Alam Nyo Ba?

Marvel is moving forward with more Marvel Zombies, with season 2 now in development. While a greenlight has not yet been announced, Marvel’s Head of Streaming, Television and Animation Brad Winderbaum has confirmed that new episodes are actively being worked on behind the scenes… and he has even watched the first animatic!

The animated series, an R-rated spin-off of What If…?, quickly became one of the more unique entries in the MCU’s Disney+ lineup, blending superhero action with full-on zombie horror.

What Is Marvel Zombies?

Back in 2005, The Walking Dead creator Robert Kirkman put a superhero twist on the idea of zombie outbreaks with the five-issue limited series Marvel Zombies. That series became incredibly popular and has gotten a ton of sequels and spin-offs over the years. There was a nod to it in one of the illusions on display in Spider-Man: Far from Home, and then the Marvel Zombies concept got an entire episode of Marvel’s animated Disney+ series What If…? devoted to it. That episode paved the way for a full Marvel Zombies animated series.

Created by Bryan Andrews and Zeb Wells, the show has the following synopsis: After the Avengers are overtaken by a zombie plague, a desperate group of survivors discover the key to bringing an end to the super-powered undead, racing across a dystopian landscape and risking life and limb to save their world.

The Marvel Zombies voice cast includes Simu Liu (Shang-Chi), Awkwafina (Shang-Chi’s best friend Katy), Elizabeth Olsen (Wanda Maximoff / Scarlet Witch), David Harbour (Red Guardian), Florence Pugh (Yelena Belova), Randall Park (FBI agent Jimmy Woo), Hailee Steinfeld (Kate Bishop), Dominique Thorne (Riri Williams / Ironheart), Iman Vellani (Kamala Khan / Ms. Marvel), and Todd Williams (Blade).

Others that have appeared in the series include Ten Rings assassin Death Dealer, Ten Rings founder Xu Wenwu, zombie versions of Clint Barton / Hawkeye, Steve Rogers / Captain America, Emil Blonsky / Abomination, Ava Starr / Ghost, Carol Danvers / Captain Marvel, Ikaris from Eternals, and Okoye of Wakanda’s Dora Milaje. 

What’s the Status of Marvel Zombies Season 2?

Speaking with The Escape Pod, Brad Winderbaum revealed just how far along the project is (with thanks to our friends at Bloody Disgusting for the transcription): “I don’t think it’s a spoiler, but I saw the first animatic of the first episode of Marvel Zombies season 2. It was crazy. I can’t say anything about it, but it delivers not just on zombies, but also on an MCU thing that has never really happened before that we’re very excited to do.“

It’s good to hear that Marvel Zombies season 2 is moving forward, because the first season ended with a bleak, Empire Strikes Back-style cliffhanger. Are you a fan of the show, and are you looking forward to watching more episodes? Let us know by leaving a comment below.

The post Crazy and exciting Marvel Zombies season 2 in the works appeared first on JoBlo.

PLOT: A woman, employed as a website content moderator, comes across a series of violent videos reproducing death scenes from a film.

REVIEW: I’m not sure there’s ever been a “remake” announced that was more out of left field than Faces of Death. The original film was always so controversial and never seemed like the type of story that could be done again. But now we’re getting a film that is essentially inspired by the original, recreating moments, but not exactly falling in the remake space. It’s just too bad its nothing more than a silly slasher with dumb characters making even dumber decisions.

Faces of Death follows Margot (Barbie Ferreira) a content moderator who spends her days watching shocking videos. But when she comes across a series of videos that appear to be snuff films, she goes on a journey of discovering that someone is recreating the kills from a controversial 70s movie. But her search puts her in the crosshairs of the same man who’s making the videos and finds herself in over her head.

Ferreira doesn’t really work as the lead, and I’m not sure whether it’s the character or the actor, but it makes the watch fairly miserable. Margot is a bland character and fails to have much driving force, until she randomly has all of it, but it pushes her in the wrong direction, without any thought. So much of the film would have been solved if Margot had just explained her actions, but she’d rather scream and yell instead. If there’s one genre where that’s not really acceptable for a lead, it’s horror. If anything, her involvement just gets more people killed, making her pretty hard to root for.

Dacre Montgomery is easily the highlight of the movie and the most intriguing element. His character could have easily felt very “been-there-done-that” but he completely elevates it with an unhinged performance. I always love seeing someone who’s so inexplicably evil, and he seems to revel in it. There’s a moment where he tricks some cops and the contrast to the act he puts on to look weak and how he actually behaves is brilliant. Fans of Charlie XCX should probably keep their expectations in check though, as she’s hardly even in the film and it’s really just a bit part. I think she’s only in two scenes and it’s a pretty nothing role. Feels like a wasted opportunity.

Sadly, Faces of Death is mostly just a generic slasher from start to finish. Outside of the villain, the characters are one-dimensional and obnoxious, and few of the victims are even given a chance to breathe. Even the violence doesn’t go as far as you would expect it to. There are a few gross moments but nothing you would expect from a film baring this name. I did enjoy the commentary on shock videos and the public’s satiation for the depraved. But it never goes past surface level and seems to intent to stay a bit generic. Had it focused on that versus going full blown slasher, it could have had some interesting social commentary.

I really enjoyed Daniel Goldhaber’s How to Blow Up a Pipeline but his style clashes a bit with the story at hand. While the film certainly looks good, the plot develops in such a way that I was constantly rolling my eyes. He and Isa Mazzei (who made the underrated Cam together) end up going more for a generic slasher versus sticking with the shock video motif that’s prevalent in the first half.

Overall, I found myself completely checked out of Faces of Death. This completely missed the mark on what made the original film interesting and feels so superficial. While I liked the concept of following someone that works in content moderation, it loses itself very quickly and that is nothing more than set dressing. It’s simply used to get us into the slashery moments. Montgomery is fantastic and worth the price of admission, but there’s little else that works here. I would say just watch the original but I’m not sure I’d recommend that to anyone either.

Faces of Death releases to theaters on April 10th, 2026.

Faces of Death (2026)

NOT GOOD

4

The post Faces of Death Review: A great villain can’t save this tame slasher that lacks in smarts appeared first on JoBlo.

In June of 2024, it was announced that Evil Dead Rise director Lee Cronin had signed on to write and direct a new genre project for Atomic Monster, Blumhouse Productions, and New Line Cinema… and that December, we found out what that mysterious project is, as it was revealed that Cronin has come up with a new take on the concept of The Mummy! Cronin confirmed, “This will be unlike any Mummy movie you ever laid eyeballs on before. I’m digging deep into the earth to raise something very ancient and very frightening.” The film is set to reach theatres on April 17, 2026 – and with that date swiftly approaching, the film’s official runtime has been revealed, letting us know that it’s much longer than expected!

What is the runtime of The Mummy?

Lee Cronin’s The Mummy has a reported runtime of 134 minutes (2 hours and 14 minutes), making it one of the longer mummy movies ever made.

Cast

Lee Cronin’s The Mummy stars Jack Reynor (Midsommar), Laia Costa (Victoria), May Calamawy (Moon Knight), Veronica Falcón (Queen of the South), Hayat Kamille (Vikings: Valhalla), and May Elghety (Clash).

It should be noted that, since the project is set up at New Line Cinema, this “new take on the horror trope revolving around the ancient mummified undead” has nothing to do with the classic Universal horror property. We heard back in May 2024 that there are three Mummy projects in development at Universal, including a prequel that screenwriter Wes Tooke is working on and a sequel to the Brendan Fraser films (those being The Mummy 1999, The Mummy Returns, and The Mummy: Tomb of the Dragon Emperor). It was recently confirmed that Fraser and Rachel Weisz are coming back for The Mummy 4, which has Radio Silence attached to direct from a script by David Coggeshall.

How the runtime compares to previous Mummy films

For a bit of context, here’s how Cronin’s film stacks up against earlier entries:

• The Mummy (1999) – approximately 125 minutes
• The Mummy Returns (2001) – approximately 130 minutes
• The Mummy (2017) – approximately 110 minutes

At 134 minutes, Cronin’s take edges past them all.

Synopsis

Here’s the synopsis: synopsis: The young daughter of a journalist disappears into the desert without a trace—eight years later, the broken family is shocked when she is returned to them, as what should be a joyful reunion turns into a living nightmare.

Atomic Monster and Blumhouse are co-financing Lee Cronin’s film. James Wan is producing alongside Jason Blum and John Keville. Michael Clear, Judson Scott, and Macdara Kelleher serve as executive producers. Alayna Glasthal is the executive overseeing the project for Atomic Monster. Cronin’s Doppelgängers banner is also producing.

Are you looking forward to catching Lee Cronin’s The Mummy on the big screen later this month? What do you think of the runtime? Let us know by leaving a comment below.

The post Lee Cronin’s The Mummy Runtime Revealed, and It’s Much Longer Than Expected appeared first on JoBlo.

After the critical failure but financial success of Alien 3 (1992), it was only a matter of time before 20th Century Fox launched another Alien movie out of the airlocks. But what direction would they go? They needed something big. Something shocking. In fact, they needed a full-blown resurrection, figuratively and literally.

• Which major directors were considered to helm the film?
• What scene nearly killed multiple actors during filming?
• And what bizarre, very French creative choice was ultimately deemed too much?

Let’s head back to the Betty and find out what happened to Alien: Resurrection.

The Script: Joss Whedon’s Unusual Starting Point

When 20th Century Fox decided to revive their action-horror franchise, they turned to a rising writer: Joss Whedon. Fresh off Buffy the Vampire Slayer and his Oscar-nominated work on Toy Story, Whedon was tasked with writing the fourth installment. There was just one problem: Ellen Ripley was dead. She had gone out in Alien 3 in spectacular fashion, falling into molten metal while clutching a chest-bursting Alien queen. Not exactly sequel-friendly.

The Newt Clone Idea

Whedon’s initial solution? Not Ripley, but Newt. His early concept centered on a clone of Newt, the fan-favorite child survivor from Aliens, who (along with Hicks) had been unceremoniously killed off in Alien 3, a decision fans never forgave. This new version of Newt would have enhanced DNA and elite combat skills. Whedon even wrote a 30-page treatment with five different endings, including one set on Earth.

The studio passed. They feared audiences wouldn’t accept an Alien film without Ripley.

Bringing Ripley Back (With a Price Tag)

The idea of cloning Ripley came from longtime franchise producers Walter Hill and David Giler. Ironically, both of them were hesitant about making the film at all. But there was an even bigger obstacle: Sigourney Weaver didn’t want to return. Until she received what she famously described as a “dump truck full of cash.” She was paid $11 million to reprise her role.

To her credit, Weaver was intrigued by the concept: a Ripley clone infused with both human and Alien DNA, creating internal conflict about where her loyalties truly lay.

The Director Carousel

With the script locked and Weaver on board, the search for a director began. The list of candidates was surprisingly stacked:

• Danny Boyle (Shallow Grave, Trainspotting) — Passed after early meetings
• Peter Jackson (Lord of the Rings) — Not interested
• Bryan Singer (The Usual Suspects) — Declined
• David Cronenberg (The Fly) — Famously said he doesn’t even make sequels to his own films

Enter Jean-Pierre Jeunet

Eventually, the job went to French filmmaker Jean-Pierre Jeunet, known for Delicatessen and The City of Lost Children. He was shocked to even be offered the role and initially thought making a fourth film was a bad idea. Still, he accepted:

• $70 million budget
• Full creative control
• An interpreter on set (he spoke very little English)

He brought in key collaborators, including:

• Cinematographer Darius Khondji
• Effects supervisor Pitof
• Production designer Nigel Phelps (Batman, Judge Dredd)

Casting the Crew of the Betty

Alongside Weaver, the film assembled a memorable cast:

• Winona Ryder as Call (who signed on immediately, before reading the script)
• Ron Perlman
• Brad Dourif
• Michael Wincott
• Dan Hedaya
• Gary Dourdan
• Dominique Pinon (a Jeunet regular)

Ryder later said she didn’t care if her character died in the first scene, she just wanted to be in an Alien movie.

Designing the Creatures

Amalgamated Dynamics returned to design the Xenomorphs, making them:

• More aggressive
• Sharper in design
• Shot from harsher, more threatening angles

The Newborn Hybrid

The film’s strangest addition was the human-Alien hybrid. Originally, it looked more human, even incorporating features inspired by Sigourney Weaver, but it was scrapped for resembling the creature from Species too closely. The final version included:

• Eyes
• A nose
• More emotional expression

The “Too French” Problem

Jean-Pierre Jeunet initially pushed the design much further. The hybrid was going to have:

• Pronounced genitalia
• A sexual dynamic with the Ripley clone

20th Century Fox shut it down quickly. Even Jeunet later admitted it was “too much, even for a Frenchman.” Probably the right call.

Production Challenges

Filming took place in Los Angeles from October 1996 to February 1997, making this the first Alien film not shot in England. But soundstage space was limited due to other major productions filming at the same time:

• The Lost World: Jurassic Park
• Titanic
• Starship Troopers

As a result, many scenes reused the same hallways dressed differently.

The Infamous Underwater Scene

The film’s most dangerous sequence? The underwater escape. It required:

• 2 weeks of training before filming
• 2 additional weeks on set
• A massive tank filled over several days (with milk added for visual texture)

Multiple Near-Death Incidents

• Winona Ryder had a panic attack due to a childhood near-drowning
• Ron Perlman knocked himself unconscious underwater
• Leland Orser was left without oxygen when his diver stepped away
• Creature performer Tom Woodruff Jr. had extremely limited visibility and air

The sequence took three weeks to shoot and nearly cost lives.

Sigourney Weaver’s Impossible Shot

One of the film’s coolest moments wasn’t CGI. Sigourney Weaver practiced for weeks to make a backward basketball shot. Despite skepticism from Jeunet, she pulled it off either on the first try or after multiple attempts, depending on who you ask.

Ron Perlman’s reaction? Completely genuine. He broke character laughing.

Weaver later ranked it as one of the best moments of her life.

Release and Reception

Alien: Resurrection hit theaters on November 26, 1997.

• Budget: $70 million
• Box office: $161 million
• Shortest runtime in the franchise
• First Alien film with zero Oscar nominations

The Whedon vs. Jeunet Feud

Joss Whedon was extremely critical of the final product: “Everything I wrote was shot… just wrong.”

Jeunet fired back, saying Whedon was great at making films for “American geeks and morons.” Not exactly a friendly collaboration.

Legacy of Alien: Resurrection

While often considered a step down from Alien and Aliens, the film has gained appreciation over time. It returned to a more action-driven, fan-service-heavy approach, especially compared to later entries by Ridley Scott. More importantly, it marked:

• The final appearance of Ripley
• A lasting expansion into comics, games, and merchandise

Love it or hate it, Alien: Resurrection carved out a strange, unforgettable place in the franchise.

And now you know what happened to Alien: Resurrection.

A couple of previous episodes of this show can be seen below. For more, check out the JoBlo Horror Originals YouTube channel—and don’t forget to subscribe!

The post Why Alien: Resurrection Is the Weirdest Movie in the Franchise appeared first on JoBlo.

Michael

There’s a massive difference between a horror protagonist making a bad decision under pressure and a horror protagonist acting like they completely forgot how survival works.

One is human. The other is just lazy bullshit screenwriting. And lately, way too many horror movies are leaning hard on that second option.

This is all brought on because I recently watched Dolly with my wife, and let me say this right up front. Fabianne Therese acts her ass off in this flick and does absolutely everything she can to sell what the script asks of her. But she isn’t the problem, the problem is her character, Macy. Macy keeps making choices that are so bafflingly stupid they stop feeling like genuine character behavior and start feeling like pure screenwriting desperation.  At one point, my wife got so pissed off, she started doomscrolling instead of watching the movie.  

That right there is exactly where my patience with this trope officially ran out.

This isn’t just a Dolly problem. It’s a horror problem, and has been for decades. It’s one of the genre’s laziest and most frustrating habits. Instead of creating real suspense through atmosphere, character, or situation, too many movies now lean on protagonists making one outrageously dumb decision after another just to keep the plot moving.

I already know the defense. People panic, human beings are flawed, and fear scrambles your brain. In reality, if a masked killer was chasing us, most of us probably wouldn’t be as smart as we are watching from our seats. Panic can absolutely cause people to misread a situation or fumble something important. But screenwriters cash this in like a blank check. 

Audiences deserve more credit than that. Honestly, human beings deserve more credit than that. We’re built to survive. Fight or flight isn’t just some catchphrase we throw around. It’s hardwired right into our DNA.

Look, I know it takes a hell of a lot more effort to write smart characters, but it also leads to significantly better movies. I’m begging you to stop relying on colossally stupid protagonists.  There’s only so much a viewer can take before the illusion completely shatters

To prove my point, here are five times characters made incredibly dumbass choices just so the writers could get to the next scene.

5. The Strangers Trilogy

The new Strangers trilogy relies entirely on its protagonist constantly crashing cars, blowing escapes, and wandering right back into danger. At a certain point, the suspense dies and you are just pissed off. Madelaine Petsch deserves better.

4. Tarot (2024)

A group of friends finds a spooky tarot deck, and the main character immediately ignores her own golden rule to never use someone else’s cards. Once the curse starts, the whole group actively ignores explicit warnings and practically walks right into their own deaths just so the plot can happen. Check out our own Tyler Nichols review here.

3. Speak No Evil (2022)

A family finally escapes a terrifying situation at a remote house and drives away to safety. When their kid realizes they left a stuffed bunny behind, instead of saying tough shit, the parents actually turn the car around and go back to the psycho house. You lose all sympathy right there.

2. Scream (2022) & Scream 7 (2026)

Oh Dewey, how they did you dirty. Dewey is a seasoned cop who survived four massacres, yet he walks directly into stab range of a knocked out Ghostface and then looks down at his ringing phone. Then in Scream 7, Mindy, a smart character who knows her shit, randomly lures everyone to a local bar away from safety just so the writers can get a cool set piece. It takes you completely out of the movie.  I will say, though, I personally loved the movie (call me out on it, I don’t give a shit).

1. I Know What You Did Last Summer

The absolute GOAT of dumb choices. Helen Shivers fights like hell, outsmarts the killer, and makes it out to an alley just inches away from a safe, crowded parade. Instead of running into the crowd, she just stops, turns around, and waits for the killer to catch up and murder her. She did all the hard work and the script just decided it was time to die. Absolute bullshit.

The list could go on.

Look, I’m not asking for full on realism.  We watch these things as a form of escapism.  Horror thrives on pressure and taking people to the absolute edge.

Screenwriters, this is your assignment:  let your characters fight, think, adapt, and be resourceful. Then show me that it still wasn’t enough. Do the harder thing and write villains who can beat smart people. Aim a little higher, is all I’m asking.  Don’t give us anymore reasons to watch a silly reel on IG or TikTok during your film.

What character moments come to mind for you?  Let us know in the comments!

The post Dear Horror Writers: It’s Time to Stop Relying on Colossally Stupid Protagonists appeared first on JoBlo.

The combination of director Steven Spielberg and UFOs has previously brought us Close Encounters of the Third Kind, E.T. the Extra-Terrestrial, and War of the Worlds. (Not to mention Indiana Jones and the Kingdom of the Crystal Skull.) This year, Spielberg returns to the subject matter with his latest event film, Disclosure Day, which is set to reach theatres on June 12th – and cast member Emily Blunt says the new film answers questioned that were posed in Close Encounters of the Third Kind!

Cast and Synopsis

The official press release for Disclosure Day reads:

Universal Pictures is proud to release a new original event film created and directed by Steven Spielberg. The film stars SAG winner and Oscar^® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar^® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar^® nominee Colman Domingo (Sing Sing, Rustin).

Based on a story by Spielberg, the screenplay is by David Koepp, whose previous work with Spielberg includes the scripts for Jurassic Park, The Lost World: Jurassic Park, War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull. Combined, those films earned more than $3 billion worldwide. Koepp also wrote the script for 2025’s Jurassic World Rebirth.

Disclosure Day is produced by five-time Academy Award^® nominee Kristie Macosko Krieger (The Fabelmans, West Side Story) and by Spielberg for Amblin Entertainment. The executive producers are Adam Somner and Chris Brigham. 

Spielberg has said that he made this film because “I’ve always been fascinated with things that cannot be explained. When I was just a little kid, I remember developing a real curiosity about the sky at night, and what’s happening up there. And, also, not the possibility, but the guarantee that there is life off this planet.“

Answers

There has been speculation that Disclosure Day could be some kind of secret follow-up to Close Encounters of the Third Kind. Speaking with Empire, Blunt said, “There are definitely questions posed by Close Encounters that are answered in Disclosure Day.“

Empire also confirmed that Blunt’s character is “Margaret Fairchild, a journalist who career-pivots into weather presenting; where, as the Disclosure Day trailers show, she’s at the centre of a bizarre on-air incident, vocalising in unsettling seemingly-inhuman clicks. Margaret is swept into the orbit of Josh O’Connor’s Daniel Kellner – a cyber-security expert who’s stumbled upon highly-classified knowledge, placing a target firmly on his back. Also caught in the crossfire is Eve Hewson’s Jane Blakenship, Daniel’s girlfriend, facing her own fallout from his quest for the truth. Hot on Margaret and Daniel’s tail is Colin Firth’s antagonist, Noah Scanlon – leader of Wardex, contracted by the government to keep the biggest secret in the cosmos, well, secret. As sinister as Scanlon is, he’s a man with a job to do, with major consequences if he fails. Also fresh out of Wardex – with a different agenda – is Colman Domingo’s Hugo Wakefield, an advocate for disclosure.“

To read what the actors had to say about their characters, click over to Empire.

Are you looking forward to Disclosure Day, and are you interested to see how it answers questions posed in Close Encounters of the Third Kind? Let us know by leaving a comment below.

The post Steven Spielberg’s Disclosure Day answers questions posed by Close Encounters of the Third Kind appeared first on JoBlo.

Kathryn Newton has already worked with the Radio Silence production company on two genre movies, Abigail and Ready or Not 2: Here I Come, and now Deadline reports that she’s staying in the Radio Silence business by signing on to star in the holiday horror flick White Elephant, which is part of Radio Silence’s partnership with Project X. Called RSPX, this partnership is “oriented around inventive and engaging horror and thriller projects.”

Newton is joined in the cast by Nick Jonas (Power Ballad).

Logline

Eli Craig, whose previous credits include Tucker & Dale vs. Evil, Little Evil, and Clown in a Cornfield, will be directing White Elephant from a script by JT Billings. Craig has also done his own rewrite on the script.

Here’s the logline: Eight friends. One prize. Zero trust. Their annual festive holiday gift exchange spirals into a cutthroat game of Christmas carnage.

Behind the Scenes

MRC is financing the project. Spencer Berman and Nick Jonas are producing White Elephant for Powered By Jonas, along with William Sherak, Paul Neinstein, and James Vanderbilt for Project X, plus Tyler Gillett and Matt Bettinelli-Olpin. Executive producers include Newton, Billings, Ryan McDonough, Amanda Drake, Scott Levine, and Chad Villella.

Filming is already underway.

Newton has previously said that she enjoys working with Radio Silence because “they’re just so collaborative. They really listen and hear you and I think what I really like about them is they let me be a bit weird.“

Newton

It should be noted that the horror and thriller sections of Kathryn Newton’s filmography stretches beyond her Radio Silence collaborations, as she also had roles in the films Paranormal Activity 4, A Housekeeper’s Revenge, DreamQuil, Freaky, and Lisa Frankenstein (where she played the title character), and the TV shows Supernatural and The Society.

Are you glad to hear that Kathryn Newton is continuing to work with Radio Silence, and that Nick Jonas and Eli Craig are also getting involved this time around? Share your thoughts on White Elephant by leaving a comment below.

A holiday horror movie that’s directed by Eli Craig and has Kathryn Newton in a lead role sounds like it will be right up my alley, so I look forward to seeing how White Elephant is going to turn out.

The post White Elephant: Kathryn Newton and Nick Jonas to star in holiday horror film from Tucker & Dale director appeared first on JoBlo.