Do these 3 things before closing this tab:
1Clear out junk files and repair common Windows errors2Scan for outdated or missing drivers - takes under a minute3Repair Windows errors before they cause bigger problemsNetflix’s surprise teaser for The Adventures of Cliff Booth was Tom’s Guide reviewer Martin Shore’s top pick among the Super Bowl LX movie spots; Steven Spielberg’s Disclosure Day also made his best-trailers list. Those are one critic’s judgments, not a measured audience ranking. The night’s film promotions also included Project Hail Mary, The Super Mario Galaxy Movie, Minions & Monsters, The Mandalorian and Grogu, Scream 7 and Hoppers.
Which Super Bowl 2026 movie trailers stood out?
In his February 9, 2026 roundup, Tom’s Guide’s Martin Shore put The Adventures of Cliff Booth at the top of his best-trailers selection. He called the Netflix teaser the night’s biggest surprise, while noting that it revealed little about the story or release timing. Shore also highlighted Disclosure Day for its action and glimpse of extraterrestrial visitors. These are his editorial picks, not a consensus or audience poll. Read Tom’s Guide’s roundup.
The Guardian’s Benjamin Lee likewise described the Cliff Booth footage as an unexpected reveal and praised its style. His response to Disclosure Day was more mixed: the image of a huge ship emerging through clouds made the original-film premise exciting, but the trailer left major questions unanswered. Read the Guardian’s coverage.
Tom’s Guide’s picks: surprise, spectacle and restraint
The Adventures of Cliff Booth
For Shore, the Netflix teaser’s surprise arrival was its defining strength. The footage was deliberately sparing on plot and did not establish a release date. The Guardian identifies the film as a sequel scripted by Quentin Tarantino and directed by David Fincher—an unusual creative pairing that adds interest without making the teaser more revealing. Neither cited source establishes when the film will be released.
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Disclosure Day
Shore singled out the action and brief look at extraterrestrial visitors. Lee focused on the giant craft emerging from clouds and found the original science-fiction premise compelling, while observing that the teaser withheld key answers. The tension between an arresting image and an unresolved premise is central to why the spot drew attention.
Scream 7 and Project Hail Mary
Shore called the Scream 7 spot unsurprising given the film’s approaching release; the entry notes Neve Campbell’s return as Sidney Prescott. His roundup also covered the final Project Hail Mary trailer and the Super Bowl spot, including Ryan Gosling’s character and his relationship with the alien Rocky. Rotten Tomatoes describes the film as an adaptation of Andy Weir’s book. See Rotten Tomatoes’ film listing.
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If you want to read the source novel, Andy Weir’s Project Hail Mary is optional background—not something needed to follow the trailer.
What Tom’s Guide put on its “worst” list
Shore’s lower-ranked selections reflect his personal reactions to the ads, not judgments about the films’ overall quality or viewer response.
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The Mandalorian and Grogu
Shore found the brief teaser comparatively throwaway beside the film’s main trailer. His criticism was about the spot’s impact in that context, rather than the wider story or the film itself.
Hoppers
Shore questioned whether the spot would persuade more people to see the film. That is a reviewer’s impression; the coverage provides no audience-response measurement to confirm it.
Rank #4
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Minions & Monsters
The premise did not appeal to Shore. The reaction is subjective and does not establish how audiences received the promotion.
The Super Mario Galaxy Movie
Shore said the spot did not increase his interest. That does not mean the ad failed with viewers generally; no named audience poll or comparable statistic is established in the cited coverage.
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Which films had Super Bowl LX promotions?
iSpot’s retrospective index catalogs the movie ads by broadcast segment. Its lineup includes the eight films covered above, distributed across the game’s quarters and pregame. The index documents advertising placements; it does not rank the ads by popularity. View iSpot’s Super Bowl LX ad index.
NBCUniversal’s February 10 recap separately confirms Universal Film promotions for The Super Mario Galaxy Movie, Disclosure Day and Minions and Monsters. The studio’s Disclosure Day page calls it a new original event film created and directed by Steven Spielberg, gives its theatrical date as June 12, 2026, and names Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson and Colman Domingo. The spot’s stated tagline is “People deserve to know.” See NBCUniversal’s recap and the official Disclosure Day page.
How to judge the “best” Super Bowl movie trailer
There is no single objective winner in the available coverage. The critics’ contrasting reactions suggest useful ways to decide which spots worked for you:
- Surprise: Did the ad reveal an unexpected project, as the Cliff Booth teaser did, or promote a film viewers already anticipated?
- Freshness: Did the spot feel like a distinct new preview, or—as Shore felt about The Mandalorian and Grogu—less striking beside an existing main trailer?
- Story revealed: Did it offer enough to spark interest, or leave so much open that the premise remained unclear? The Guardian’s response to Disclosure Day illustrates that trade-off.
- Visual identity: Was there an image or style that stayed with you, such as the ship emerging through clouds in Disclosure Day?
- Personal effect: Did the spot make you more curious about the film? Shore’s reactions to Hoppers and The Super Mario Galaxy Movie show why that measure differs from one reviewer to another.
What the rankings can—and cannot—tell you
Tom’s Guide and the Guardian offer named critics’ contemporaneous opinions, not audience polling. iSpot’s index confirms that ads appeared in the broadcast, but it is not a preference survey. The Guardian also reported that a Super Bowl spot could cost $8–10 million, attributing that range to USA Today; it is general advertising-price context, not a verified cost for any particular movie trailer. Lee characterized the number of major film ads as continuing to decrease, but the cited article does not provide a primary dataset or count alongside that statement.
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