Fans of the INSIDIOUS franchise! The wait is over. We now have a title, trailer and first poster for INSIDIOUS: OUT OF THE FURTHER!
Having earned over $740 million at the global box office, the Insidious franchise returns with a new family and a terror that redefines what The Further is capable of.
In Insidious: Out of the Further, Amelia Eve stars as Gemma, a young mother raising her daughter in the house she grew up in who discovers she can travel into The Further, the purgatorial realm of lost souls at the heart of the Insidious universe. When something evil comes after her, Gemma discovers an ability that changes everything: she doesn’t just enter The Further, she can bring what lives there back to the real world. Once the demons realize her power, our world becomes their playground.
Look at what excited fans are saying with this first trailer.
Based on characters created by Leigh Whannell. Even the OG producing team is back for the latest installment! The film is produced by Jason Blum, Oren Peli, James Wan and Leigh Whannell.
With Lin Shaye reprising her iconic role as Elise Rainier and Jacob Chase (Come Play) directing, Insidious: Out of the Further opens August 21, 2026. Screenplay by Jacob Chase. Story by David Leslie Johnson-McGoldrick and Jacob Chase.
Watch and share the new trailer for NIGHT SWIM, in theaters January 5.
No running. No diving. No lifeguard on duty. No swimming after dark.
Atomic Monster and Blumhouse, the producers of M3GAN, high dive into the deep end of horror with the new supernatural thriller, Night Swim.
Based on the acclaimed 2014 short film by Rod Blackhurst and Bryce McGuire, the film stars Wyatt Russell (The Falcon and the Winter Soldier) as Ray Waller, a former major league baseball player forced into early retirement by a degenerative illness, who moves into a new home with his concerned wife Eve (Oscar® nominee Kerry Condon, The Banshees of Inisherin), teenage daughter Izzy (Amélie Hoeferle, this fall’s The Hunger Games: The Ballad of Songbirds and Snakes) and young son Elliot (Gavin Warren, Fear the Walking Dead).
Secretly hoping, against the odds, to return to pro ball, Ray persuades Eve that the new home’s shimmering backyard swimming pool will be fun for the kids and provide physical therapy for him. But a dark secret in the home’s past will unleash a malevolent force that will drag the family under, into the depths of inescapable terror.
Night Swim is written and directed by Bryce McGuire (writer of the upcoming film Baghead) and is produced by James Wan, the filmmaker behind the Saw, Insidious and The Conjuring franchises, and Jason Blum, the producer of the Halloween films, The Black Phone and The Invisible Man. The film is executive produced by Michael Clear and Judson Scott for Wan’s Atomic Monster and by Ryan Turek for Blum’s Blumhouse.
Wyatt Russell and Kerry Condon will star in Night Swim from writer/director Bryce McGuire. The film is based on the short film created by McGuire and Rod Blackhurst. Atomic Monster and Blumhouse are producing the film for Universal Pictures, and is the first collaboration for the two companies following the debut of the recent hit film M3GAN, which grossed $30.4M domestically this past weekend.
Details are being kept under wraps but Night Swim is being described as a supernatural thriller built around the hidden source of terror found in an iconic backyard swimming pool. The film is slated to start production soon and will open theatrically on January 19, 2024.
James Wan and Jason Blum are producers on the film. Atomic Monster’s Michael Clear and Judson Scott and Blumhouse’s Ryan Turek are executive producers. Alayna Glasthal will be the creative executive overseeing the film for Atomic Monster.
Wyatt Russell will next be seen starring in the Apple+ and Legendary Television’s Untitled Godzilla Series, alongside Kurt Russell, Anna Sawai, Ren Watabe, Kiersey Clemons, Joe Tippett and Elisa Lasowski. Following, Wyatt will be seen in Marvel’s upcoming film Thunderbolts, alongside Florence Pugh and Julia Louis-Dreyfus. Disney is slated to release this project July 26, 2024. While the exact plot is still being kept under wraps, this will be a reprisal of Wyatt’s acclaimed role in the Disney+ series, The Falcon and the Winter Soldier.
Most recently, Wyatt was seen in FX’s acclaimed limited drama series, Under the Banner of Heaven, alongside Andrew Garfield, Daisy Edgar-Jones and Sam Worthington. Also last year, offscreen, Wyatt starred and executive produced the new QCode action podcast series Classified. Russell’s previous film credits include: Richard Linklater’s Everybody Wants Some!!, which was nominated for a Gotham Award in the category of Best Feature; Jeff Grace’s Folk Hero & Funny Guy, for which he starred in, wrote and played all the live guitar performances; Ingrid Goes West; Overlord; Joe Wright’s Hitchcockian drama, The Woman in the Window; Ethan Hawke’s Blaze alongside Sam Rockwell and Kris Kristofferson, among several others. On television, his previous credits include the Blumhouse Television limited series for Showtime, The Good Lord Bird alongside Ethan Hawke; starring in AMC’s Lodge 49 which Wyatt reprised his role for both seasons; and Netflix’s critically acclaimed anthology series Black Mirror.
photo credit: Stephanie Diani
Kerry Condon can currently be seen starring opposite Colin Farrell and Brendan Gleeson in Martin McDonagh acclaimed film, The Banshees of Inisherin. Condon has garnered rave reviews as well as Golden Globe and Critics Choice Award nominations for her performance as Siobhán.
She will next be seen in the upcoming thriller In The Land Of Saints And Sinners alongside Liam Neeson and Ciarán Hinds. Condon’s film credits include Angela’s Ashes, the Academy Award-winning Three Billboards Outside Ebbing, Missouri; Bad Samaritan; Dom Hemingway opposite Jude Law; and the Oscar winning short film The Shore, among others. Condon lends her voice to the role of “Friday” in Avengers: Endgame, Infinity War and Age of Ultron as well as in Spider-Man: Homecoming and Captain American: Civil War. On television, Kerry was recently seen as “Molly Sullivan” in the third season of Showtime’s Ray Donovan as well as the series’ successive movie and appeared on shows such as Women on the Verge, Better Call Saul, Luck and Rome. On stage at just 19, Condon originated the role of “Mairead” in The Lieutenant of Inishmore by Martin McDonagh at The Royal Shakespeare Company and the Atlantic Theatre Company in New York. In that same year she played “Ophelia” in Hamlet, making her the youngest actress to ever play that role for The Royal Shakespeare Company. Kerry also starred in the first production of After the End by Dennis Kelly. In 2009, she appeared in The Cripple of Inishmaan, also by McDonagh, for which she won a Lucille Lortel and a Drama Desk award.
photo credit: Blumhouse
After graduating AFI, Bryce McGuire slashed onto the genre scene with the sale of his original spec, The White Room, to Amblin/Picture Company and work on Never Ever for Blumhouse and Baghead for StudioCanal/Picture Co. McGuire is currently working with Vera Farmiga on the surrealist comedy series Tabloid Dreams for Bron Studios.
Wyatt Russell is represented by UTA, Narrative and Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein.
Kerry Condon is represented by CAA, Curtis Brown Group, Framework Entertainment, Wolf-Kasteler, and Gang, Tyre, Ramer, Brown & Passman.
Bryce McGuire is represented by Gersh and Logan Clare at Johnson Shapiro Slewett & Kole.
James Wan is represented by CAA, Stacey Testro International, and Myman Greenspan Fox Rosenberg Mobasser Younger & Light.
Blumhouse revealed a new motion logo this weekend, on the company’s film, “The Black Phone,” which opened to $23.6M domestically. The new logo preceded the film and is the company’s first ever update to its motion logo.
“Our new logo is a fun tribute to our Blumhouse films and television series, and I’m curious to see if our fans can spot all the hidden symbols we’ve included throughout,” said Blumhouse CEO and Founder Jason Blum. “I’m thrilled we unveiled it with Scott Derrickson’s The Black Phone, so fans saw the new logo on the big screen.” Read our review HERE.
“The original Blumhouse logo holds a special place for horror fans like me, so we wanted to honor that legacy while creating something new. This new logo pays tribute to the original version and incorporates a lot of fun Easter eggs from Blumhouse films and TV series from the last decade that we think fans will enjoy the discovery,” said Blumhouse Chief Marketing Officer Karen Barragan. “It was a fun collaboration with my friend Neil Kellerhouse, and the stellar team at Elastic, who brought their own fandom and ingenuity to the work.”
“It was an honor to work for such an iconic brand and to be able to reference and pay homage to all of the great movies and shows from their catalogue,” said Elastic’s Duncan Elms. Added Neil Kellerhouse: “I feel so grateful to have worked with all the extraordinary talent at Blumhouse and Elastic. The House of Blum is full of surprises. Keep watching.”
The new logo takes viewers through the Blumhouse, and reveals several easter eggs from the company’s most iconic film and television series. The logo was created by design studio Elastic, by creative directors Neil Kellerhouse & Duncan Elms, in conjunction with Blumhouse CMO Karen Barragan.
Blumhouse announced today via social media that the company’s film Firestarter, from Universal Pictures, Blumhouse and Weed Road Productions will begin production today in Canada.
Zac Efron (Extremely Wicked, Shockingly Evil and Vile, The Greatest Showman) and Michael Greyeyes (Wild Indian, Rutherford Falls, True Detective) have been announced as being cast in the film.
Firestarter is being directed by Keith Tomas (The Vigil) and the script was adapted by Scott Teems (Halloween Kills, Rectify).
The film is based on an adaptation of Stephen King’s classic sci-fi thriller novel “Firestarter.”
Jason Blum and Academy Award® winner Akiva Goldsman will produce. Martha De Laurentiis, who was an associate producer on the 1984 adaptation of Firestarter starring a young Drew Barrymore, will executive produce. Logline: A young girl develops pyrokinetic abilities and is abducted by a secret government agency that wants to harness her powerful gift as a weapon.
Follow @blumhouse for updates on the company’s projects.
EPIX and Blumhouse today announced a new partnership, in which Jason Blum’s television company will develop and produce eight elevated, standalone horror/genre-thriller movies exclusively for the network. Blum will serve as executive producer.
The first film, A House on the Bayou, from writer/director Alex McAulay (Don’t Tell A Soul), will commence production in late spring, with an eye towards a premiere on EPIX in December 2021. Casting is underway. The film follows a troubled couple and their preteen daughter who go on vacation to an isolated house in the Louisiana bayou to reconnect as a family. But when unexpected visitors arrive, their facade of family unity starts to unravel, as terrifying secrets come to light.
The rest of the slate will debut in 2022.
Building on the television company’s success with the Welcome to the Blumhouse movies slate for Amazon and Into the Dark anthology series for Hulu, the deal is the first-of-its-kind for EPIX, which is adding films to its growing slate of premium original content (most recently, it exclusively debuted the critically-acclaimed horror-thriller St Maud).
“Blumhouse’s track record of producing high-quality, audience-favorite films have made them a driving force in the horror genre renaissance, and have been top-notch partners for EPIX,” said Michael Wright, president, EPIX. “We can’t wait to work with Jason Blum and his talented team in this new capacity, and make EPIX the exclusive home of more Blumhouse content.”
“This partnership with EPIX is an additional opportunity for us to collaborate with a great team in helping them grow their slate of genre films, while continuing to bring Blumhouse fans the kind of programming they know and love,” said Chris McCumber, President Blumhouse Television.
Also a destination for premium original series, EPIX and Blumhouse recently announced the May 16 premiere of Fall River, a 4-part docuseries about a series of chilling murders tied to sex and satanic cults, set in the 1980s.
Alex McAulay is represented by Verve, Writ Large Management, and Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein.
Zac Efron (Extremely Wicked, Shockingly Evil and Vile,
The Greatest Showman) has signed on to star in FIRESTARTER, the upcoming film
from Universal Pictures, Blumhouse Productions and Weed Road Productions,
adapted Stephen King’s classic sci-fi thriller novel “Firestarter.”
In the new film “A young girl develops pyrokinetic
abilities and is abducted by a secret government agency that wants to harness
her powerful gift as a weapon.”
Efron can currently be seen in and produces the
highly-successful docu-series Down to Earth on Netflix.
As previously announced, Keith Thomas (The Vigil) will
direct the film that is being adapted by writer Scott Teems (Halloween Kills,
Rectify), who will also executive produce.
Jason Blum and Academy Award® winner Akiva Goldsman will
produce. Martha De Laurentiis, who was an associate producer on the 1984
adaptation of Firestarter starring a young Drew Barrymore, will executive
produce.
Firestarter reunites Goldsman and Blum who have
previously collaborated on the Paranormal Activity franchise.
Stephen King is a bestselling novelist who made his name
in the horror and fantasy genres with books like “Carrie,” “The Shining,” and
“IT.” His books have sold more than 350
million copies worldwide and have been adapted into numerous blockbuster films
and television properties.
Efron is represented by CAA, Alchemy Entertainment,
Viewpoint and Felker, Toczek, Suddleson, Abramson.
What you can’t see can hurt you. Emmy winner Elisabeth Moss (Us, Hulu’s The Handmaid’s Tale) stars in a terrifying modern tale of obsession inspired by Universal’s classic monster character.
Here’s a first look at the brand new trailer for THE INVISIBLE MAN.
Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Moss) escapes in the dead of night and disappears into hiding, aided by her sister (Harriet Dyer, NBC’s The InBetween), their childhood friend (Aldis Hodge, Straight Outta Compton) and his teenage daughter (Storm Reid, HBO’s Euphoria).
But when Cecilia’s abusive ex (Oliver Jackson-Cohen, Netflix’s The Haunting of Hill House) commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turns lethal, threatening the lives of those she loves, Cecilia’s sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see.
Jason Blum, our current-day master of the horror genre, produces The Invisible Man for his Blumhouse Productions. The Invisible Man is written, directed and executive produced by Leigh Whannell, one of the original conceivers of the Saw franchise who most recently directed Upgrade and Insidious: Chapter 3.
The film is also produced by Kylie du Fresne (Upgrade, The Sapphires) for Goalpost Pictures. The executive producers are Whannell, Beatriz Sequeira, Charles Layton, Rosemary Blight, Ben Grant, Couper Samuelson and Jeanette Volturno. The Invisible Man is a co-production of Goalpost Pictures Australia and Blumhouse Productions, in association with Nervous Tick, for Universal Pictures.
THE INVISIBLE MAN opens in theaters February 28, 2020.
What is the difference between the lines that divide us and connect us? A line can be a form of communication or it can be a separation between two sides. It can be a line in the sand that you can’t cross or it can be a line that connects two points. It’s a word with multiple implications that represents the duality of the very things it connects or divides. In Jordan Peele’s US, lines and duality are echoed through the inclusion of two ordinary items: mirrors and scissors. One creates a connection between the self and the reflection, the other serves to separate one item from another. And yet, the mirror can break and the reflection splits, and the scissors only function when two halves come together. Like the line, both represent division and connection simultaneously.
Jordan Peele already held a mirror up to the cultured, open-minded white Americans in GET OUT, and asked if they were going to ignore their own passing comments that add to the larger systemic problems with race in America. With US, he doesn’t just hold the mirror to the white faces suddenly blindsided by their own shame, but to all of privileged America. All of us, regardless of skin tone, who have been privileged to ignore those in the class below us; those whose voices aren’t heard and whose actions are seen as meaningless in society. Despite what some may think, the human connection to people across all classes exists even if some fail to acknowledge it.
GET OUT and US are both horror films that bring deep-rooted cultural issues to the surface, but US is much more subtle and less-incendiary in its approach. While the visual metaphors of mirrors and doppelgangers show how we’re all one-in-the-same, the message is more nuanced and harder to read. It’s a film that sprinkles in questions about political revolution and the class system amid tense stand-offs and shocking scenes of carnage. This might frustrate some looking for the culture shock that GET OUT provided but results in a film that will no doubt be studied and deconstructed for years to come.
After a chilling opening set in a carnival at night that perfectly sets the mood for the film, the story reveals a woman (Lupita Nyong’o) and her family returning to the beach that left a haunting impact on her as a child. What starts as a sunny getaway quickly turns into a nightmare for her and her husband (BLACK PANTHER’s Winston Duke) and two children (Shahadi Wright Joseph, Evan Alex) when their doppelgangers mysterious show up in the driveway one night. The arrival of these strangers triggers a series of terrifying events and revelations.
Much like Wes Craven’s THE HILLS HAVE EYES where a family vacation triggers a series of incidents where the protagonists have to look inward to defeat enemies, each family member in US has to defeat their own demons in order to battle… well… “themselves.” The daughter has to put down the iPhone; the son has to use intellect instead of his magic tricks; even the dad has to realize that money isn’t going to buy him happiness (though his new boat does come in handy). Most importantly is the journey of Lupita Nyong’o. She has to overcome her past trauma and become the strong one to lead the way for her family. But like the heroes in Craven’s grindhouse classic, she in many ways turns into the violent aggressor that she’s fighting. Even her son looks at her apprehensively at one point because her white garment becomes soaked in blood – turning her outfit into the red jumpsuit like that of the enemy.
Like GET OUT, Jordan Peele hints at a bigger world but still keeps it relatively small and claustrophobic. This allows for the central characters to shine. Winston Duke hilariously captures the awkward dad that’s trying to be cool. He walks the line perfectly without taking it into a caricature, providing many laugh-out-loud, tension-breaking moments. Despite a well-rounded cast that all leave their mark, the film is led by a powerhouse performance by Lupita Nyong’o. The role demands her to flex her emotional and physical acting chops. She transitions seamlessly from a woman dealing with past trauma to someone forced to protect her children. Even amid the chaos of the home-invasion-turned-chase story in the second and third act, Peele always has fun with the audience. His approach to horror and violence never feels over the top or mean-spirited. US is not a marathon that puts audiences through the wringer, but more of a journey through a funhouse complete with things popping out, nervous laughter, and reflections of ourselves.
Mike Gioulakis, best known for his striking cinematography in IT FOLLOWS and this year’s GLASS, lends the film a stark look with long shadows and a minimal color palette so that the red jumpsuits of the late night visitors pop off the screen. While GET OUT might have more iconic scenes, US has more iconic shots. Nothing proves this more than the final standoff. The tense sequence is masterfully filmed and intercut with gorgeous, unexpected footage. The beauty of the film balances the brutality. Peele’s decision to go with Gioulakis – a different cinematographer than his last film – shows that he’s continuing to sharpen his teeth as both a storyteller and filmmaker.
US opens with footage of the 1986 “Hands Across America” event playing on the television. In real life, despite the good intentions, the event became a symbol for the hypocrisy of how America has handled homelessness in this country. Outspoken people gathered hand in hand with their neighbors from the Atlantic to the Pacific to raise $50 million for the poor – each person in line was supposed to donate $10. The event cost $16 million to execute, and after expenses were paid, only $15 million was donated to charities. It became an empty, symbolic gesture with a message that fell on deaf ears. In 2019, there is still a sense of apathy in this country. What doesn’t directly affect us can be ignored. When you are living with even the most modest sense of wealth, you can afford to look the other way; you can avoid those who remind you of wealth disparity; you can mute their cries for help. While US might not have the same eye-opening effect that GET OUT left audiences, Jordan Peele, once again, successfully blends thrills with a message. It cements his standing as a master in “social horror” and serves as a reminder that a horror film that holds a mirror up to our society will always connect with audiences.
Jessica Rothe leads the returning cast of HAPPY DEATH DAY 2U, the follow-up to Blumhouse’s (Split, Get Out, The Purge series) surprise 2017 smash hit of riveting, repeating twists and comic turns. This time, our hero Tree Gelbman (Rothe) discovers that dying over and over was surprisingly easier than the dangers that lie ahead.
The first movie was very clever and a real crowd-pleaser. Seeing it with an audience on a Friday night was a hilarious good time and to watch Rothe’s character absolutely THROUGH with dying over and over again in this latest preview is a riot. I can’t wait for Valentine’s Day!
