Alam Nyo Ba?

Horror fans had plenty to scream about during Blumhouse‘s panel on Friday at New York City Comic-Con. Thanks to the presentation’s packed slate, we now know more about the studio’s upcoming releases, including Mike Flanagan’s The Exorcist: Martyrs, Curry Barker’s Anything But Ghosts, Molepeople, starring LaKeith Stanfield, Seasons, the next movie in the Paranormal Activity franchise, Other Mommy, and, finally, the latest attempt to adapt James Tynion IV’s Something Is Killing the Children.

Hosted by Matthew Patrick, aka MatPat, the founder and former host of YouTube’s “Theory” channels and a leading voice in internet horror fandom, the session kicked off with Blumhouse Atomic Monster CEO and Founder Jason Blum reflecting on the success of this year’s Obsession and Backrooms, thanking fans for supporting the theatrical experience in 2026.

Mike Flanagan and Chiwetel Ejiofor Unveil The Exorcist: Martyrs

During the panel, Director Mike Flanagan, along with Academy Award-nominated actor Chiwetel Ejiofor (Backrooms), unveiled the trailer for The Exorcist: Martyrs. Ejiofor stars in the highly anticipated film alongside Scarlett Johansson, Laurence Fishburne, Diane Lane, and John Leguizamo.

Rob Savage Surprises Fans with Other Mommy and Molepeople Reveal

Next, director Rob Savage talked about Friday’s release of Other Mommy and surprised BlumFest attendees with an offer of a free screening in New York tonight. Savage also revealed some casting news, bringing out actor LaKeith Stanfield (Get Out, Atlanta) to share the news that he will star in his upcoming film Molepeople, written by Nathan Elston and produced in partnership with Paramount Primal. Paramount has set the film for release on Aug. 27, 2027.

Craig Zobel Takes on Something Is Killing the Children

Director Craig Zobel shared that he is the latest director assigned to the feature-film adaptation of the horror phenomenon Something is Killing the Children, created by James Tynion IV and Werther Dell’Edera.

Something Is Killing the Children tells the following story: “When the children of Archer’s Peak begin to go missing, everything seems hopeless. Most children never return, but the ones that do have terrible stories—impossible stories of terrifying creatures that live in the shadows. Their only hope of finding and eliminating the threat is the arrival of a mysterious stranger, one who believes the children and claims to see what they can see. Her name is Erica Slaughter. She kills monsters.”

Curry Barker and Cooper Tomlinson Talk Anything But Ghosts

Anything But Ghosts director Curry Barker and his co-writer/co-star Cooper Tomlinson surprised the audience and talked about their experience working together on the film, Barker’s eagerly awaited follow-up to Obsession, slated for release May 7, 2027.

Paranormal Activity and The Blair Witch Return

Finally, BlumFest guests were treated to exclusive footage of the hit stage adaptation of Paranormal Activity, which revealed an extension of its Broadway run at the August Wilson Theatre until Feb. 28, 2027. Five lucky winners snagged tickets to the in-demand production.

“’Paranormal Activity’ is such an emotional movie for me, because it’s really how Blumhouse started,” Blum shared. “It really gave birth to everything that we’ve done.”

The also announced the release date for the eighth Paranormal Activity movie, which will be directed by Undertone‘s Ian Tuason. It now comes out on May 21st, 2027.

As for Blumhouse’s summoning of the Blair Witch, short film director Dylan Clark is directing the movie, and Wan is “super excited” about the project. “Dylan is another one of these great filmmakers, YouTubers who’ve made a bunch of really great shorts online … It’s these filmmakers who actually have a lot of reverence for these films. They grew up with it, and they have a lot of admiration for it. And so we’re not just plucking anyone off the internet.” It comes out on September 24th, 2027.

James Wan Talks Saw and RoboCop

The panel also featured a Q&A session with Atomic Monster Founder/Director James Wan, during which he answered questions about his return to the Saw franchise and his Robocop reboot starring Dan Stevens for Prime Video.

Mike P. Nelson will direct the next Saw movie for Blumhouse. “I said, if you and Leigh Whannell are going to come back to do this, I want to make sure that you’re in the driver’s seat for how it’s going to go creatively,” Blum said. “It’s going to feel, I think, different than every other every other ‘Saw’ movie before, maybe except the first, which James obviously directed and wrote with Leigh. And on both of our parts, we want to thank you guys for keeping that franchise alive for all these years and we’re gonna bring it to you in a whole new way. So with James and Lee coming back, and all of your love for Saw, it was time to bring it home.”

Was Blumhouse’s Comic-Con presentation enough to wash the taste of Other Mommy out of people’s mouths? Is Craig Zobel the right director for Something is Killing the Children? Can Mike Flanagan help resurrect the Exorcist franchise after The Exorcist: Believer crashed and burned in theaters? We’ve got plenty of questions, and hope the studio wows us in the coming year and beyond.

Which of Blumhouse’s projects are you looking forward to the most? Let us know in the comments section below.

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Play time for Studios

The 2026 low-budget revolution of horror films chugs along, as Deadline is now reporting that Focus Features and Blumhouse-Atomic Monster have snatched up the distribution rights for a new horror film titled Play House from Nicolas Curcio. The deal is said to have reached seven figures for worldwide distribution excluding Latin America and India. This is a big investment for Curcio’s film, which follows the trend set by Curry Barker’s Obsession, but if you could believe it, Play House was shot with an even smaller budget, which came to somewhere over $100,000. This means it was made for roughly 13% of Obsession‘s budget.

Play House

Play House is set to release in theaters in 2027 with the international distribution being handled by Universal Pictures International. The movie stars Will Harrison, Jessica Sula, Jordan Gonzalez, and James Urbaniak. Curcio and Gladstein produced the film for Skinny Ghost, alongside Ben Gojer, Jack Forbes, and Derek Tramont. The executive producers on board include Ahbra Perry via Chroma, Daniel Levin via Narrative, Adam Hendricks and Greg Gilreath of Divide/Conquer, and Jason Blum of Blumhouse Atomic-Monster. Perry reps the film for sales via Narrative Distribution.

The film is written by Curcio and his wife and creative partner Kirby Gladstein. The film follows a character named Elliott (Harrison) while he’s renovating a dilapidated house to win back his ex. He discovers VHS tapes of an unaired children’s TV show, which begins to seep into his life, threatening his last chance at reconciliation.

Play House was part of the Fantastic Fest 2026 lineup, where it made its world premiere, and it was also a winner of the 2025 Fantastic Pitches.

Focus Features and Blumhouse-Atomic Monster are planning for more releases out of their partnership. According to Deadline, “Most recently, they announced their partnership on director Josh Giuliano’s Occupant following the buzzy TIFF debut of his first horror film, River.”

Focus is normally known for dramatic features, but the studio also has a working relationship with Robert Eggers and has released his films, Nosferatu and the upcoming film Werwulf, which opens on Christmas Day.

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When 28 Years Later was first announced, Danny Boyle and Alex Garland weren’t just planning one movie — they had an entire trilogy in mind. The first installment did well enough to keep that plan alive, but 28 Years Later: The Bone Temple wasn’t nearly as lucky at the box office. Naturally, that left fans wondering if the proposed third movie might wind up dead before it even got started. Previously, Boyle didn’t seem too worried, but at a recent event promoting Ink he admitted the film is “on the back burner.”

“Alex has been off doing his own film, which is a huge project,” he said, referring to Garland’s Elden Ring.

28 Years Later 3 Will Happen… At Some Point

A few months ago, Boyle sounded somewhat more optimistic. “’28 Years 3,’ or whatever it ends up being called, will get made because people keep asking about it,” Boyle previously told Variety. “Quite when I’m not sure, but there’s a script – a very good script by Alex Garland,” he said. And it will feature Cillian Murphy.“

He continued, “[It will have] a lot of Cillian Murphy in it. Whether he’ll take his kit off anymore, that I don’t know. He’s got the Oscar now.“

Boyle also commented on Murphy’s physique in the first movie. “He’s gorgeous. When we took his kit off, I couldn’t believe it,” he said. “He looked like Iggy Pop! Everything was glistening. Oh my God. He’s just one of those people. He doesn’t work out or anything like that: he just looks like that.“

Earlier this year Boyle told JoBlo that the film will shoot in 2027. “We ran out of time. Because it’s set in an area of Britain [where] you can only film at certain times of the year. We ran out of time this year – we literally ran out of time,” he said. “So it’ll be, hopefully, fingers crossed, next year. But there’s the enthusiasm there, and Alex [Garland] has done a wonderful script for it.“

Ink

Boyle’s next film is Ink, a drama that follows Larry Lamb (Jack O’Connell) as he accepts Rupert Murdoch’s (Guy Pearce) offer to become editor of the British tabloid newspaper The Sun.

Our own Chris Bumbray caught the film at the Toronto International Film Festival. “The first half of Ink moves like lightning, with Boyle opening up James Graham’s play to such an extent that its stage roots are never obvious,” he wrote in his review. “It’s directed with a lot of verve, while Boyle uses anachronistic needle drops to evoke the initially punk mentality of The Sun before they became bottom feeders.“

Ink is set to be released in select theaters on December 11, before streaming on Netflix on January 8, 2027.

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Alfonso Cuarón and son working together again

Alfonso Cuarón and his son Jonas proved to be a winning team with their ambitious space drama Gravity in 2013. The movie ended up winning seven Oscars and even earned Alfonso an award for Best Director. Alfonso said that he and his son kept their working relationship simple: “When making a film, we met as director and writer, not father and son,” Alfonso laughed, “During lunch, we became father and son for a while.”

Alfonso and Jonas are working together again for their upcoming immigrant film Cabacho Champion. According to Dispatch Dipe, the two have made an appearance in Korea for the first time to talk about their passion about film in Busan.

Horror from Cuarón

While Alfonso and Jonas dedicated their time mostly to their current project, they did not hesitate to show love to the Korean movies that seamlessly weave important social issues into genre films without making them overtly political (see Digger). Jonas in particular would give a shout out: “I like Korean films like The Host, Parasite, Hope and No Way Out,” and said, “They weave social themes into genre, and incorporate humor. There is much to learn.”

Near the end of their talk, Alfonso would speak about how the future of film will be affected by technological advancements and the rise of new platforms before revealing his next project: “I am writing a new screenplay. A story in the horror genre,” which he hinted, “It is very interesting.”

Ascension

Cuarón will first be dabbling in horror with a thriller series for Apple TV, Ascension. The series comes from Cuarón and the creative team behind Relic and Apartment 7A, with Natalie Erika James and Christian White serving as co-showrunners. James will also direct the series.

Inspired by Adam Nevill’s novel Last Days, Ascension follows Rose, played by Balfe, a relentless documentary filmmaker and recently divorced mother who has built a career uncovering other people’s secrets while struggling to resolve problems in her own life. Rose begins working on a project about a mysterious 20th-century cult known as the Church of Ascension. At first, the teachings of the group unexpectedly provide Rose with a sense of refuge. But the deeper she gets into the Church of Ascension, the more she discovers that something far more sinister is hiding beneath its beliefs.

The series explores questions of evil, innocence and how far people are willing to go and what they are willing to sacrifice to protect the people they love, even when the greatest threat may ultimately come from within themselves.

The series comes from Apple Studios and Cuarón’s Esperanto Filmoj, with Anonymous Content also producing.

The post Is Alfonso Cuarón tackling a horror movie in the near future? appeared first on JoBlo.

“What’s your favorite scary movie?”

It’s spooky season. So, what better time to talk about the Wes Craven classic Scream? Earlier today, some shade was thrown at the fourth entry in the series by franchise composer Marco Beltrami, but the original lit a much-needed fire under the genre. Bloody Disgusting is now reporting that the 1997 pop culture giant is getting a new 4K Blu-ray box set later this year. Unfortunately, it will be released too late for Halloween, but it will be available in time for its 30th anniversary on December 15.

“Cause I wanna know who I’m looking at.”

The set will be an Amazon exclusive and you can pre-order it for $109.99. You may now be asking, why so much? Let’s take a look at what’s included in the box set. Included in the set are:

• Scream on 4K Ultra HD, Blu-ray, and Digital
• Woodsboro Police Department case folder holding two discs
• “Persons of Interest” suspect sheet
• Six collectible suspect Polaroids
• Recreated Woodsboro newspaper article
• Premium archival evidence-kit presentation

Plus, something that the franchise fan site, Hello Sidney, says is “one piece of evidence we’re leaving for you to discover.”

Additionally, the set includes a bloody replica of Casey Becker’s phone from the famous opening scene. The phone is also interactive, where it rings and plays quotes from the movie (presumably from Ghostface).

Marco Beltrami

Deadline is also celebrating the 30th anniversary of the film by catching up with franchise composer Marco Beltrami. Beltrami was asked how he got the gig doing the iconic music for the first film and he replied, “I did this kind of voice, manipulated voice, and electronic tape, and it really resonated with Wes. He liked it, and so he asked me to come in and meet him, and I did. He showed me the beginning of the movie and asked me to score the opening scene, which was that scene where Drew Barrymore gets killed. It’s a kind of a long sequence. He gave me like two days to do it, and I sent it in, and I got the job. And I think the thing that was really cool about it was that he really found that the piece of music that I sent him with that voice really resonated with the emotional content of bringing Sidney’s character to life, and that was, I think, what got me the job.”

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Kier

Imagine selling your soul to come back from the dead, spending decades fighting bad guys, generating millions of dollars in revenue, starring in a hit cartoon, selling out hundreds of issues of comic books, and becoming a pop culture phenomenon that changed the landscape of what’s possible… and after ALL of that, you STILL can’t get a decent movie made about you.

Spawn has been a flagship character in comics for over 30 years and no matter how much money this undead hunk of 90s heroism makes in print, it seems like the 1997 Spawn movie is the closest thing we’ll ever see to live action spawn. But why is that? Is it because the movie was a massive financial and critical disappointment? Is it that making superhero films that aren’t Marvel or DC is too risky for studios? Could it be because the creator and owner of the character has standards that are unreachable for studios? From the pages of Todd McFarlane’s sketchbook to the silver screen and back, today we’re talking all about Spawn. We’ll cover the characters history, then talk all about the movie, and exactly why after all these years we STILL haven’t gotten a spawn remake in live action, and everything in between. Let’s get into it.

Todd McFarlane and the Birth of Spawn

Okay, so Todd McFarlane is a legend in the comics industry. Love him or hate him, this guy has changed comics forever more than one time and despite struggling (at times) he has kept Image Comics and the Spawn IP alive since the early 90s. Todd broke into comics in the 80s drawing interiors for a comic book called “Coyote” , and this was his first job as a professional artist. Eventually, Todd became known for his intense art style and gained a reputation for breaking the norm. His hunger and ambition mixed with his truly inventive art style eventually landed McFarlane a job at one of the big two publishers… Marvel Comics. Fast forward a few years and Todd has revolutionized comics with his top-selling run on Spider-Man. Todd nearly quit Marvel in the 90s and to keep him on board they offered him a shot at doing his own one-man show series of his favorite Marvel character. The first issue (which you’ve definitely seen the cover of) shattered sales records and single-handedly breathed new life into the industry. His art was full of energy and dynamism and comic readers of the early 90s were all the way bought in. But, here’s the thing…

Todd was a superstar in comics, but Marvel didn’t care about that. They wanted Todd to put his ideas and ego aside and draw what they told him THEY wanted. Whether it was tweaking the position of Bullseye stabbing Elektra to please the comics code, or re-drawing entire pages because the panel layout was too innovative, Todd felt like he was being pushed around. And he wasn’t going to have any of that.

So, Todd assembles some of the top artists from the big two publishers. Marc Silvestri, Jim Lee, Rob Liefeld, Whilce Portacio, Erik Larsen, and Jim Valentino all met with McFarlane individually and he pitched them the idea of starting their own publishing company. A company that would rival DC and Marvel with its top artists running the show.A publisher that would break the mold for the indie publishing scene and allow the artists to retain the rights to their own characters. See, if you didn’t know, if you work at Marvel or DC, and you create a new character for a book, you don’t own that character. Once it’s published, it’s owned by the company. But Image was doing things differently, They would let the creators own the property and it would remain theirs no matter what. Image didn’t own the characters, and as such, nobody could push Todd around anymore.

His first book needed to be something big. Something his thousands of adoring fans would eat up and get behind. Something edgy, dark, gritty, and dank that Todd wouldn’t get away with at Marvel. And in May of 1992, Spawn issue #1 was released. And, no surprise, Todd broke another record. This comic book was EVERYWHERE. It’s not even really rare today because there were just SO many copies printed and sold.

Spawn follows the story of Al Simmons. A Government gent who specializes in taking out hard target bad guys who is killed on the job and immediately sent to hell. In hell, Al makes a deal with a demon to return to earth to see his beloved wife, Wanda. This deal is (as you’d expect) a trick, and Al is resurrected 5 years later as “Spawn” . His whole deal is that he has to basically be a bounty hunter for souls to send to hell and to help him do this he’s given a set of superpowers and a badass spiky super suit. Eventually, he embraces his new identity and stalks the dark streets looking for his next victim. This storyline is STILL GOING by the way. Over 300 issues in and Spawn’s original series is still not over. That might be because this character burst on the scene and made McFarlane enough cash for him to do whatever he wanted for the rest of his life. Now, Todd isn’t still writing and drawing the books, as he wanted to let other creatives work on the project as well, but he does pop in to ink issues and draw covers once in a while.

How Spawn Made It to Hollywood

With the instant success of Spawn and the newly-minted Image Comics, it didn’t take long for greedy studios in Hollywood to start trying to get in on the action. As early as 1993, Todd had been getting calls and meeting requests from producers and studios. Similar to how Todd was with his career in comics, he was not going to lay down and let the studio heads walk over him. He was interested in making a Spawn movie, but only if it was done his way. After all the pitches, talks, and dinners, Todd struck the deal with New Line Cinema who wanted to make a dark action thriller with Spawn as the main character. The deal was… a power move. I think.

He sold New Line the rights over the top bidder (Columbia) for just $1.00 because they agreed to let Todd get the rights to the merchandising (which made him even MORE rich than he already was) and he was granted creative control of the movie. Columbia was willing to pay BIG for the rights, but Todd decided to bet on himself once again.

Spawn (1997): What Worked and What Didn’t

And this movie… Isn’t that good. But ya know what, it REALLY isn’t that bad either.

In this film, they stuck pretty close to the comic book origins of the character and started the movie with an intro to Al Simmons on a mission for the CIA. Michael Jai White stars as the titular character and folks, say what you want about the movie itself, but this casting and performance is PERFECT for the character. Simmons is killed on the job and we do see that this is a difference from the comic in that originally Al was killed by Chapel, who is a sick character but was created by Rob Liefeld for Youngblood and New Line didn’t have the rights to that character. In any case, he’s killed by the actor who played Julie Cooper on The O.C. instead, and boards passage on the highway to hell. The VFX in this scene in particular… look like shit. It’s unfortunate that this happened so early on in the movie because it definitely stands out, and these sequences pop up periodically throughout. By the way, I’m watching the director’s cut which IS better. Industrial Light and Magic had one of their sister companies work on this movie and maybe at the time it wasn’t so bad but it doesn’t hold up so good nowadays. What did you expect man it was 1997! The suit looks great, though. It’s awesome.

Spawn returns to life years later and is missing a lot of his memories (and skin) but he remembers the most important thing. Wanda. Then he immediately finds out she’s moved on with his best friend, which is also comic book accurate. So the setup is definitely straight out of the comic book which means that it doesn’t take long for us to meet the scene-stealing, maggot-eating, and absolutely brilliant John Leguizamo as The Violator. Or as you may know him, The Clown. This is what REALLY worked for the movie. Everything from the incredible costume and makeup work to the over-the-top performance and that kick-ass transformation scene is just oozing with grossness and leaking awesome sauce. I didn’t like saying that sentence but I stand by it. The clown is a character that makes for the villain being AS entertaining (or more entertaining) than the hero. This dude is just a walking ball of earwax with blue makeup on and I can’t get enough. The way he taunts Spawn and pushes him to the edge while being endlessly watchable is what comic book menace is all about. I love the scene of him transforming into his demon form and these special effects are great for the time. It looks like something out of Men in Black and I love it.

The unfortunate things about this movie are apparent, though. Other than an amazing suit, a great villain, and amazing lead actor, the kind of side villain of this movie (Jason Wynn, played by Martin Sheen) does this movie NO favors. What a boring asshole and a total waste of a talent like Sheen. He’s behind Spawn’s death and blah blah blah he fucking sucks. I also am not a fan of the mid-movie showdown when the cape FINALLY enters the movie (we’ll talk about that in a sec) and the VFX look very… silly. Imagine how good it could look now though.

So yeah, the thing about this movie that really docks it some cool-points is that 2 of Spawn’s coolest assets (his cape and his mask) are mostly absent from the film. This comes down to budget and technical limitations. In order to make the cape look right, it needed to be done with CGI. The thing about Spawn’s cape is that it IS a character if its own. The way it flows and drapes itself is almost like it has a mind of its own. Spawn’s suit is technically “alive” so I guess his cape is too. Practical red capes looked too out of place, a black cape made him look too much like Batman, and realistically, animating a living cape onto the actor was just out of the question. So, they ditched the cape for much of the movie. BUT the director’s cut has more cape stuff and some of it is cool for the time. But we also don’t see as much of the mask as fans were hoping. In the comics, Spawn almost always has the mask on. In this movie, it’s the opposite with him almost always having the mask OFF. Now, this can be explained by it not being practical for the actor to emote or express emotion, or be heard by a microphone with it on, and Michael Jai White does so good with emoting through all those prosthetics, but I can’t help but miss the Spawn face. We do get some sequences where he’s wearing it but it really acts as like a helmet with it only seeming to come on when spawn might be in danger. I also think an important thing to mention here is that part of what made this movie suffer critically was the pacing of the film and the hollow revenge-quest plot.

There are flashes where it feels like the nasty, supernatural superhero movie it wants to be, graveyards, alleys, chains, motorcycles, heavy shadows, industrial rock and metal blasting on the soundtrack. The costume itself looks great whenever the movie isn’t asking the CGI to do too much, and the film deserves some credit for attempting a violent, horror-influenced superhero story years before darker comic-book movies became commonplace.

The bigger problem, though, is the storytelling. The movie tries to cram Spawn’s murder, resurrection, deal with Malebolgia, relationship with Wanda, friendship with Terry, battle with the Violator, and an impending apocalypse into roughly 90 minutes. As a result, Al Simmons never gets enough room to breathe as a character.

Personally, I think the big problem was just that the movie didn’t have enough space to explore. There’s too much going on for just one movie. The problem with being overly accurate to the comic book lore is that you kind of end up in a box too tight for the screen. Stories that work in comics often translate well to the screen, but the best of them always think a little more in terms of moviegoers than comic-readers. I think that if Columbia had gotten the rights to Spawn (and McFarlane WASN’T so creatively in control) they might have re-imagined certain aspects of the character to make something fresh and exciting, which this movie is kind of just not. But McFarlane was NOT going to stop.

Why the HBO Animated Series Worked

With Spawn not working out in the movies, Todd decided he would wait to try again until he was sure he could make it perfect. But he wanted to get Spawn in every pillar of media. It wasn’t long before McFarlane struck a deal with HBO to make an adult-rated harDCore Spawn cartoon. I can’t stress this enough, but Todd McFarlane is nothing if not a forward thinker. He wasn’t interested in settling for anything less than what he knew was good. And the Spawn cartoon is JUST THAT. McFarlane wanted animation that felt sexier and more dark than what was popular at the time. He was specifically drawn to the artwork on Batman: The Animated Series and recruited as many of the crew that worked on that show to work on his. In 1997, episode one debuted on HBO to massive success. This show is awesome and I watch it often. But aside from what I think, this show did 2 very important things, it brought Spawn’s brand awareness to a whole new market, and it PROVED that adults would be interested in Spawn’s dark and highly mature tone. The cartoon was also very accurate to the comics with subtle changes here and there, but every episode was a ratings hit. The show ran for three seasons and helped fans of Spawn get their fix between issues for years. The animation style is still very good with heavy black shadows and spectacular lighting. This is a polished version of what the movie could have been had it gone right. Keith David was already an icon in those days, but doing the voice of Spawn on this show cemented the way readers would hear his voice forever. No shit, every time I check in on the Spawn universe and read his lines, I hear them in his voice. It’s probably the same for you. In fact, Keith has been the voice of Spawn ever since this show. It’s just his job now.

What Happened to the Spawn Reboot?

In the years since, Spawn has popped up in a series of video games (some are his games and some are Mortal Kombat 11), and there have been talks every few years about a Blumhouse-produced Spawn remake starring Jamie Foxx as Al Simmons. I think as Foxx gets older (and more expensive) the likelihood of this actually happening withers away more and more. However, Todd has said that if there is to be another Spawn movie in the future, he’d be the one directing it. That works out sometimes, but other times you get Frank Miller’s The Spirit, so… let’s see how that goes. Jason Blum has stated that he’s hard at work on Spawn at Blumhouse and that he’s really excited to make the movie happen too, but he’s been saying that for years and it just doesn’t seem like any progress has been made.

As recently as THIS year, McFarlane stated that a Spawn animated feature has been made but he’s waiting to find the right studio to finish the animation and distribute it. I don’t know what stage of production the movie is in, but McFarlane did let it be known that Keith David DID record the lines for the character of Spawn already. I’d almost sell my soul just to hear the lines in his voice again.

Will Spawn Ever Return to the Big Screen?

So, we have an industry pioneer, a million dollar character, an endless well of source material, and a studio ready to back it and we STILL don’t have a concrete Spawn film coming any time soon. It’s disappointing, but I’m sure one day his day will come. Hell, if the comics or movie industry get broke enough they’ll start rolling out remakes for every superhero that’s ever appeared on screen and I’ll be the dickhead dumb enough to watch it all so I can bring the goods to you all. I like Spawn, I read the comics for some years but eventually moved on from it but I’m a huge fan of the cartoon and The Gunslinger, and I’d definitely be in line to get a ticket for any movie that comes out, be it animated with Keith David, or live action with Jamie Foxx. How do you guys feel? I defend this movie as much as I can because I want to enjoy the good stuff and if you haven’t seen this movie, maybe you’ll enjoy it too. I’ll see you guys in the next one!

The post Spawn (1997): Why Todd McFarlane’s Superhero Still Can’t Get a Proper Movie appeared first on JoBlo.

Happy Death Day 3 was in the works even before the release of the second film in 2019…but fans have now been waiting seven years for the third and final chapter of Tree Gelbman’s story. While speaking with THR for the recent release of Beware Boiúna, Jessica Rothe said the delay has led to some changes to the script, with the story now leaping forward.

Happy Death Day 3…with a Time Jump

Rothe told THR that she met up with writer/director Christopher Landon earlier this year to reconceive the third movie to revolve around Tree’s post-college adult life.

“The story has now evolved further. Chris and I, back in March or April, actually met up, and we broke the story for the third film,” she said. “I was so honored that he even wanted me to be a part of that process, because he’s a genius and one of my favorite humans in the world. So we sat down and broke it, and it makes complete sense.“

She continued, “Hopefully, if all the stars align, we get to shoot it in the next little bit. But even if we don’t, it’s not a story that’s going to time out. There is no [mandatory] timeline in terms of when it makes sense for us to make this movie, and that’s one of the things that I love about it. The first two movies work so beautifully as back-to-back companion pieces. But for the third film, it’s so exciting to really jump forward and see what’s going on with Tree and her life and if her life has gone how she thought it was going to go.“

This doesn’t mean that the previous script has been tossed. “A lot of those very, very early seeds that Chris had for the story are still in the new version,” Rothe explained. “They are just incorporated in a slightly different way. But the overall premise of it and the big hook of it are still the same. It’s just that we’ve gotten more specific about Tree and who she is when we find her again and why having spent a little time away from her makes sense.“

It does seem that the sequel is moving forward this time, as Rothe said last month that they’re just waiting on the studios to sign off.

Beware Boiúna

Rothe is currently starring alongside Kiana Madeira and Logan Marshall-Green in Beware Boiúna, which our own Tyler Nichols called the greatest killer snake movie of all time.

“Beware Boiúna is a non-stop thrill ride that perfectly balances character moments, action, and absolute terror,” he wrote. “Boiúna is treated with such care, never going too ludicrous, making her downright horrifying. The FX are fantastic and show the snake just the right amount. Rothe, Mediera, and Marshall-Green are fantastic, being some of my favorite characters of the year, horror or otherwise. And there’s nothing quite like rooting for characters you want to see persevere.” You can check out the rest of his review right here.

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