In what may become one of horror’s biggest TV-and-film crossovers of the year, Blumhouse Productions has officially secured the screen-rights to the breakout horror comic series Something Is Killing the Children, making moves to bring it to both the big screen and adult-animation formats. The deal with BOOM! Studios- the original publisher of the series created by writer James Tynion IV and artist Werther Dell’Edera, marks a significant step toward translating one of modern horror’s most chilling comic properties into mainstream visual medium. 

The comic, which debuted in 2019, follows monster-hunter Erica Slaughter as she arrives in the small town of Archer’s Peak, a place where children vanish, monsters lurk in adult-invisible shadows, and the mysterious organization known as the Order of St. George hides in plain sight. Dubbed by critics as “tailor-made” for adaptation, the series has already sold over 5 million copies globally and inspired spinoffs such as House of Slaughter. 

What makes Blumhouse’s approach especially compelling is its dual-track strategy: a live-action feature film is in development alongside a separate adult-animated series. The animation arm will be overseen by Tynion himself, with Dell’Edera attached as co-executive producer and creative consultant. For the film, BOOM! Studios’ president Stephen Christy and Tynion will serve as producers, while Jason Blum will lead the Blumhouse side. 

In a statement timed with the announcement, Tynion called the deal “the partner who truly understood the potential of Erica Slaughter and the world Werther and I have built,” adding “nobody understands horror better than Blumhouse.” Blumhouse similarly praised the comic’s ability to tap “our most primal fears.” 

That said, while the project is now official, key details remain under wraps. No release dates, cast list, or director have been confirmed, but industry watchers are already noting that this deal may mark a shift: horror comic IPs are now viewed as franchise-worthy in both theatrical and serialized-streaming contexts. Blumhouse’s recent track record with modest-budget horror hits that became box-office successes gives added weight to the potential here.  

In a move that’s sure to send chills through fans of haunted-house horror, filmmaker David F. Sandberg has signed on to direct a new interpretation of the legendary The Amityville Horror for Amazon MGM Studios. The studio has officially announced that the project is being developed as a “reimagining” of the 1979 classic, which itself was based on the supposed real-life terror experienced by the Lutz family in the infamous house at 112 Ocean Avenue in Long Island. 

Sandberg, who built his reputation with the likes of Lights Out and Annabelle: Creation, will be collaborating with screenwriters Ian Goldberg and Richard Naing, the duo behind recent horror successes, to bring this new vision to life. Alongside them, producers Peter Safran and John Rickard from The Safran Company are on board, with Natalia Safran and Lotta Losten listed as executive producers. 

What makes this announcement particularly intriguing isn’t just the pedigree of the creative team, but the word reimagining. That suggests this won’t be a frame-by-frame remake of the Lutz saga, but rather a fresh take with room for new twists or narrative angles, even as it leans on the haunted house mythos that has made the Amityville legend endure for decades. 

Plots remain tightly sealed, neither casting nor release date have been revealed. But horror fans know the setting too well: the murder-scene house on Long Island, the family’s 28-day ordeal, the creeping dread that the ordinary can turn monstrous. The original 1979 film soared into popular culture by tapping into that dread, and this new version has high expectations riding on it. 

“Haunted house” cinema has evolved, and Sandberg’s track record suggests he knows how to blend slick visuals with grounded scares. By linking this property back into serious mainstream production via Amazon MGM, the studio clearly intends to revive Amityville’s myth with both scale and credibility.

Stay tuned for updates, casting announcements, teaser drops, filming locations, all of which could incite fresh waves of discussion. For now, the doors at 112 Ocean Avenue are being unlocked once more.

Hollywood’s horror scene is shifting gears with The Big Kill, a new horror-comedy from Live Nation Studios and writer-director Todd Berger, now confirmed to be in active production. Leading the cast are horror-genre legends Skeet Ulrich and Alicia Witt, alongside comics and performers like Pete Holmes, marking a genre mash-up that promises both wild laughs and genuine chills.

According to the initial announcement, the film is shooting in U.S. locations that complement its road-tour and music-inflected horror-comedy vibe. The plot centres generally on a former rock act (now seeking a comeback) that finds itself in a horrifying situation amid its tour. With its blend of live-music energy, horror beats and comedic timing, The Big Kill is shaping up as a wild ride for both genre fans and mainstream viewers.

Live Nation Studios, riding the concert-and-event business of its parent company, is backing the film with full musical-production support, emphasising that “Horror plus comedy set to ’90s music equals a resounding yes.” The producing team includes MXN Entertainment under Mason Novick.

The casting itself hints at genre awareness and nostalgia: Ulrich and Witt, both famed for 1990s slashers such as Scream and Urban Legend, appear to be returning to the form with knowing self-parody and fresh stakes. The ensemble also features names like Jon Heder, Jolene Blalock, Natasha Leggero, Megan Suri and Trevor Wallace, suggesting a mix of horror legacy and comedy chops.

Production sources say the film intends to lean into “tour-style visuals, backstage horror and a killer soundtrack that drives the dread.” While the setting appears to draw from road-trip tropes blended with haunted-house tension, further location and production details are pending confirmation. For horror fans this signals a shift: the genre is increasingly blending with other category frameworks- music, road-trip, satire, without abandoning genuine scares.

At this stage, no official release date has been announced, though industry chatter suggests it is targeting a wide launch when ready. With The Big Kill, Live Nation Studios is staking a claim in the genre space with a film that straddles generations and tastes.

If you’re up for a horror film where the road-trip playlist turns deadly and the tour bus might be your last stop, this one is worth watching.

After dominating the summer box office, horror-fans can finally settle in for the chilling ride of Weapons at home: the film will begin streaming on HBO Max on October 24, 2025. 

Directed, written, co-scored and produced by Zach Cregger, the film explores the baffling disappearance of seventeen children from the same classroom in Maybrook, Pennsylvania, and spins into a surreal labyrinth of suburban dread, shifting perspectives, and loaded ambiguity. 

The ensemble cast includes Julia Garner as Justine Gandy (the teacher at the heart of the vanishing class), Josh Brolin as Archer (a parent desperate for answers), and Alden Ehrenreich as Paul (Justine’s ex-boyfriend and police officer). 

Launched theatrically on August 8, 2025, Weapons opened with approximately $43.5 million domestically from 3,202 theatres, on a modest budget reported around $38 million.  Its second weekend added another $24.4 million, and globally it cleared the $70 million mark by mid-August. 

The streaming premiere on HBO Max is timed to land ahead of Halloween, giving the film a strong seasonal moment in the home-viewing space. Previously, the film became available for digital rental and purchase in early September.  With its blend of big-screen success and streaming accessibility, Weapons now has the runway to become a horror staple in the digital age.

The film’s layered storytelling- shifting between characters, revealing slowly how their stories interlock- makes it ideal for repeated viewings at home. As DeepFocusReview noted, “fear is treated as a story engine rather than a gimmick.”  Meanwhile, the cast gives it emotional weight, particularly Garner’s performance which many reviewers cited as a career-high. 

In short: Whether you explore the mystery solo or line it up for a horror night with friends, Weapons presents a compelling reason to go beyond jumps-cares and lean into unsettling atmosphere. Set your watch for October 24- and prepare for something more than just being scared.

The undead are rising again, this time under the direction of one of modern horror’s most promising voices. Award-winning filmmaker Chloe Okuno, best known for her acclaimed thriller Watcher, has officially begun production on Brides, a stylish and blood-soaked vampire feature Set in 1960s Northern Italy. The film, backed by NEON and Likely Story, promises an operatic exploration of seduction, repression, and transformation.

Set against the lush but isolating backdrop of a remote Italian villa, Brides follows Sally Bishop (played by House of the Dragon star Olivia Cooke) and her husband as they find themselves stranded in a strange estate run by the magnetic and unsettling Vova (Harry Lawtey). Casting beyond Olivia Cooke and Harry Lawtey has been kept under wraps, though industry chatter has linked names like Jodie Turner-Smith and Viola Prettejohn to supporting roles.

Okuno, who also penned the screenplay, has described the film as “a gothic nightmare about desire and control,” drawing inspiration from Bram Stoker’s Dracula but through a distinctly feminine lens. Okuno has previously said she views vampirism as a metaphor for power and desire.

The project has been in quiet development since 2024, with early reports suggesting that Maika Monroe (It Follows) was once attached before Cooke stepped into the lead. According to early production listings, filming is expected to take place partly in Budapest. Okuno is expected to collaborate again with her Watcher creative team.

Produced by Anthony Bregman and Stefanie Azpiazu for Likely Story, and distributed by NEON, Brides marks one of the company’s most ambitious horror projects to date. NEON, which also released Osgood Perkins’ Longlegs and Brandon Cronenberg’s Infinity Pool, has a reputation for championing auteur-driven genre films that blend arthouse style with visceral terror, and Brides seems poised to follow that bloodline.

Set for a mid-2027 theatrical release, Brides has already generated strong buzz within the horror community for its blend of high-style Gothic horror and feminist reinvention. Early reports suggest the film blends Gothic atmosphere with modern feminist themes, ‘Dario Argento by way of Sofia Coppola,’ as one fan blog described it.

Okuno’s meticulous approach to tension and her fascination with female subjectivity make her one of the most exciting directors working in horror today. With Brides, she appears ready to redefine the vampire myth once again, less about monsters in the dark, and more about the beauty and horror of wanting to live forever.

When asked what drew her to the project, Okuno said, “It’s about the eternal, the eternal night, the eternal hunger, the eternal longing to be seen.”

If Watcher turned paranoia into poetry, Brides looks ready to turn immortality into art.

The master of slow-burn terror, Osgood Perkins, is back to bend reality once again. After unnerving audiences with Longlegs and The Blackcoat’s Daughter, Perkins now turns his lens toward intimate dread in Keeper, a surreal, suffocating cabin horror starring Tatiana Maslany and Rossif Sutherland.

The newly released trailer confirms what whispers from festival screenings suggested: Keeper is no ordinary haunted-cabin movie. It’s an atmospheric, psychological descent that transforms love and isolation into something deeply menacing.

Liz (Maslany) and Malcolm (Sutherland) head to a remote forest cabin to celebrate their anniversary, but when Malcolm abruptly returns to the city, Liz finds herself stranded and stalked by an unseen force. The official synopsis hints that the property itself hides “a haunting past” that begins to mirror Liz’s inner turmoil.

Perkins describes the film as a “relationship horror”, using the supernatural as an allegory for emotional distance and fractured intimacy. In his words, “It’s about the things unsaid between two people, and what happens when those things start to manifest.”

The trailer, which premiered in late September via Neon, unfolds like a fever dream. The first half tracks Liz’s growing unease, shadows flickering, disembodied whispers, flashes of women from different eras staring directly at the camera, before snapping into a second, jarring perspective from Malcolm’s point of view.

Cinematographer Jeremy Cox (The Monkey) bathes the cabin in dim amber tones that slowly bleed into oppressive darkness, while Edo Van Breemen’s score hums like something alive in the walls. Perkins’ unique approach, dubbed “horror origami” by Guillermo del Toro, folds traditional dread into strange, poetic shapes.

Following limited preview screenings, Keeper has already garnered early praise from horror veterans: Anecdotal festival reports described the film as “beautifully suffocating,” though the quote has not been independently verified.

Critics who attended early cuts at Fantastic Fest likened Maslany’s performance to “a one-woman descent into madness that rivals Toni Collette in Hereditary.” Her portrayal of Liz reportedly balances raw panic with eerie calm, a performance that feels both deeply human and terrifyingly detached.

Keeper is slated for a U.S. theatrical release on November 14, 2025, followed by an international rollout through Neon and Focus Features. Horror fans can expect a slow, methodical burn rather than a barrage of jump scares, the kind of film that stays under your skin long after the credits roll.

With Keeper, Osgood Perkins once again proves that horror doesn’t need to shout to be terrifying. Sometimes, all it takes is a whisper in an empty room… and the creeping thought that maybe you’re not alone.