What To Watch This Weekend: 'Disclosure Day,' 'Stop! That! Train!,' 'The Furious,' And 'The Vampire Lestat'

HOLLYWOOD, CA — This weekend’s slate moves through the cosmic, the chaotic, the volatile, and finally lands on the mythic.

“Disclosure Day” opens the lineup with Spielberg’s return to his wondrous curiosity about extraterrestrial contact. “Stop! That! Train!” snaps the mood into anarchic parody, sending a high‑speed chase careening into a delightful romp.

“The Furious” shifts the energy toward bone‑crunching action, while “The Vampire Lestat” ascends into lavish theatricality, following a mercurial immortal in full self‑mythologizing stride.

Ready to dive in? Scroll down for the full lineup, with deeper explorations below that unpack performances, themes and craft in greater detail.

Related:

• ‘Backrooms’ Review: Kane Parsons’ Feature Debut Is a Hypnotic Descent Into Liminal Horror

• 'Pressure' Review: Andrew Scott And Brendan Fraser Shine In D-Day Thriller About Unsung Heroes
• 'The Mandalorian And Grogu' Review: A Modest, Lived‑In 'Star Wars' That Finds Power In Its Understated Bond

• Other Releases To Watch: 'Masters Of The Universe,' 'Scary Movie,' 'Cape Fear' Season 1,' 'Carolina Caroline'

What To Watch This Weekend

“Disclosure Day”

Emily Blunt, Josh O'Connor, Colin Firth, Colman Domingo; directed by Steven Spielberg

Steven Spielberg’s “Disclosure Day” imagines a world trembling on the edge of revelation, where decades of buried extraterrestrial evidence strain against the systems built to contain it. From that tension, Spielberg shapes a sci‑fi thriller rooted in shifting truths, guarded motives, and the emotional toll of confronting the cosmic unknown. Nearly fifty years after “Close Encounters of the Third Kind,” the film plays like a late‑career echo — a return to the director’s lifelong question: Are we alone?

Drawing from real‑world UAP (Unidentified Anomalous Phenomenon) lore — Roswell, crop circles, abduction testimonies — the film channels that cultural lineage into a propulsive conspiracy narrative hurtling toward an irreversible reckoning.

Josh O’Connor anchors the story as a whistleblower carrying evidence too volatile to suppress, while Emily Blunt’s Margaret Fairchild becomes the film’s emotional axis, her quiet gravitas deepening the mystery of her own buried past. Colman Domingo and Colin Firth sharpen the film’s moral and psychological stakes, embodying the competing impulses of revelation and control.

Shot on 35mm by Janusz Kamiński, “Disclosure Day” moves from the shadowed paranoia of ’70s thrillers into a more expansive, heightened realism, mirroring the film’s shift from secrecy to clarity. John Williams’ score hums with warm, humanist undercurrents, grounding the spectacle in emotional truth.

In the end, “Disclosure Day” reveals itself as a meditation on empathy — the fragile human capacity to hold another's convictions as we face the vast, shimmering unknown.

(Read our full review of “Disclosure Day.”)

“The Furious”

Xie Miao, Joe Taslim; directed by Kenji Tanigaki

A father’s morning veers off course, snapping into panic without warning, and “The Furious” surges from that shock with a bruising urgency that never loosens its grip. Kenji Tanigaki, a veteran architect of some of Asia’s most exacting stunt work, directs with the assurance of someone who knows action lands hardest when it’s driven by fear, resolve and the thin thread of hope that keeps a parent moving.

Wang Wei (Xie Miao), a tradesman with no leverage and no allies, discovers his daughter has been taken by a trafficking network operating in the shadows of Bangkok. His only unexpected lifeline is Navin (Joe Taslim), a journalist whose wife has vanished under the same circumstances. Their uneasy partnership becomes the film’s driving force, two men bound by loss and pushed into a gauntlet of violence the authorities refuse to confront.

Tanigaki stages the fights with crisp, grounded choreography that feels built for survival rather than showmanship. Shot largely in Thailand with a Japanese stunt team, the film’s set pieces feel tactile, punishing and meticulously engineered, supported by a pan-Asian ensemble that includes Jeeja Yanin, Yayan Ruhian and Brian Le.

“The Furious” is a ferocious, precision-built action standout, even as the dialogue occasionally lands flat, disrupting the film’s momentum in the process.

“Stop! That! Train!”

Ginger Minj, Jujubee, RuPaul; directed by Adam Shankman

A luxury train slicing through the desert hits a sudden jolt, lights flickering as passengers spill their cocktails.

“Stop! That! Train!” uses that wobble as its opening wink, starring Ginger Minj and Jujubee as two longtime attendants who finally land their dream post aboard the glamorous Glamazonian Express.

But their first day veers off the rails when a giant storm — the dreaded “stormaganza” — knocks out the brakes and sends the high speed train hurtling toward Los Angeles. Their scramble to keep passengers calm, paired with the riotous intervention of the U.S. president (RuPaul), propels the movie into a gleeful, high camp romp.

Director Andy Shankman keeps the tone glossy and quick, staging the mayhem with crisp slapstick timing and bright, tightly framed action. Rachel Bloom, Sarah Michelle Gellar, Nicole Richie, and a parade of drag royalty cameos add texture around the leads’ warm, lived in chemistry.

A few jokes miss the mark, but the film’s charm holds, anchored by timing and chemistry that make the chaos feel inviting.

“The Vampire Lestat” Season 1

Sam Reid, Jacob Anderson, Assad Zaman, Jennifer Ehle; created by Rolin Jones

AMC’s “Interview With the Vampire” returns under a new banner, “The Vampire Lestat,” a continuation that radically shifts the series’ perspective and tone as Lestat seizes control of the narrative. Furious at how he was portrayed in Louis’ bestselling memoir, Lestat de Lioncourt (Sam Reid) reframes his life on his own terms — from his origins in pre‑Revolutionary France to his reinvention as a global rock performer. As he steps onto the world stage, fame becomes both a weapon and a confession booth, drawing old ghosts and new obsessions into his orbit.

Creator Rolin Jones shapes the season as a feverish, time‑hopping character study, steeped in Parisian decadence, toxic entanglements, and the seductive pull of celebrity in a world where vampires no longer hide.

Reid delivers a magnetic performance — charming, wounded, and explosively vain — while Jennifer Ehle’s Gabriella adds a fierce maternal counterpoint. Anderson and Zaman return as Louis and Armand, their fraught histories with Lestat deepening the show’s emotional stakes.

“The Vampire Lestat” emerges as a lavishly theatrical reinvention of Rice’s mythology, anchored by its charismatic lead and a willingness to let its mercurial monster finally take the mic.