Backrooms (2026) Directed by: Kane Parsons Both overwhelming and underwhelming at the same time, 𝘉𝘢𝘤𝘬𝘳𝘰𝘰𝘮𝘴 will stay at the back of your mind for quite a while. It stays there inside your brain, demanding to take some space as you formulate all possible theories. The first sequence instantly establishes how grand and wide-reaching the plot is. There’s an assurance that everything is real and tangible. There’s no room left for imagination. The first-person POV in some

Tayo sa Wakas (2026) Directed by: Cathy Garcia-Sampana Upang makarating sa wakas, balikan natin ang simula. Kapag ang isang bagay ay malapit nang matapos, kadalasan ay binabalikan natin ang mga ala-ala ng kahapon. Kahit masalimuot, kailangang gawin upang maintindihan kung bakit umabot tayo sa wakas. Binalikan ng pelikula ang buhay na meron ang mga karakter at ang kanilang mga pinagdaanan. Nagsimula ito ng magaan. Nagtapos sa mabigat na pakiramdam. Mahaba ang naging biyahe. Ha

Passenger (2026) Directed by: André Øvredal Whenever the camera turns 360 degrees, it perfectly captures the perspective of the main character — looking around and searching for any source of life. The empty surroundings keep the fear intact. You’re not sure if there’s really something out there. You can’t blink. You don’t want to miss anything. Eyes on the road. Eyes on the screen. Next thing you know, the jumpscare is already right in front of you. Most of the scares are ef