an increasingly violent haunted-house nightmare, he delivered a performance that constantly oscillated between panic, sarcasm, and genuine fear. 



His nervous comedic rhythm helped ground a movie that otherwise embraced full horror excess. Although Thirteen Ghosts initially divided critics, it later developed a dedicated cult following online, particularly among horror fans fascinated by the film’s elaborate ghost mythology. 



Lillard’s frantic performance became part of that rediscovery. Rather than treating the role with detached irony, he committed fully to the film’s bizarre energy, which ultimately made Dennis one of the movie’s most memorable characters.



<h2>Jerry Conlaine — Without a Paddle (2004)</h2>



At first glance, Without a Paddle looked like a fairly standard early-2000s comedy built around chaos and physical humor. Yet the chemistry between Lillard, Seth Green, and Dax Shepard gave the film a surprisingly emotional center beneath its absurd adventures. 



As Jerry Conlaine, Lillard brought warmth and emotional openness to a movie that could easily have become one-dimensional. Over time, the film gained a second life through cable television reruns and streaming rediscovery. 



Audiences connected not only with the comedy, but also with its nostalgic themes about friendship, aging, and unfinished dreams. Lillard’s performance contributed heavily to that emotional undercurrent, reminding viewers that even broad comedies often depend on sincerity to remain memorable years later.



<h2>Brock Hudson — She’s All That (1999)</h2>



In She’s All That, Lillard appeared in a smaller but unforgettable role as Brock Hudson, an aggressively obnoxious reality-TV personality whose exaggerated confidence perfectly matched the heightened tone of late-‘90s teen cinema. 



Even with limited screen time, he managed to create one of the film’s most quotable supporting characters through sheer energy and comic timing. The performance reflected an important pattern throughout Lillard’s career: his ability to dominate scenes without necessarily being the lead actor. 



During an era filled with polished teen heartthrobs, Brock Hudson felt intentionally messy and loud, almost parodying celebrity culture before reality television fully exploded in the 2000s. That self-aware absurdity helped the role age better than many expected.



<h2>Chip Sutphin — Serial Mom (1994)</h2>



One of Lillard’s earliest notable performances came in Serial Mom, directed by cult filmmaker John Waters. The dark comedy centered on a seemingly perfect suburban mother secretly living as a serial killer, and Lillard’s role as Chip Sutphin allowed him to introduce the eccentric screen presence that would later define much of his career.



Working within Waters’ exaggerated satirical style required performers willing to embrace absurdity without hesitation, something Lillard handled naturally even early in his career. 



Although Serial Mom was not a major box-office hit, the film eventually became a cult favorite, especially among fans of dark comedy. Looking back, the role now feels like an early glimpse of the unpredictable charisma that would later become his trademark.



<h2>Dean Boland — Good Girls (2018–2021)</h2>



Years after becoming associated primarily with cult films and genre projects, Lillard surprised many viewers with his performance as Dean Boland in Good Girls. The role demanded something very different from the exaggerated energy of his earlier work. 



Dean was insecure, selfish, vulnerable, and occasionally sympathetic all at once, allowing Lillard to explore a more restrained dramatic style. What made the performance compelling was its instability. 



Dean constantly shifted between comedic awkwardness and emotional collapse, often forcing audiences to reconsider whether they should empathize with him at all. Across multiple seasons, Lillard turned the character into far more than a simple sitcom husband archetype, proving that his range extended well beyond the cult personas that initially made him famous.

10 Career-Defining Roles That Shaped Matthew Lillard’s Filmography

10 Career-Defining Roles That Shaped Matthew Lillard’s Filmography - Spoiler US

The unsettling world introduced in Longlegs is set to continue its descent into darkness. Following the breakout success of the 2024 horror hit, a new installment has been officially scheduled for release on 2028, marking the return of both director Osgood Perkins and star Nicolas Cage.



The project arrives after the original film’s unexpected box office impact, where its cryptic marketing and chilling tone helped turn it into one of the most discussed horror releases of recent years. Rather than positioning itself as a traditional sequel, the new film is being developed as a story set within the same universe.



<h2>Longlegs Universe Expands Again</h2>



The eerie world of Longlegs is officially not done haunting audiences. After the 2024 breakout success of the mystery-horror film, a new installment has been slated for January 14, 2028, with Nicolas Cage confirmed to return in his unsettling role. 



The project continues under the vision of director Osgood Perkins, marking a reunion that keeps the creative core of the original intact. According to industry reports, the film is being developed as a continuation within the Longlegs universe rather than a straightforward, traditional sequel.



What makes the announcement especially intriguing is the deliberate lack of narrative clarity surrounding the project. Instead of picking up a clean storyline, the new film is expected to expand the mythology built in the original—an FBI investigation that slowly unraveled into something far more occult and psychologically fragmented. 



The first Longlegs became a surprise hit in 2024, blending procedural crime elements with an increasingly surreal sense of dread, ultimately earning strong box office results for an independent horror release.

‘Longlegs’ Sequel Set for 2028 Release With Nicolas Cage Returning

‘Longlegs’ Sequel Set for 2028 Release With Nicolas Cage Returning - Spoiler US

Before franchise universes became Hollywood’s favorite obsession, turned grainy panic and the darkness between trees into a cultural event. Made for almost nothing and sold as something terrifyingly real, 1999 phenomenon The Blair Witch Project rewrote horror marketing forever — but the people who helped create that nightmare spent years watching the franchise continue without them.



Directors Eduardo Sanchez and Daniel Myrick, producer Gregg Hale, and actors Joshua Leonard and Michael C. Williams are now attached as executive producers to the new reboot, a dramatic shift after earlier plans reportedly excluded them entirely. The move arrives after years of frustration over creative control, compensation, and what Leonard once described as “25 years of disrespect”.



<h2>How did the Blair Witch reboot controversy end up bringing the original creators back?</h2>



What started as another studio reboot announcement quickly turned into a public battle over legacy, ownership, and one of horror’s most influential success stories. When The Blair Witch Project was revived by Blumhouse Productions and Lionsgate in 2024, fans immediately noticed that the filmmakers and actors who built the original phenomenon were nowhere to be found.



The reboot was announced as part of Blumhouse’s deal to reimagine classic horror properties, but behind the scenes, frustration had already been simmering for years. The backlash exploded after actor Joshua Leonard publicly criticized the studio, accusing it of “25 years of disrespect” toward the original cast and creative team.



Leonard, alongside fellow actors Heather Donahue and Michael C. Williams, argued that they had received little financial protection or long-term compensation despite starring in a film that earned nearly $250 million worldwide on an extremely small budget. In an open letter released in 2024, the actors demanded retroactive residual payments and meaningful creative consultation on future sequels or reboots.



The controversy also reopened old wounds tied to the franchise’s history. Directors Daniel Myrick and Eduardo Sanchez had previously spoken about losing control of the property after the original film’s massive success in 1999.



Sequels like Book of Shadows: Blair Witch 2 and the 2016 reboot Blair Witch failed to recreate the impact of the first movie, and many fans blamed the franchise for drifting away from the stripped-down realism and experimental tension that made the original unforgettable.



After months of criticism, Lionsgate shifted direction. The studio officially announced that Sanchez, Myrick, producer Gregg Hale, Leonard and Williams would join the reboot as executive producers.



The new film will be directed by Dylan Clark, a rising horror filmmaker known for the short film Portrait of God, with a script originally written by Chris Thomas Devlin before Clark revised it. While plot details remain secret, the reboot is now being positioned as a project more connected to the original film’s DNA rather than a completely detached studio revival.



The irony surrounding the entire situation has not gone unnoticed by horror fans. A franchise built around lost footage, buried truths, and people disappearing into the woods ended up facing its own behind-the-scenes ghost story — one where the creators themselves felt erased from the legend they helped invent.

Original The Blair Witch Project Cast and Directors Join Reboot After Early Plans Excluded Them

Original The Blair Witch Project Cast and Directors Join Reboot After Early Plans Excluded Them - Spoiler US

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