Movies
Alex Garland Wrote a Haunted House Script, ‘The Toymaker’s Secret’
Before Alex Garland became the now-famous director known for Ex Machina and Annihilation he was a pretty big deal as a writer. While he wrote both the aforementioned screenplays, he also penned 28 Days Later, Sunshine, Never Let Me Go and Dredd. Another screenplay was just picked up and is described as a haunted house tale!
TriStar Pictures has landed the rights to Garland’s The Toymaker’s Secret, says Variety, which will be directed by first-timer Paloma Baeza.
The Toymaker’s Secret tells the story of an American family who moves into an old Victorian house in London and begins to believe it might be haunted.
“The Toymaker’s Secret is an original movie with such heart and humor and magic that it is sure to become an instant classic for the whole family,” said Hannah Minghella, president, TriStar Pictures. “We are thrilled to be working with Paloma on her debut feature and with Alex and Andrew who are both long-time friends and creative partners.”
Garland, Andrew Macdonald, Allon Reich, and Cara Speller will produce.
Baeza is BAFTA and Annie Award-winner for her work on “Poles Apart.”
Filming is underway on The Invisible Man director Leigh Whannell’s Wolf Man for Universal and Blumhouse, which will be howling its way into theaters on January 17, 2025.
Deadline reports that Matilda Firth (Disenchanted) is the latest actor to sign on, joining Christopher Abbott (Poor Things), Julia Garner (The Royal Hotel), and Sam Jaeger.
The project will mark Whannell’s second monster movie and fourth directing collaboration with Blumhouse Productions (The Invisible Man, Upgrade, Insidious: Chapter 3).
Wolf Man stars Christopher Abbott as a man whose family is being terrorized by a lethal predator.
Writers include Whannell & Corbett Tuck as well as Lauren Schuker Blum & Rebecca Angelo.
Jason Blum is producing the film. Ryan Gosling, Ken Kao, Bea Sequeira, Mel Turner and Whannell are executive producers. Wolf Man is a Blumhouse and Motel Movies production.
In the wake of the failed Dark Universe, Leigh Whannell’s The Invisible Man has been the only real success story for the Universal Monsters brand, which has been struggling with recent box office flops including the comedic Renfield and period horror movie The Last Voyage of the Demeter. Giving him the keys to the castle once more seems like a wise idea, to say the least.
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