Horror Industry News — Friday, February 27, 2026

IMDb coverage highlights the film’s visual and tonal debt to Se7en; reporting frames Cronin’s take as stripping franchise spectacle for a darker, more procedural horror approach.

A24 released an eerie trailer for its film adaptation of the viral YouTube 'Backrooms' series; confirms adaptation status and begins wide consumer-facing campaign.

Damien Leone says Terrifier 4 script is nearly finished and he hopes to begin pre-production this spring; he plans to reveal Art the Clown’s origin in the first 15 minutes; franchise budgets/grosses noted: Terrifier (~$55K), Terrifier 2 (~$250K / $15.1M gross), Terrifier 3 ("couple million" budget / $76M+ gross), indicating larger financing for the next film.

Mike Flanagan is officially attached to adapt Stephen King's The Mist for Warner Bros.; source notes studio-level backing (Warner) and positions Flanagan as the creative lead on the project.

Sony won a bidding war to acquire JT Mollner’s creature-feature Skeletons starring Brie Larson; JJ Abrams is producing and Sony's deal indicates wide studio backing but financial terms not listed in this piece.

Producer Roy Lee confirms Zach Cregger's Resident Evil reboot carries an $80M budget and is being positioned as a high‑octane action reboot rather than a faithful continuation of prior films.

Blumhouse–Atomic Monster and Behaviour Interactive have hired David Leslie Johnston-McGoldrick and Alexandre Aja to write a Dead by Daylight feature; Aja will not direct (he's attached to Netflix's Under Paris 2), writers are working and the producers are actively seeking a director — ties game IP to two horror-heavy production banners.

Laurence Fishburne has joined Mike Flanagan’s new Exorcist film for Blumhouse–Atomic Monster and Morgan Creek; production will shoot in New York and Universal plans a wide theatrical release in March 2027 — Fishburne’s role undisclosed; Flanagan writes/directs under Red Room Pictures with Jason Blum producing.

Jason Blum says Blumhouse will shift focus back toward owned/known horror IP and pursue a slate that includes very low-budget features under $1M to sustain volume and risk profile; signals a strategic move to double down on microbudget horror alongside larger franchise work.

Bloody Disgusting frames Jonathan Levine (Warm Bodies) as director on the Grady Hendrix Horrorstör adaptation for Searchlight — confirms genre director pedigree tied to the project.

Trade confirms Ejiofor joins Scarlett Johansson in Blumhouse–Atomic Monster–Morgan Creek's Exorcist; sources indicate Ejiofor plays an ex-con-turned-priest, Flanagan wrote/directed, project is distinct from 2023's Believer, and Universal set a March 12, 2027 theatrical launch with NYC production planned.

Mike Flanagan's Carrie TV project is targeting an October release window; no distributor or platform named and production/episodic status not specified.

Variety (exclusive) confirms Criterion Collection pickups including Guillermo del Toro’s Frankenstein and a niche Netflix title 'KPop Demon Hunters', indicating Criterion's continued curation of contemporary genre cinema for prestige home-video releases.

Tubi has partnered with The Black List to source new horror scripts — initiative targets undiscovered writers and aims to funnel winning specs into Tubi Originals development slate.

Producer Roy Lee says Netflix's BioShock feature is still delayed but hopes remain to move into production once Netflix and Take-Two align timing; no firm start date disclosed.

BBC Film, Lionsgate and Monumental Pictures have begun principal photography in the UK on Ghosts: The Possession of Button House; production is location-based in the UK and positioned as a UK–US co-production.

Send Help held extremely well with a 0.8% weekend decline; Wuthering Heights led globally with $82M — box office context positions Raimi's survival horror as a steady performer.

Shudder's March slate list: new originals, licensed films and at least one documentary special; article compiles titles and approximate release dates for March 2026 across platform (programming window guidance for acquisition scouts).

Well Go USA acquired U.S. rights to Joko Anwar’s supernatural horror comedy 'Ghost in the Cell' following festival/market activity; acquisition positions Well Go to distribute an international auteur-driven genre title in North America.

Guillermo del Toro discusses his approach to adapting Frankenstein—notes thematic focus and creative choices tied to his auteur voice; confirms his writing/directing involvement and Netflix distribution for the project.

Report claims Parker Finn's Smile franchise is expanding: Smile 2 is said to feature Naomi Scott and will debut on Paramount+ — suggests franchise pivot to streamer-first release.

Bloody Disgusting reports Adam Wingard has departed the Face/Off sequel; article adds no financials or replacement names.

Searchlight signed a multi‑project first‑look (film & TV) pact with Cate Blanchett’s production company Dirty Films; deal covers both mediums and positions Searchlight as primary home for Dirty Films' future projects.

Producer on A24's Texas Chain Saw Massacre indicates an accompanying TV series will explore Leatherface's early years/origin territory; suggests expanded franchise storytelling across formats under A24.

Exclusive poster reveal for Shudder's 1000 Women in Horror emphasizes industry parity; Bloody Disgusting coverage frames the doc as platform-backed initiative with talent archive potential and programming/PR push around Women's History Month.

Boxoffice Pro reports Dolby Cinema early-access screenings for A24's auditory horror Undertone begin March 9 — indicates Dolby/A24 premium-format rollout and targeted event screenings ahead of wider release.

James Wan and Leigh Whannell publicly signaled development momentum for another Saw installment and emphasized Jigsaw's centrality to the concept—both creators are publicly attached in promos quoted by the outlet.

Platinum Dunes is developing a reboot/ resurrection of The Monster Squad property; studio is attached and project is in active development—likely a franchise play leveraging IP nostalgia.

Shudder acquired/commissioned psychological horror Hellcat with a 2026 release window — platform pickup places the title on a genre-focused streamer slate.

Casting: Siena Agudong and Brec Bassinger attached to Tubi YA horror-comedy Buzzkill; signifies Tubi investing in genre-leaning original scripted slate aimed at younger demos.

Dailyfly News reports Flanagan is directing a new Exorcist film starring Scarlett Johansson with a 2027 release window attached — indicates a feature-sized production and a concrete target year; no studio/budget disclosed in excerpt.

CANEX Creations invested in Nigerian feature Clarissa and NEON has acquired worldwide distribution rights; article does not disclose deal terms, release window, or production budget.

Odessa A'zion has withdrawn from A24's Deep Cuts after backlash over casting and admitting she hadn't read the source book; A24's casting choice sparked public criticism prompting the exit.

North American box‑office comparison highlights Send Help outperforming Kubrick's The Shining in a like‑for‑like metric or reporting period, reinforcing Raimi's commercial resurgence for contemporary horror.

Director Martín Mauregui discusses Crazy Old Lady's themes and production context in an interview tied to Shudder's release; includes creative intent and the film's festival/streaming path (director commentary useful for publicity/packaging).

Sequel trailer (unnamed here) returns two years after original; claims to change the format — article highlights creative shift in sequel structure (format innovation as a marketing hook for the franchise on streaming/theatrical hybrid).

Blumhouse will release Curry Barker’s Obsession theatrically via Focus Features on May 15; film premiered at TIFF and won Sitges’ People’s Choice, stars Michael Johnston and Inde Navarrette, with Jason Blum among executive producers — trailer to debut tomorrow per excerpt.

StudioCanal has purchased a majority stake in Italian producer-distributor Lucky Red; financial terms were not disclosed. Move expands StudioCanal's footprint in Italy and adds Lucky Red's catalogue and theatrical distribution network.

Monkeypaw Productions (Jordan Peele) producing; project is a football-set supernatural/horror premise titled Him in active development with writer/director attachments still unconfirmed.

New immersive 3D series tied to A24's Talk to Me is casting known TV/film actors — signals A24 leveraging existing horror IP into immersive/interactive formats and cross-platform tie-ins.

Analysis piece arguing Flanagan's peak Netflix run (five years) won't be matched—positions his multi-series output as a high-water mark for auteur-driven horror on streamer, but no new deal or numbers disclosed.

Bodycam: Shudder pickup; found-footage cop-horror inflected with cosmic-terror elements — trailer highlights police dashcam/helmet-cam POV, cover-up conspiracy beats and Shudder branding (release window implied with platform-exclusive focus).

Night Train Media has acquired Swedish distributor Eccho Rights from CJ ENM; article frames this as a redistribution of CJ ENM's European rights arm — purchase price not disclosed.

Redmayne attached to Kore-eda’s next film being set up at Searchlight — reporting consolidates multiple outlets on same talent/studio alignment; no budget or date disclosed.

Coverage notes Guillermo del Toro’s Frankenstein dominated BAFTA 2026 (multiple wins/major categories implied), reinforcing the film’s awards momentum and prestige positioning for international and catalog revenue.

Screen Gems and Alloy Entertainment are producing Horrorscope; Harriet Slater has joined the cast, adding talent momentum while production stage remains pre- or early-production.

Blumhouse's controversial reboot (unnamed in excerpt) has become a quiet streaming success three years after the studio initially 'killed' the franchise—indicates longtail streaming value for divisive IP; platform and metrics not specified.

Early reporting on Ari Aster's next film indicates it continues his unsettling tonal approach—no distributor, budget, or schedule disclosed but signals continued auteur horror development after Hereditary and Midsommar.

Imaginary (Blumhouse) posted the studio's best week-two hold since M3GAN, signaling stronger than average theatrical legs for a recent Blumhouse release; specific weekend grosses not provided in excerpt.

HBO and A24 have a four-part American docuseries debuting as a weekend binge; coverage frames it as an unusual A24/HBO collaboration that may expand A24's non-fiction footprint and HBO's prestige doc lineup.

Critical analysis argues the Strangers reboot trilogy misses the creative point of Bryan Bertino's original; no new deals, financing, or talent attachments disclosed.

ComicBook.com warns a licensed, well-regarded horror film from the 2020s will be leaving Tubi soon — availability window closing for streaming viewers.

Streaming availability: psychological horror feature Meat is now on Tubi (AVOD), expanding the title's audience via free, ad-supported platform placement.

Source says Netflix pushed to increase vampire elements during development of Midnight Mass; Flanagan resisted creative notes—illustrates streaming platform input on genre tone but no deal changes announced.

Early reactions to The Bride suggest Guillermo del Toro’s Frankenstein faces a strong peer in critical response; excerpt offers reaction tone but no box office or distribution details.

Lionsgate has hired its first Chief AI Officer — an exec-level appointment positioning the studio to centralize AI strategy across production, marketing and metadata, potentially accelerating AI-driven efficiencies for genre projects.

Tubi executive framed platform strategy around volume and creator diversity, arguing audiences don't differentiate professional vs. user-made content — signals Tubi will prioritize acquisition and UGC/creator-sourced supply for scale.

Lionsgate's The Housemaid remained #1 on the U.K. weekly home-entertainment sales chart through Feb. 25 (per Media Play News), indicating continued strong physical/digital sell-through in the UK market.

KOCCA and CJ ENM ran an exclusive London VIP event to promote South Korean content and business ties—signals ongoing push for Korean exporters to expand UK/European market access and buyer relationships; CJ ENM (watched) leading cultural diplomacy efforts.

Dread Central reports a rumor that Zach Cregger's next project may be titled Flood; reporting frames it as unconfirmed and separate from the Resident Evil reboot.

Crazy Old Lady has been added to Shudder's catalogue and is now available to stream on the platform; article includes viewing options and platform links.

Feature identifies a single formative horror film that most influenced Sam Raimi's style — cultural/creative context for genre historians and marketing copy rather than a business development.

Bell Media says Crave's 'Heated Rivalry' is among Canada's biggest hits; exec Sean Cohan frames the title as proof-point in Crave's catalog growth and U.S. crossover ambitions.

IndieWire reports Crave is leveraging breakout hits (e.g., 'Heated Rivalry') and slate curation to push into U.S. and international markets, using originals and licensing to raise brand visibility.

Euronews Culture praises Julia Ducournau's Alpha for its psychological focus — critic frames the film as probing inner experience rather than body horror; no distribution or financial details.

Telefilm is repositioning its messaging after a national box-office slump, signaling a strategic push to reframe 'Canadian film success' — no new funding or program details disclosed in the piece.

A24 scheduled 21 theatrical releases for 2026 (list in article) — signals heavy theatrical slate and continued distribution push; excerpt adds no financials or project specifics.

Variety reports concrete costs: Spyglass paid Neve Campbell $7M to return and spent $500K on a rewrite after firing Melissa Barrera; itemizes personnel shakeups that delayed production and increased budget pressure.

Evil Dead 7 receives an official release-date update — signalling active franchise rollout planning and continued studio investment in the franchise's future.

David F. Sandberg is directing A Little Slice of Hell for Paramount; adaptation of John Goodrich short; writers Greg Weidman and Geoff Tock adapting alongside earlier draft by Emily V. Gordon; producers include Maximum Effort and Assemble Media.

XRTV and Meta's immersive 'Talk To Me' series has cast set; project expands the Wan/genre IP‑to‑experience trend (Deadline reports casting specifics and creative partners).

Paramount Skydance to acquire Warner Bros. Discovery under a definitive merger; deal combines major studios and IP libraries — potential consolidation affects studio release slates, third-party distribution deals and channel bundles across theatrical and streaming.

Paramount/Skydance raised its bid to $31/share for Warner Bros. Discovery; offer includes a $7B regulatory termination fee, $2.8B to cover WBD’s Netflix termination costs, a daily ticking fee beginning after Sept. 30, 2026 ($0.25 per quarter), and revised MAC language narrowing Paramount’s walk-away options — Netflix has four business days to improve its $27.75/share bid.

Alberta's 2026-27 budget cuts $35 million from its film & TV tax credit, a direct production-cost headwind for Canadian shoots and co-productions beginning next fiscal year.

Producers report optimism about co-production and collaboration opportunities with Mexico, signaling potential cross-border financing and location options for Canadian and international projects.

STARZ reported Q4 revenue $322.8M, net loss $20.7M, operating loss $(4.7)M and Adjusted OIBDA $55.5M; domestic OTT subscribers hit 12.7M (up 7.6% YoY); company targets deleveraging to ~2.7x and improved free cash flow in 2026.

Circle Blue Entertainment and OYA Media Group signed a first-look pact—establishing development pipeline and giving OYA priority to review Circle Blue projects (terms undisclosed).

The Hollywood Reporter reports Scream 7 earned a franchise-best $7.8M in previews, highlighting strong early box-office momentum ahead of opening weekend.

Scream 7's killers: first Ghostface revealed as escaped mental patient Karl Gibbs (Kraig Drake) after being run over by Courteney Cox's Gale Weathers; the film uses multiple Ghostfaces and fake calls from presumed-dead Stu Macher as part of its mystery.

FX’s The Beauty premiered Jan. 21 with a three-episode launch; season is 11 episodes total with the rest rolling weekly (two-episode final weeks). Ryan Murphy co-created/exec-produced; Matt Hodgson co-created/wrote. Cast includes Evan Peters, Ashton Kutcher, Jeremy Pope and Bella Hadid; the series is framed as dark comedy with pronounced body-horror elements.

Apple TV+'s Monarch: Legacy of Monsters season 2 (Monarch) will remain high-production and aligned with the MonsterVerse's scale despite being a streaming spin-off; article positions the series as canon-supporting and not a budget-cut companion to the films.

Bleeding Cool shared a new clip from They Will Kill You emphasizing stylistic violence and tone; no distribution or financial details disclosed.

Natasha Kermani’s medieval supernatural feature The Dreadful stars Marcia Gay Harden (Morwen), Sophie Turner (Anne) and Kit Harington; film riffs on the same Shin Buddhist parable as Onibaba and screened in a Lionsgate-hosted special — review calls the picture uneven but notes Harden’s performance as a standout.

Dark Star Pictures debuted a trailer for Alice Maio Mackay's sapphic demon romance The Serpent’s Skin, starring Alexandra McVicker and Avalon Fast — positioning the title as a queer-leaning genre release from an indie genre distributor.

Red-band trailer released for a meta reimagining of the cursed cult title; positions the film as self-aware/genre-savvy in marketing push.

New creature feature 'The Yeti' starring Jim Cummings released a trailer highlighting practical creature effects and festival/art-house positioning; theatrical/distribution details not disclosed.

Teaser trailer released showing interconnected liminal rooms and practical set/production design; emphasizes claustrophobic navigation and world-rules rather than jump scares—signals practical-effects-first approach from Atomic Monster team.