Alam Nyo Ba?

If there was any doubt that Zach Cregger was among the hottest up-and-coming directors in Hollywood, this weekend will no doubt put those doubts to rest. While everyone expected Resident Evil to easily set franchise records, it’s opening way bigger than anyone expected — including us in our predictions. According to Deadline, it’s looking at about $53 million for the weekend (maybe even $60 million if the Saturday numbers come in hot), easily setting a franchise record. The previous biggest opener in the series was Resident Evil: Afterlife, which made $26.6 million back in 2010. It’s going to open something like ten times higher than the last Resident Evil movie, Welcome to Raccoon City, which opened with an abysmal $5.32 million.

It’s looking at about $10 million more than Cregger’s last film, Weapons, which ended its run with $151 million. Notably, the film has a B+ CinemaScore rating, which is the highest the franchise has ever received and also an exceptionally strong grade for a horror flick.

Last weekend’s big opener, Practical Magic 2, is nosediving at the box office, losing 64% of its audience for a $10.8 million second weekend and a $48 million total. Spider-Man: Brand New Day should be in third place with $6.3 million, as its total approaches a billion domestically. It’s now at $944 million. The Odyssey isn’t far behind with $5 million and a $609 million total. Coyote vs. Acme is still doing well with $4.2 million and a $54 million total, which makes it a nice sleeper hit for Ketchup Entertainment. Angel Studios’ Runner, with Alan Ritchson, fell off 55% to $2.9 million and a light $11 million total. Sadly, one of the best movies of the weekend, The Weight, isn’t seeing much action with a $2.55 million opening. One of the big surprises of the weekend is Fathom’s re-release of Transformers: The Movie, which is looking at $2.9 million.

We’ll be back with a full box office wrap-up tomorrow, but in the meantime, what are you seeing this weekend? Let us know in the comments.

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PLOT: A reimagining of Stephen King’s classic story about misfit teenager Carrie White (Summer H. Howell) and the violent, supernatural revenge she takes on her tormentors.

REVIEW: Mike Flanagan has become the most prolific adapter of Stephen King’s work since Mick Garris back in the nineties. But, as far as adapting his work goes, probably the one most fraught with landmines for someone like him is Carrie, which was already made into a pretty perfect film by Brian De Palma back in 1976. It was updated as a TV movie and later as a movie starring Chloë Grace Moretz in 2013, but both were met with scorn—if not outright ridicule. Surely Flanagan was biting off more than he could chew, especially by making it into an eight-episode series.

Yet, watching the first two episodes at TIFF, I couldn’t help but think that Flanagan has done a really good job reimagining the material for a new generation. While retaining enough of King’s story that it doesn’t come off as too much of a departure, the world has moved on in the fifty years since De Palma’s movie, giving Flanagan and his writers’ room a lot of new material to mine.

The series is framed by a bookend segment suggesting that a kind of streaming docuseries has been made about Carrie’s inevitable pyrotechnic meltdown, which, in the case of the series, not only involves her high school but also burns her entire community to the ground, leading to hundreds of deaths. Were such a thing to happen, it would surely become fodder for a true-crime series, but it’s not overdone either. In this version, Carrie and her deranged mother, Margaret (Samantha Sloyan), have been hidden for many years by Carrie’s father, who dies in the show’s opening sequence. Here, Margaret’s religious devotion, while still prominent, is given a bigger umbrella, with her being a doomsday prepper embedded in all manner of conspiracy theories—an extremist with a total distrust of mainstream society in any form. Carrie has been hidden her whole life, having never watched TV, used a computer, or even been allowed to read much—save for the books a kindly neighbour sneaks to her.

Summer H. Howell is terrific as Carrie. Less “weird” than Sissy Spacek’s classic take, Carrie is portrayed as sunny but also wholly naive to the world around her. Flanagan, who directs the first two episodes, does a good job evoking just how radical the world would seem to Carrie once she is put into the mainstream. As she walks into her high school, she sees open affection, same-sex couples, even trans kids—none of which she was ever exposed to before. She doesn’t look at them with any kind of judgment—she’s just surprised because she didn’t know they existed. Her lack of knowledge is so extreme that it leads to the famously traumatizing moment when she has her first period, which comes at the conclusion of episode one.

The show branches out to focus on a number of characters, with Siena Agudong as Sue Snell, a popular student who has sympathy for Carrie but also finds herself annoyed by how unwise to the world she is, with a school shooting drill becoming an early breaking point. But at least she’s not cruel, like Alison Thornton as Chris, who takes perverse delight in tormenting her to compensate for the lack of power she feels at home, with her formerly rich father going broke and her mom (Heather Graham) having started another family. Amber Midthunder is excellent as the girls’ homeroom teacher who, like Sue, tries to do her best for Carrie but finds herself exasperated by her. The only person in her life who truly looks at Carrie without judgment is Joel Oulette as the kindly Tommy Ross, Sue’s jock boyfriend.

While two episodes aren’t enough to definitively state whether or not the series will work as a whole, it’s off to a great start. Flanagan’s repertory of actors, including Matthew Lillard, Rahul Kohli, and more, are all excellent, although outside of Howell, it’s his regular Samantha Sloyan who really shines as the domineering Margaret, who is less hysterical and more calculating than other versions of the character we’ve seen. Flanagan also gives the show a contemporary soundtrack that will likely help hook younger viewers, with it coming along at a great time as Amazon’s YA programming has blown up. Carrie could cross over to that audience as well as genre fans. I wouldn’t be surprised if it becomes one of his biggest shows. Hopefully, the rest of the episodes are as consistently good as the first two, but I’m thinking this is another big winner for Flanagan.

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Could Jason Voorhees be headed into an anthology that puts the Friday the 13th killer into wildly different scenarios? Kevin Smith has just provided some intriguing information about a project that, if it actually comes together, could include an unexpected crossover: Jay and Silent Bob meeting Jason Voorhees.

During the latest episode of the Jay & Silent Bob Are in the Hizzouse podcast, Smith and Jason Mewes were discussing the history of proposed Jay and Silent Bob projects when Smith suddenly remembered an idea that had been pitched to him by The Goldbergs sitcom creator Adam F. Goldberg. Smith said that, around a year ago, Goldberg was working on a Friday the 13th anthology in which Jason Voorhees would be placed into “various scenarios.” At one point, Goldberg asked Smith if he would be interested in making Jay and Silent Bob Meet Jason Voorhees.

Smith’s response?

“In a heartbeat, Adam, of course.”

That doesn’t necessarily mean a Friday the 13th anthology is currently in the works. Smith said Goldberg was developing or working on the concept, but there has never been an official announcement. Still, the story is notable because it reveals that an anthology approach to Friday the 13th was apparently being considered by Goldberg, and that Jay and Silent Bob almost became part of it. And Smith’s enthusiasm for the idea has an interesting history.

Jay and Silent Bob almost met Pinhead

Smith had previously been presented with the possibility of putting Jay and Silent Bob into other horror franchises. After Jay and Silent Bob Strike Back, Dimension Films chairman Bob Weinstein wanted Smith to take the characters and drop them into something resembling an Abbott and Costello Meet Frankenstein-style horror comedy where they could cross paths with Dimension’s various horror properties. At the time, Dimension had franchises including Hellraiser, Halloween, and Children of the Corn. Weinstein suggested a movie in which Jay and Silent Bob would encounter some of the studio’s modern-day horror icons.

Smith said his favorite possibility was Jay and Silent Bob Meet Pinhead. Smith even came up with an idea for the crossover: Jay and Bob would find the Lament Configuration and discover that their version of Hell involved being sent to rehab. Smith thought the idea was funny, but ultimately couldn’t “get his head around” actually making the movie.

When he told his friend Ben Affleck about the idea, Affleck initially laughed. Then he thought about it for a moment and predicted that the movie would make $100 million. It never happened. The closest Jay and Silent Bob came to crossing paths with one of Dimension’s horror franchises was their cameo in Scream 3.

Kevin Smith learned his lesson

That’s what makes Smith’s reaction to Goldberg’s Friday the 13th proposal amusing. Looking back on the Pinhead idea, Smith said he had thought, “Jay and Silent Bob and Pinhead? You’re out of your mind. That would never work.”

But years later, when Goldberg approached him about Jay and Silent Bob meeting Jason Voorhees, he immediately saw the potential.

“Instantly, I was like, ‘F*ck yes.’”

Rather than building an entire Friday the 13th movie around Jay and Silent Bob, Goldberg’s anthology format could have allowed Jason to appear in a succession of unusual situations, with each installment functioning as its own story. Whether that anthology is still being developed and what medium it would have been for (live-action shorts? a comic book?) remains unclear.

For now, the biggest takeaway is that Adam F. Goldberg apparently had a Friday the 13th anthology concept in the works at one point and Kevin Smith was enthusiastic about letting Jason Voorhees enter the View Askewniverse.

While we wait to see if Adam F. Goldberg ever actually does make a Friday the 13th anthology, and if Jay and Silent Bob will be involved, Friday the 13th fans have the Peacock series Crystal Lake to look forward to, Goldberg is co-writing a comic book tie-in to Halloween: The Game, and Jay and Silent Bob recently met Marvel superheroes in the pages of the comic book Jays of Future Past.

Would you like to see a Friday the 13th anthology from Adam F. Goldberg, and should Jay and Silent Bob be involved? Share your thoughts on this one by leaving a comment below.

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For years, it looked like World War Z 2 was destined to remain one of those movies that Hollywood talked about forever but never actually made. The sequel went through multiple directors, spent years in development, and came close to production with David Fincher at the helm before Paramount pulled the plug. Now, World War Z 2 is finally moving forward again. Deadline reports that Paramount has closed a deal with Brad Pitt to return as the star, while Edward Berger has signed on to direct the long-awaited sequel. Dennis Kelly, creator of the British series Utopia and writer of The Day of the Lord, is writing the screenplay.

Pitt, Dede Gardner, and Jeremy Kleiner will produce for Plan B Entertainment, while Berger will executive produce. Plot details are being kept under wraps for now.

Brad Pitt is returning for World War Z 2

Pitt starred as former United Nations investigator Gerry Lane in the first World War Z, which was released in 2013. The film was directed by Marc Forster and inspired by Max Brooks’ 2006 novel World War Z: An Oral History of the Zombie War. The movie wasn’t a particularly faithful adaptation of Brooks’ book, but it was a major box office success, earning more than $540 million worldwide. That made a sequel an obvious possibility, and Paramount spent years trying to figure out what that sequel would be.

Pitt has apparently remained interested in returning to the world of World War Z throughout all of that time. According to Deadline, he began pitching his The Riders director Edward Berger on World War Z 2 while they were working together on that film. By the end of production, Berger was on board, and Paramount subsequently closed deals with both of them. That means the sequel that spent years stuck in development hell has finally found a path forward.

Edward Berger is directing World War Z 2

Berger is taking over a project that has already had a surprisingly complicated history. The filmmaker is best known for directing All Quiet on the Western Front, which won four Academy Awards, including Best International Feature. His other credits include the television series Patrick Melrose, The Terror, and the 2024 thriller Conclave.

The Riders is coming our way from A24 and Scott Free.

What happened to David Fincher’s World War Z 2?

This isn’t the first time World War Z 2 has gotten this close to happening. Before Fincher became attached, J.A. Bayona was set to direct the sequel. Bayona worked on the project for roughly a year before leaving, with reports at the time indicating that the filmmakers had struggled to settle on the story even though Bayona had some major set pieces in mind. He went on to direct Jurassic World: Fallen Kingdom instead.

Fincher eventually came aboard, and for a while it looked like World War Z 2 was finally going to become a reality. That version of the movie even had enthusiastic support from members of the original cast. Mireille Enos, who played Karin Lane in the first film, was set to return and later described the project as having a “beautiful script.” But Paramount ultimately scrapped the Fincher version over budget concerns, just months before filming was expected to begin.

Fincher later revealed that he was actually glad the movie wasn’t made. He explained that his version had similarities to HBO’s The Last of Us, particularly in its approach to the zombie apocalypse and the use of a parasitic organism in the opening material. Fincher said he believed The Last of Us had more room to explore those ideas because it was a television series rather than a feature film.

Brad Pitt, meanwhile, remained interested in getting another World War Z movie made.

Why World War Z 2 is finally moving again

The sequel’s revival appears to have been helped by a renewed push from Paramount. Deadline reports that Paramount Pictures co-chairs Josh Greenstein and Dana Goldberg identified World War Z 2 as a high-priority project. Skydance, which played a major role in getting the first movie made, is also involved in the renewed effort, with Skydance founder David Ellison sharing Pitt’s interest in moving forward with the sequel.

The first World War Z ended with Gerry discovering that people who are given a specific vaccination will be ignored by the zombies, giving humanity a potential way to survive the outbreak. Whether the new movie picks up from that ending remains unknown.

What we do know is that World War Z 2 is no longer just another abandoned sequel. After years of false starts, the movie has Brad Pitt back, Edward Berger behind the camera, and a new screenplay from Dennis Kelly. And while we never got to see David Fincher’s version of the movie, the sequel he couldn’t make is finally getting another chance.

Do you wish David Fincher had been able to make World War Z 2, or are you interested in seeing what Edward Berger does with the franchise? Let us know by leaving a comment below.

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PLOT: A team of doctors embarks on a local mission in the Amazon rain forest, but it soon becomes clear that not everybody – or everything – is happy to see them. Their sudden appearance draws the attention of a predatory animal, the “Boiúna.”

REVIEW: As much as we can complain that there’s really only one truly great shark movie, it can be argued that we’ve never gotten a legitimately good snake movie. 1997’s Anaconda is pretty much the closest thing we’ve received, and even that has pretty questionable quality. So while my next statement may not have tough competition, that doesn’t make it any less true: Beware Boiúna is the greatest killer snake movie of all time, and it’s not even close.

Beware Boiúna follows a group of doctors on a mission in the Amazon Rainforest as they try to save the people with medicine. But when something tragic happens, they run off and end up hunted by a man out for revenge. During their escape, they find themselves in the territory of a giant snake with an insatiable appetite. Now, they have to contend with the humans hunting them and the snake that wants to make a meal out of them. It’s a fairly simple setup, and I always love it when a horror film uses a local legend as its main antagonist. I had never heard of a Boiúna before, but I’m damn sure glad these things don’t exist in modern times.

Happy Death Day made Jessica Rothe a final girl, with the horror world really embracing her, so it’s always nice to see her pop up in any genre fare. She’s very easy to like and root for, as she’s a doctor just trying to make the world a better place. She clearly has a bit of ignorance regarding the harshness of said world, but it just makes her a solid protagonist. Kiana Mediera‘s Lena is from the jungle but was quick to leave, so she has a complicated relationship with returning home. Her main motivation is finding her brother, who disappeared in the jungle. She has a more boots-on-the-ground approach and definitely has some Ellen Ripley in her, especially with how much she’s put through the wringer.

I always love a good villain so it’s hard to view Logan Marshall Green as anything except an absolute highlight. When he’s first introduced, he seems like a stereotypical bad guy; some white dude coming along and wiping out sections of the jungle for profit. Yet he’s given some very intriguing layers, to the point where I actually empathized with him and wanted him to make it out alive. It makes all the sense in the world why he would want revenge against these doctors, yet he never sways too far from his humanity. Admittedly, most of the other characters are simple fodder for the snake.

I found myself constantly comparing the film to last year’s Anaconda, which featured awful FX and a snake that constantly defied the laws of physics. In comparison, Boiúna is a force of nature, but practically blends in with the world around her. Is the snake probably a little too fast for something this size? Sure. But it still manages to be perfectly grounded for the world the film takes place in. Speaking of which, I love that they always referred to the creature as “her,” as it gave the snake a bit of sentience, without having outright motivations. She is simply territorial, and these people are in the wrong place at the wrong time. There’s one shot of the snake silhouetted by lightning, which is absolutely beautiful and perfectly encapsulates the spectacle.

What really helps Beware Boiúna is that it completely avoids campiness. A giant snake is such a ridiculous idea that lampooning it always seems to be the option taken. Make light of it and practically wink at the camera. Thankfully, the filmmakers never so much as dip their toes into camp, and the snake is always a deadly serious threat.

With that realism comes a bit of a sacrifice with the kills. While I enjoyed them all, nothing stands out as overly creative, as it’s mostly quick bites, and dragging the victim off. What works so well about them is their shock factor, with several occuring at the most unexpected moments. Director Mike P. Nelson is also very clever with shot selection, often repeating the framing/setup of an earlier kill to help ramp up the tension later on, where the viewer may not even consciously recognize it’s even happening. Because even when Boiúna isn’t on screen, her presence is always felt.

Beware Boiúna is a non-stop thrill ride that perfectly balances character moments, action, and absolute terror. 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.

Beware Boiúna releases to theaters on October 2nd, 2026.

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Fall 2026 Horror Movie Preview: The Scariest Movies Coming This Season

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Zack Snyder has finally offered some details on his upcoming remake of John Carpenter’s Escape from New York, confirming when his version of the sci-fi action classic will be set. He also appears to have an actor in mind to play Snake Plissken, although he’s not ready to reveal who it is yet.

Snyder is writing and directing the new Escape from New York for StudioCanal and The Picture Company, with his Stone Quarry partners Deborah Snyder and Wesley Coller producing. Carpenter is also involved as an executive producer.

The filmmaker discussed the project during a wide-ranging appearance on the Happy Sad Confused podcast. Thanks to our friends at Bloody Disgusting for the transcription.

Zack Snyder’s Escape from New York will be set in 1997

One of the most interesting things Snyder revealed is that his version of Escape from New York will take place in 1997, just as Carpenter’s original film did.

“The movie is going to be set in ’97, from the perspective of 1981.”

He went on to describe the version of history he has created for the remake:

“I set the movie [in] the war between the United States Police Force and the elements, criminal elements. It takes place, I think, July 9th, 1981, which is the release date of the original movie … The rest is pretty much Escape from New York.”

Snyder isn’t looking to completely reinvent the basic premise of Escape from New York. Instead, he appears to be building his own version of the alternate history that Carpenter established in the original movie.

Snyder wants to preserve the camp and satire

Snyder also talked about what he loves about Carpenter’s Escape from New York:

“Talk about a movie that’s the perfect combination of kitsch and camp. It’s all the things, that’s why I love it. But also, it’s [in] a way that’s satire and can get to us. We can make comments about government and all the overreach or whatever you want to call it, the People’s Liberation Front of America, all that stuff is very … That’s in the headlines. It’s quite current, in some ways.”

The original Escape from New York was set in a dystopian 1997 in which Manhattan has been transformed into a maximum security prison. When the President of the United States crash-lands on the island, convicted criminal and former Special Forces soldier Snake Plissken is sent in to rescue him. The catch? Snake has only 24 hours to complete the mission before explosives implanted in his neck kill him.

Who will play Snake Plissken?

Of course, one of the biggest questions surrounding the Escape from New York remake is who will take over the role that Kurt Russell made iconic. Snyder didn’t reveal the actor, but he did seem to confirm that he already has someone in mind.

“I may. I’m not going to say. He better look like Snake, or I’ll walk out.”

Whoever gets the part will have some very large boots to fill. Kurt Russell’s Snake Plissken is one of the greatest characters of the 1980s.

The Escape from New York remake has been in development since 2007

Snyder’s version isn’t the first attempt to bring Escape from New York back to the big screen. In fact, a remake has been in development in one form or another since 2007. New Line Cinema initially acquired the rights and hired Len Wiseman, director of Underworld, to take the helm. Ken Nolan was writing the screenplay, and Gerard Butler was attached to play Snake Plissken.

Wiseman eventually departed and Brett Ratner (Rush Hour) took over as director, but he also stepped away. Breck Eisner (Sahara) was subsequently considered to direct, while David Kajganich and Allan Loeb worked on rewrites. New Line ultimately abandoned that version of the project in 2011.

Fox and The Picture Company picked up Escape from New York in 2015, with Robert Rodriguez (From Dusk Till Dawn) hired to direct and Neil Cross writing the screenplay. That version also failed to reach production.

Then, in 2019, Leigh Whannell (The Invisible Man) was hired to write and potentially direct the movie. That didn’t happen, either.

Radio Silence planned an Escape from New York “requel”

The project received another major development in 2022 when Matt Bettinelli-Olpin and Tyler Gillett of Radio Silence were hired to direct. The filmmaking duo, whose credits include Scream and Scream VI, were planning something a little different. Their Escape from New York was described as a “requel,” rather than a straightforward remake.

Radio Silence eventually moved on from the project, and StudioCanal subsequently became involved.

Now the movie has landed with Zack Snyder, who is writing and directing.

Will Zack Snyder’s Escape from New York actually happen?

That’s the big question. After nearly two decades of filmmakers, writers and studios coming and going, Escape from New York has developed a reputation as one of those projects that Hollywood just can’t seem to get into production.

Snyder’s involvement is a substantial step forward, particularly now that the filmmaker has revealed more about his approach to the material. The plan is to set the movie in 1997, retain the basic story of Carpenter’s original, and embrace the mixture of action, camp, and political satire that made the 1981 film so memorable.

There’s still no release date, and the cast has yet to be announced. Most importantly, we still don’t know who Snyder wants to play Snake Plissken. But at least now we know a little more about what his Escape from New York is going to be like.

Are you interested in seeing a version of Escape from New York that’s written and directed by Zack Snyder? Share your thoughts on this one by leaving a comment below.

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Netflix is developing a new mystery action thriller called Scope, and the project has an interesting team behind it. Deadline reports that Warfare co-director Ray Mendoza is attached to direct the film, with Jaume Collet-Serra producing.

Described as a mystery action thriller in the vein of Disturbia and Rear Window, Scope follows a battle-hardened special forces operator who returns home to recover from a traumatic injury. While trying to adjust to life back in the suburbs, he becomes caught up in an unexpected mystery.

That setup sounds like it could make good use of the familiar idea of someone seeing something they weren’t supposed to see, but Scope is also coming from filmmakers with extensive experience in action and military stories.

The screenplay began as a spec script written by Charley and Vlas Parlapanides, the brothers behind Netflix’s animated series Blood of Zeus, along with Scott Charnick. Netflix picked up the script before it went out for a wider sale through Collet-Serra’s production company, Jadis Collective.

Ray Mendoza is directing Scope

Mendoza is an interesting choice for Scope after his work on Warfare. The former Navy SEAL co-wrote and co-directed that A24 action drama with Alex Garland. Warfare was inspired by Mendoza’s experiences as a SEAL and focused on a group of soldiers caught in an intense combat situation. Mendoza has also directed the Western drama Blood on the Promontory, which stars Sam Worthington, Jai Courtney, Jack Quaid, Jaeden Martell, and LaMonica Garrett. His television credits include work on Prime Video’s The Terminal List: Dark Wolf.

That background could make Mendoza a natural fit for a thriller in which a military veteran finds himself dealing with a very different kind of threat after returning home.

Jaume Collet-Serra is producing

Collet-Serra will produce Scope through Jadis Collective alongside Max Jacoby. Trevor Engelson and Josh McGuire of Underground will also produce. The movie is the latest project to come from Collet-Serra’s creative partnership with Netflix. He signed his deal with the streamer following the success of Carry-On, the 2024 airport action thriller starring Taron Egerton and Jason Bateman.

Carry-On became one of Netflix’s most-watched movies ever, and Collet-Serra has several other projects in development with the streamer. Those include An Innocent Girl, a Washington, D.C.-set psychological thriller starring Kerry Washington, along with the action thriller The Cage and Maelstrom, an action movie set to star Reacher actor Alan Ritchson. Netflix also acquired his World War II survival thriller Play Dead earlier this year.

Who wrote Scope?

The Parlapanides brothers are best known as the creators of Netflix’s adult animated series Blood of Zeus, which ran for three seasons. Their other credits include the films Immortals and Death Note.

Charnick brings a unique background to the project. Before becoming a screenwriter, he spent 19 years as a Special Forces operator and another six years as an MI6 agent. After leaving active duty, he worked as a technical adviser on military and espionage productions for major studios and networks. That experience has led to writing assignments and original projects for the likes of Warner Bros., Sony, Alcon, ABC, Fox, Sky Atlantic, and ITV.

When will Scope be released?

Scope is currently in development at Netflix, so there is no release date yet. The cast has not been announced, either. For now, the combination of Mendoza’s military background, Collet Serra’s action-thriller track record, and the Rear Window/Disturbia premise makes Scope a project worth keeping an eye on. Netflix has not announced when production will begin.

Does Scope sound interesting to you? Share your thoughts on this Netflix thriller project by leaving a comment below.

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