The set includes Happy Death Day and sequel Happy Death Day 2U, along with exclusive posters and even a set of enamel pins featuring iconic images from the films.

Bonus Features include…

HAPPY DEATH DAY (2017) DISC ONE (4K UHD):

• NEW Audio Commentary With Director Christopher Landon And Actor Jessica Rothe

HAPPY DEATH DAY (2017) DISC TWO (BLU-RAY):

• NEW Audio Commentary With Director Christopher Landon And Actor Jessica Rothe
• Alternate Ending
• Deleted Scenes
• Worst Birthday Ever
• The Many Deaths Of Tree
• Behind The Mask: The Suspects
• Theatrical Trailer

HAPPY DEATH DAY 2U (2019) DISC ONE (4K UHD):

• NEW Audio Commentary With Director Christopher Landon And Actors Jessica Rothe And Sarah Yarkin

HAPPY DEATH DAY 2U (2019) DISC TWO (BLU-RAY):

• NEW Audio Commentary With Director Christopher Landon And Actors Jessica Rothe And Sarah Yarkin
• Deleted Scene
• Gag Reel
• The Never-Ending Birthday
• Web Of Love: Tree’s Nightmare
• Multiverse 101
• Theatrical Trailer

This ShoutFactory.com exclusive offer contains the following items:

• Happy Death Day 2-Disc UHD/Blu-ray set
• Happy Death Day 2U 2-Disc UHD/Blu-ray set
• Limited edition 18” x 24” rolled posters of the theatrical artwork for both films

Plus, Scream Factory and Gutter Garbs have teamed up to bring you the official Happy Death Day Collectible Enamel Pin Set, exclusive to ShoutFactory.com and limited to 500 units.

• Set includes 4 hard enamel pins (Mask, Mascot, Sheet Cake, and Cupcake) and one soft enamel pin (Clock Window)
• Each pin measures 1.5” to 2” high
• Set includes a backer card, which measures approximately 6” x 5”, housed in a custom keepsake box, which measures approximately 7” x 6”
• Art by Matthew Skiff

In Happy Death Day (2017)…

“Blumhouse Productions brings you this original and inventive thriller in which a blissfully self-centered co-ed (Jessica Rothe, Utopia) is doomed to relive the day of her murder … unless she can identify her masked assailant and hopefully stop the madness. If she can’t, she will be stuck in an insane loop, reliving the ghoulish nightmare that has become her death day.”

And in Happy Death Day 2U (2019)…

“It’s déjà vu all over again for Tree Gelbman, the snarky sorority sister who solved her own murder by repeatedly reliving it. But now the masked campus killer has mysteriously rematerialized to terrorize new targets, and Tree must cycle through another time loop of terrifying chills, clever twists, and pulse-pounding suspense in this inventive follow-up to Blumhouse’s hit.”

You can pre-order the set over on Scream Factory’s website today! In the meantime, you can experience your own time loop below by revisiting the 2017 original with our very own Horror Queers podcast.

The post ‘Happy Death Day’ 4K Release on the Way from Scream Factory Featuring Both Movies and Special Items! appeared first on Bloody Disgusting!.

So… is it happening? Speaking with Collider this week, Blum suggests that he hasn’t yet given up on the franchise. “I have a plan,” Blum teases in his new chat with Collider.

He adds, “I’m not saying goodbye to Happy Death Day. I’ll say it like that.”

What exactly does that mean? It’s hard to tell at this time, but it sounds like Tree Gelbman’s (Jessica Rothe) story isn’t quite over yet. Of course, there are various different ways to continue that storyline, including another movie, a television series, or perhaps even a comic book, so we wouldn’t necessarily take this to mean that a third installment is being developed.

That said, *something* seems to be brewing. Stay tuned…

Back in 2019, sequel Happy Death Day 2U scared up $64 million at the worldwide box office, a far cry from the first film’s $125 million. But with a reported production budget of just $9 million, that first sequel was at the very least profitable for Blumhouse. Never say never.

The post Jason Blum Teases That He’s “Not Saying Goodbye” to the ‘Happy Death Day’ Franchise appeared first on Bloody Disgusting!.

In a genre where evil rarely dies, it’d no surprise that horror has always remained at the forefront when it comes to applying the post-credit stinger. Here are 10 of the all-time best.

SLiTHER

Pour one out for the sequel we never got, teased by this stinger. At the end of Slither, Grant is blown to smithereens, and the three survivors walk off into the sunrise. Earth is free from the immediate threat of the alien parasite, and cue the happily ever after for our plucky protagonists. A post-credit scene reveals that curiosity killed the cat, though. Literally. A cat wanders into the frame to inspect a pulsating glob of alien-Grant flesh. As it begins to lick the rattling mass, the screen cuts to black, and it howls. The implication is clear; the parasite just found a new host.

Sadako vs. Kayako

Freddy vs. Jason concluded with neither one truly winning or losing; Freddy’s severed head winks at the viewer. The battle between J-horror ghosts Sadako and Kayako took a very different approach. The third act confrontation between cursed spirits saw the two collide to create something deadlier. Called Sadakaya, this new spirit captured the best of both worlds, taking on Sadako’s appearance and Kayako’s infamous death rattle. Worse, the merging of the two might make them completely unstoppable. The abrupt ending left fates unknown, but the post-credit scene reveals that Sadako’s cursed tape now contains Sadakaya.

Paranormal Activity 4

No matter how you feel about this sequel, its post-credit scene makes for a fantastic example of how to tease the next entry. This quick 30-minute scene, through handheld POV, sees someone enter into a convenience store of sorts featuring shelves lined with occultist objects. Out of nowhere, a strange woman pops out and warns, in Spanish, that this is only the beginning. They flee quickly. This seemingly out of left field clip, having nothing whatsoever to do with the previous film, hinted at Paranormal Activity: The Marked Ones in the most intriguing way. 

Trick or Treat 

A rock concert should always end with a good encore, and this heavy metal horror film honors that tradition with a humorous stinger. The movie about a teen obsessed with metal forced to thwart the demonic plans of his undead idol boasts a few cameos by notable rock gods, including Ozzy Osborne. Playing television evangelical Rev. Aaron Gilstrom, Osborne’s brief appearances are relegated to TV spots in which the Reverend goes on anti-metal, Satanic Panic style tirades apropos of the era. After the credits, he appears once more to proclaim about the film, “this could kick you off into becoming an absolute pervert!” It’s an early example of the meta wink to the audience.

Urban Legends: Final Cut

This sequel took the concept of its predecessor and placed in a different setting with a whole new set of unrelated characters. Film students at a prestigious film school find themselves getting offed in urban legend inspired ways. The killer isn’t out for revenge this time, but to claim a student’s feature as his own while hiding all traces of the truth through murder. Meaning that the villain in part two isn’t nearly as over the top unhinged as Rebecca Gayheart’s Brenda Bates was. Luckily, she makes an appearance in the stinger. Now a nurse in an asylum, she leans over a patient’s shoulder – Final Cut’s killer – and declares they have much in common… before wheeling him away.

Cult of Chucky

The post-credit scene of Curse of Chucky brought original protagonist Andy Barclay (Alex Vincent) back into the fold. For much of its sequel, Cult of Chucky, Andy works to save Nica (Fiona Douriff) from Chucky and the asylum where she’s incarcerated. It doesn’t end on a positive note for our heroes, so this stinger works both as fan service and an offering of hope. Returning to the tortured Chucky head in Andy’s home, he looks on as a mysterious figure appears at the back door. It’s Kyle (Christine Elise), Andy’s foster sister from Child’s Play 2, promising the doll that the torture fun will continue.

Happy Death Day 2U

This hook technically comes mid-credits, not post, but it’s a substantial setup for a continuation for a third entry, so we’re counting it. With the time loops closed and the lives of the gang back to normal, this scene sees government officials arrive to bring the group into the DARPA lab, where the time device has been relocated. The agents view it as a powerful weapon, and they want Tree (Jessica Rothe) and friends to show them how to use it. When Tree says she knows the perfect test subject, the camera cuts to mean girl Danielle (Rachel Matthews), who sits up in bed screaming. It’s a robust scene that lays out the direction this ever-evolving series is headed; if and when greenlit, of course.

Constantine

Constantine (Keanu Reeves) considers himself a loner; his job ridding the world of demons is a dangerous one. Throughout the film, he’s hesitant to let his young driver Chas Kramer (Shia LeBeouf) tag along, no matter how eager the young protégé gets. Reluctantly, he allows Chas to accompany him to the hospital where the final confrontation occurs, and Chas tragically dies in his quest to help his mentor. This stinger sees Constantine paying respects to his ward’s grave, setting his lighter down as an offering before leaving. While his back is turned, his fallen ally lets him know that he’s doing just fine in the afterlife.

The Collector

This end-credit scene gives a brief glimpse of Arkin’s fate after the film’s ending, which sees the Collector seek vengeance upon Arkin by ambushing the ambulance and capturing him. It’s an eerie scene; the masked killer calmly watches home videos while sitting on a trunk, with a screaming Arkin locked inside. More than a brief hint that this battle is far from over, it’s an effectively moody moment that shows things are starting to get very personal between the Collector and Arkin.

House on Haunted Hill

Evelyn Price (Famke Janssen) and Steven H. Price (Geoffrey Rush) present one of horror’s most unhealthy marriages of all time. The deep-seated malice between them gave the ghosts of the Vannacutt Psychiatric Institute for the Criminally Insane a way to finish off the descendants of the sadistic staff once and for all. The evil Darkness consumed Evelyn and Steven in the climax of the film, but not even death can dissolve this toxic marriage. The post-credit scene reveals the Prices’ spirits are doomed to be tortured by Vannacutt’s patients for eternity; an appropriately dark ending for this deadly duo.

The post 10 of the Best Post-Credits Scenes in Horror Movie History appeared first on Bloody Disgusting!.

Even without the phobia, there’s been a long-running superstition about the day that dates back to at least the Middle Ages. Though just where exactly it originated isn’t quite as clear. Either way, Friday the 13th is synonymous with bad luck. For a horror fan, it’s also synonymous with one of the biggest horror franchises of all time.

Inspired by Halloween, Sean S. Cunningham wanted to separate himself from previous film The Last House on the Left (which he produced) and create something more akin to a thrilling roller coaster ride. Before the screenplay was even ready, he felt Friday the 13th was a can’t miss title and put out an ad for it in the July 1979 issue of Variety. He wanted to generate interest, but also test the waters in case anyone else had beat him to the punch. It worked. On May 9, 1980, Friday the 13th released in theaters and fans were hooked.

The film spawned 9 sequels, a “vs.” mashup with Freddy, a remake, endless merchandise, and permanently etched out space in the pop culture collective. Only five of those films would take advantage of its namesake day; Friday the 13th Part III, Friday the 13th: The Final Chapter, Friday the 13th Part VII: The New Blood, Jason Goes to Hell: The Final Friday and the Friday the 13th reboot all were released on a Friday the 13th. But as the franchise hit its peak and then waned with Jason Goes to Hell, the door was left wide open for other horror releases to claim the day.

The Friday the 13th franchise, in its conception, capitalized on a spooky day, but the truth is that that superstition bears little relevance at all to the plot- this series is all about masked killer Jason Voorhees and summertime massacres (for the most part). Friday the 13th is actually a horror haven, a perfect release date with a built-in audience. There’s been no shortage of horror titles that dropped on a Friday the 13th over the decades. The busier the release schedule gets, the hotter Friday the 13th becomes.

After the original film’s 1980 release, Tobe Hooper’s The Funhouse was brave enough to attempt to utilize the superstitious day for release. Released in theaters on March 13, 1981, this creepy yet gorgeous slasher is bolstered by a fantastic production design and great villain, though it didn’t make much of a dent at the box office. With the Friday the 13th series starting to really heat up, it wasn’t until years later that other horror franchises would start to encroach.

March 13, 1987, brought the highly beloved and well-received Evil Dead II. The larger budget meant bigger and better special makeup effects, and Sam Raimi effectively reframed the events of the first film with a splatstick lens. Cunningham tested Friday the 13th waters again with his own aquatic terror DeepStar Six, released on January 13th, 1989, but it was a move mostly to beat the other aquatic horror competition to the box office. Later that year, Michael Myers took aim at Halloween and Friday the 13th in one fell swoop with the October 13 release of Halloween 5: The Revenge of Michael Myers. Even Freddy Krueger got in on the triskaidekaphobe action with schlocky Freddy’s Dead: The Final Nightmare, which arrived in theaters on September 13, 1991.

Just ahead of the holiday season, Bram Stoker’s Dracula dropped on November 13, 1992 and took a major bite out of the box office. That holiday horror trend continued the following year, with The Nightmare Before Christmas straddling that Halloween and Christmas line with its October 13, 1993 limited theatrical release (it expanded wide on October 29).

1993 marked a major turning point for Friday the 13th. After Jason Goes to Hell, the series went dormant for almost a decade. In that void, Tales from the Crypt: Demon Knight dropped on January 13, 1995, without much fanfare. Underwater sci-fi horror Sphere flopped on February 13, 1998, and sequel I Still Know What You Did Last Summer retained its core audience with a successful November 13, 1998 release.

Jason Voorhees reclaimed the horror holiday in 2002 and 2003 with Jason X and Freddy vs. Jason, respectively, but beginning in 2004, horror started to really dominate. Especially in the familiar franchise department. AVP: Alien vs. Predator made massive waves on August 13, 2004. The Grudge 2 spooked up healthy box office numbers on October 13, 2006. The Rear Window-inspired Disturbia found its audience on April 13, 2007. And The Last House on the Left proved not all remakes are terrible on March 13, 2009.

More recently, Friday the 13th belongs to Blumhouse. They clearly understand the significance of the day to horror fans and have set many releases around it. Insidious: Chapter 2, The Darkness, Happy Death Day, Truth or Dare, and Happy Death Day 2U all took advantage of Friday the 13th releases.

September’s Friday the 13th brings the release of Freaks, Haunt, Depraved, and Candy Corn as well as the first season of creepy-looking Netflix series Marianne. That’s a jam-packed lineup; who needs sleep anyway?

The Friday the 13th franchise may have once dominated the superstitious calendar day, but that monopoly is long gone. Friday the 13th is now a horror holiday in earnest, and there’s no shortage of options when it comes to celebratory horror viewings.

The post Voorhees and Beyond: Horror’s Long-Running History with Releasing Films on Friday the 13th appeared first on Bloody Disgusting!.

Nearly all studio released films have proven extremely divisive so far, though the returns have been healthy regardless. But there’s far more to horror than theatrical releases, and there’s no shortage of limited and indie releases that are delivering the goods. While the decade is looking to close out strong with Crawl, Scary Stories to Tell in the Dark, It Chapter Two, Doctor Sleep, and more, beginning with Midsommar, we look back at the best horror 2019 has unleashed so far.

Happy Death Day 2U

Christopher Landon’s follow up to Happy Death Day took a step back from the inventive slasher setup to expand the mythology behind the time loops in an epic love letter to the ‘80s. Of course, that departure from more traditional horror meant this sequel wasn’t quite as universally embraced as its predecessor, but it delivered on what was most important: more Tree Gelbman. Jessica Rothe once again stole the show and ran as Tree’s emotional journey brought the laughs and tears in equal measure.

The Hole in the Ground

Between The Prodigy, Pet Sematary, and Brightburn, the year might belong to the creepy kid. But so far, the best of the bunch is Irish creeper The Hole in the Ground. After moving to the countryside, a single mother begins to worry her son might not be her son anymore after he disappears into the forest with a mysterious sinkhole and returns hours later. More than just interesting folklore, The Hole in the Ground delivers on unnerving atmosphere.

Climax

Arguably Gaspar Noé’s most accessible film to date, Climax is both a visual feast and an extremely uncomfortable watch. A group of dancers gather in a remote, empty school building to dance the night away, but it all goes horrifically awry when someone spikes the punch with LSD. Under a neon haze, the dancers most hellish nightmares become reality as Noé breaks taboo after taboo with ease. It’s depraved.

Us

Jordan Peele’s highly anticipated follow up to Get Out brought doppelganger horror back into the spotlight. A fun summer vacation for the Wilson family turns into a terrifying fight for survival when their doppelgangers show up to claim their lives as their own. Peele balances the humor with the scares, but above all Us boasts a captivating, immeasurably talented cast. Lupita Nyong’o’s dual performance as Adelaide Wilson/Red is both heartbreaking and chilling, ensuring our wrath at her inevitable Oscar exclusion, but Winston Duke, Shahadi Wright Joseph, and Evan Alex are all equally exceptional.

Knife + Heart

Set in the Paris summer of 1979, Vanessa Paradis starts as Anne, a producer of low budget gay porn. When her lover, who happens to also be her film editor, leaves her, she strikes out to make her most ambitious film yet in attempt to win her back. The only problem is that a masked killer is picking off her cast and crew one by one in the most brutal fashion. Yann Gonzalez’ film is a gorgeous giallo through and through, complete with all the familiar trademarks and tropes. The masked killer is unsettling, and those kills are downright vicious. If you love giallo movies, this one is not to be missed.

Piercing

Based on the novel of the same name by Ryu Murakami (author of Audition), Piercing presents another twisted love story of sorts. Facing the stresses of dealing with a newborn, family man Reed (Christopher Abbott) checks himself into a hotel on business. But he’s really plotting to murder an escort that he’s ordered to his room. Reed didn’t factor Jackie (Mia Wasikowska) into his plans, though, and a violent cat and mouse game ensues. Directed by Nicolas Pesce (The Eyes of My Mother, Grudge), this is a stylish chamber piece unafraid to get weird and bloody.

Horror Noire: A History of Black Horror

From D.W. Griffith’s Birth of a Nation to the future of horror, this documentary catalogs the history of black horror adapted from Robin R. Means Coleman’s nonfiction novel. Assembling a slew of horror directors, actors, critics, and scholars, Horror Noire takes aim at black representation in horror through thoughtful analysis, passion, and humor. This engaging crash course will leave you wanting to learn more.

St. Agatha

Director Darren Lynn Bousman revives nunsploitation horror with 1950s set St. Agatha. A young pregnant woman (fittingly named Mary) is accepted into an isolated home for unwed mothers run by nuns. The clues that something is seriously amiss with the home begins in subtle fashion, but eventually crescendos into utter perverse madness. Bousman established himself with the Saw series, and his trademark use of suspense and violence carry over well here. It’s torture and terror aplenty in St. Agatha; these nuns mean business.

Hagazussa: A Heathen’s Curse

Hagazussa manages to make The Witch look like an action-packed thrill ride in terms of pacing. So, clearly it won’t be for everyone. But for those who don’t mind slow-burn horror, this 15th century European character study depicts a brutal life of isolation, paranoia, and superstition. And it’s easily one of the most gorgeous looking films of the year. Perhaps most impressive of all is that this is writer/director Lukas Feigelfeld’s student thesis film. What a debut.

Editor’s Note: Alongside Doppelgänger Releasing, Bloody Disgusting released Hagazussa earlier this year. 

I Trapped the Devil

Writer/director Josh Lobo’s Christmas set film is a haunting portrayal of grief and familial guilt. When Steve’s brother and sister-in-law unexpectedly show up at his door to celebrate the holidays, they’re alarmed to discover he has a man locked in his basement. One that he insists is actually the devil. Paranoia and psychological terror carried deftly on the shoulders of its three leads, this is brooding yuletide horror at its best.

The Perfection

This Netflix gem feels more like a few different subgenres rolled into one twisty horror thriller, and that unpredictability makes for a wild ride. The setup is simple; former music prodigy Charlotte (Get Out’s Allison Williams) returns to her past school and befriends new star pupil Elizabeth (Logan Browning), and it sends both down a path of shocking destruction. A little bit Martyrs, Oldboy, and more, The Perfection is another one of 2019’s pleasant surprises.

Child’s Play

“This is for Tupac!” The biggest surprise of the year, so far, is just how much fun the reboot that no one wanted turned out to be. It’s Amblin Entertainment meets The Texas Chainsaw Massacre 2. While hardly perfect, the E.T.-like take on the killer doll and the ultra-elaborate death sequences made a strong case as to why we go to the movies for horror; it’s a crowd-pleasing good time. It’s also so very different from the original franchise that it seems as though there’s plenty of room for both. Now bring on Don Mancini’s Child’s Play TV series!

Annabelle Comes Home

Keeping with that same sense of fun that Child’s Play unboxed a week prior, this third entry in the Annabelle series feels like a spooky trip in a carnival haunted house in the best possible way. What began as a tedious spin-off movie has since transformed into a perfect companion series to the heart and scares of The Conjuring. Mckenna Grace carries the torch well as Judith Warren, and we don’t even mind that this sequel unleashes a hole cadre of potential spinoff entities. I’d sign up for a Ferryman movie.

Midsommar

Though technically released in the second half of the year, it’s so close we’re counting it anyway. Ari Aster’s highly anticipated follow up to Hereditary is no doubt another polarizing entry, but it’s one hell of a head trip no matter how you come out of this 2.5 hour journey. It’ll be difficult to imagine any one can top the riveting performance of Florence Pugh, either, as lead protagonist Dani. For the men that journey to that remote village in Sweden, this film plays like a familiar entry in folk horror. But for Dani, it’s every bit the twisted fairy tale Aster promised. From head trauma to insidious rituals, and a whole lot of humor too, Midsommar makes for a surprisingly cathartic time at the movies.

The post The Best Horror Movies Released in the First Half of 2019! appeared first on Bloody Disgusting!.

Special Features will include:

• Gag Reel
• Deleted Scene
• The Never-ending Birthday
• Web of Love: Tree’s Nightmare
• Multiverse 101

In this year’s sequel…

“It’s déjà vu all over again for Tree Gelbman, the snarky sorority sister who solved her own murder by repeatedly reliving her death. When the masked campus killer mysteriously returns to terrorize new targets, Tree cycles through another time loop of clever chills and suspense in Happy Death Day 2U, the inventive follow-up to Blumhouse’s hit thriller Happy Death Day.”

Jessica Rothe stars alongside Israel Broussard, Phi Vu, Rachel Matthews, Ruby Modine, Sarah Yarkin and Suraj Sharma.

The post ‘Happy Death Day 2U’ Heads to Blu-ray in May With a Deleted Scene appeared first on Bloody Disgusting!.

In a Q&A session over on Twitter last night, the always open and honest Jason Blum was asked about the likelihood of Happy Death Day 3 happening, and he had this to say:

“Not very [likely], but not impossible.”

Director Christopher Landon recently explained to EW, “I have more than an idea. I always imagined this as a trilogy, so I have the third movie, but it’s just a question of whether this one does well. I would love to make the third one. I think it’s a really bonkers, fun idea.”

Not very but not impossible

— Jason Blum (@jason_blum) March 6, 2019

The post Jason Blum Comments On the Current Likelihood of ‘Happy Death Day 3’ Being Made appeared first on Bloody Disgusting!.

Universal and Blumhouse’s Happy Death Day 2U (read our review) is already profitable, even though it’s not the massive hit early tracking had forecast. It would be great to get a sequel to the film, which added another $5M this weekend for a North American total of $21.6M (on just a $9M reported budget). I said that we can start discussing a trilogy when it tops $35M globally, and it currently has a worldwide take of $42M! Let’s hope Christopher Landon gets to make his “bonkers” third film in the franchise that would bring breakout star Jessica Rothe back for one more wild and crazy day.

Much like last weekend, Orion Pictures’ return to the big screen The Prodigy (read our review) continues to limp its way through a release. After a weak $6M opening, the film is currently sitting at $13.5M domestically. Thankfully, the budget is reported at only $6M, which means it needs $20M (give or take) globally to break even. We’re still waiting for international numbers.

Quick updates: Columbia Pictures’ Escape Room (review) is now sitting at $118M globally and M. Night Shyamalan‘s Split sequel, Glass (review), currently holds $240M. Both are massive hits.

The post [Box Office] ‘Alita’ Continues World Domination; Let’s Start Talking ‘Happy Death Day 2U’ Trilogy appeared first on Bloody Disgusting!.

Over the weekend, many horror fans took to social media to complain that Happy Death Day 2U‘s trailers misrepresented the film as a straight up slasher-horror movie, when in actuality it was more of a sci-fi/comedy… with a sidelined slasher element. Personally speaking, I’m confused about the fact that anyone ever expected a sequel to Happy Death Day, itself a very comedic take on the slasher sub-genre, to be a full-on horror movie, but I digress. If there was any problem with the film’s marketing campaign, I’d argue the issue was that the trailers actually made Happy Death Day 2U seem far less interesting than it turned out to be.

Mind you, there are no doubt many, many movie-goers who prefer to know next to nothing about new movies before they see them, but the reality is, general audiences are only going to pay to see new movies when they’re bit by a particular hook being marketed. The first Happy Death Day, centered on a college girl who’s stuck in a time loop and has to relive the day of her death over and over again until she finds her murderer, had a killer hook, so it was no big surprise that it was such a hit at the box office. Back in 2017, the film’s domestic opening weekend take totaled $26,039,025, ensuring a sequel wasn’t far behind.

But Happy Death Day 2U, well, it didn’t fare quite as well. The film made just shy of $10 million in its traditional opening weekend – the current Wednesday-Monday estimate, however, brings the total up to around $15 million – which is far below the roughly $30 million estimate that projections had suggested heading into the weekend. Granted, its $9 million budget ensures that Happy Death Day 2U will be profitable regardless, but one has to wonder why the sequel to such a hit movie under-performed to such an extent.

My best guess? If you go back and watch Happy Death Day 2U‘s trailers, they mostly suggest that the sequel is the exact same movie as its predecessor. And while the two movies do indeed feel cut from much the same cloth, what the marketing did not divulge is that Happy Death Day 2U’s storyline is a bit more of a deviation than it probably seemed to be.

In Christopher Landon’s sequel, Tree doesn’t merely get stuck back in the same time loop for a second time, but rather, she’s actually transported to a whole new dimension entirely. In this alternate universe, things are different than they were/are in the first film’s universe, and the main storyline in the film centers on Tree’s struggle to decide whether she wants to live in Universe A or Universe B. Confusing things, Tree’s mom is still alive in Universe B.

Now that’s an interesting hook, and I can’t help but wonder aloud if maybe, just maybe, “spoiling” that hook would’ve gotten more people interested in seeing Happy Death Day 2U this past weekend. And I have to imagine that the reason many fans of the first film didn’t plunk down the money for a ticket is because the trailers convinced them that the sequel was basically going to do little more than rehash what they had already seen back in 2017.

(In many ways, it kind of does, so maybe the problem is the film itself, not its marketing.)

Another recent horror movie that perhaps suffered from this same marketing issue was Orion’s The Prodigy, which made just $5,853,061 during its opening weekend. The marketing was heavily built around the question “What’s wrong with Miles?” and it wasn’t unless/until we paid to see it that we found out. But what’s strange about The Prodigy is that the answer to that question isn’t actually even a reveal in the movie. It’s outright stated in the opening scene.

We find out *immediately* at the start of The Prodigy, before we even meet Miles, that his body was inhabited at birth by the soul of a sadistic serial killer, which would seem to be a second or even final act twist but is actually presented within the film as an opening act story beat. The film’s marketing, rather than divulging this hook, instead made us think The Prodigy was just another creepy kid horror movie, and I’ve been having a hard time wrapping my head around the decision to be so secretive about what is actually the film’s first scene.

With a marketing campaign that played up The Prodigy’s compelling “past life regression” storyline, would more people have purchased a ticket to see it? Can we chalk up the film’s under-performance at the box office to an unnecessarily vague marketing campaign?

One thing I can say for sure is that I certainly don’t envy anyone in charge of marketing movies for studios, as it’s very difficult to strike the perfect balance and get people interested in seeing a movie while at the same time retaining secrets best discovered inside of a theater rather than on the computer at home. And no matter what, let’s be real here, most of us (myself included) are going to complain either way. All I’m suggesting is that when a movie has a killer hook going for it, maybe it’s not a bad idea for the trailers to spoil it.

But I’m just thinking aloud here. Feel free to chime in below with your own thoughts.

The post [Editorial] Trailers for ‘The Prodigy’ and ‘Happy Death Day 2U’ Made Both Seem Like Less Interesting Movies Than They Actually Are appeared first on Bloody Disgusting!.

While Alita topped projections, Universal Pictures/Blumhouse’s Happy Death Day 2U (read our review) saw diminishing returns and underperformed. Early tracking pegged the Happy Death Day sequel, also directed by Christopher Landon, to open with $30M. Early estimates have it sitting at only $13.5M here in the States, half that of its predecessor. It added another $11.8 million internationally for a $25.3M global opening.  Even though the sci-fi slasher underperformed, it’s still likely that this sequel will be heavily profitable being that the budget is reported to be a mere $9M. We can start discussing a trilogy when this tops $35M globally, which should be by the end of next weekend.

Orion Pictures’ return to the big screen The Prodigy (read our review) continues to limp its way through a release. After a weak $6M opening, the film is currently sitting at $11M domestically. Thankfully, the budget is reported at only $6M, which means it needs $20M (give or take) globally to break even. We’re still waiting for international numbers.

Quick updates: Columbia Pictures’ Escape Room (review) is now sitting at $115M globally and M. Night Shyamalan‘s Split sequel, Glass (review), currently holds $234M. Both are massive hits.

I’m often asked why these box office numbers matter to us. They don’t, really, although a film’s success or failure can impact our fandom. For example, fans of Alita have been waiting years for this adaptation. In my opinion, Fox played a dangerous game with the Star War-sized budget and now, if the film is a failure, fans will be the ones who lose. On the other side of the spectrum is Blumhouse, who produces films in the $5-10M range and possesses the strong distribution arm of Universal Pictures. All of their releases are set up for success, and even in the case of a film underperforming, like Happy Death Day 2U, there’s still a chance for yet another sequel. What does it all mean? Again, nothing really, although hardcore cinephiles are always rooting not only for a film to be good but for it to also be successful. I don’t see anything wrong with that.

The post [Box Office] ‘Alita’ Battles to Stronger Opening; ‘Happy Death Day 2U’ Can’t Repeat Success appeared first on Bloody Disgusting!.

Watching Happy Death Day back in October 2017, it was immediately clear that I was witnessing the rise of a whole new type of “final girl,” one played with such manic, all-in gusto by star-in-the-making Jessica Rothe that I knew, without the need for any sort of hindsight, that Rothe had become an instant “scream queen.” Her Tree Gelbman? An instant horror icon.

If that wasn’t clear then, it’s damn sure crystal clear now.

What’s truly special about this franchise’s lead, who’s currently dying over and over again up on the big screen once more in Happy Death Day 2U, is that she’s quite unlike the “final girls” of the past. Throughout the 1980s, the “final girl” was defined almost exclusively by her triumphant survival at the end of a slasher film, the often-virginal “good girl” who proves to be the only one worthy of vanquishing the big bad. But as Meagan pointed out in her recent piece “10 Modern Final Girls Who Changed the Formula,” Tree isn’t actually the “good girl” at all.

At the start of Happy Death Day, Tree is (in Meagan’s words) a “ruthless sorority sister with a long list of enemies,” making her the sort of character who would, in any other slasher movie, be killed off before the final act. And we’d cheer at her demise. But the Groundhog Day-inspired Happy Death Day isn’t any other slasher movie. And Tree isn’t any other slasher character. Rather, Tree cleverly evolves through the first film from a body count victim to the classic “final girl” – ironically, she must die multiple times in order to earn that status.

Go figure, eh?

Tree’s unique arc puts a spin on the typical “final girl” trope, making her a new sort of heroine for a whole new generation. A generation that does better by its female characters than the generations of the past, quite honestly. Horror films – slashers in particular – have always excelled at giving us female leads who eventually embody the term “badass,” but Tree is not the sort of character who’s defined by the weapon she picks up or the killer she slays. She’s not just a “survivor girl,” but rather a rich, complex character who’s written and performed with great emotional depth. She doesn’t defeat the central character. She *is* the central character.

In Happy Death Day, it’s not just about Tree bravely killing off the masked maniac and surviving until the end of the film. Quite the opposite, really. It’s about Tree *dying* repeatedly in order to learn from her mistakes and grow as a character. And in Happy Death Day 2U, which takes that personal growth an emotional step further, it’s about Tree literally killing herself, repeatedly, on this same quest for growth and evolution. It’s what kills her that makes her stronger.

While many films take a surface level approach to their “strong female characters,” imbuing them with literal strength but little else, the Happy Death Day movies present a heroine so wonderfully and completely realized that this may very well be the first ever slasher franchise with a “final girl” character as the main selling point. A character who evolves. A character who, with each new film thus far, becomes a better person right before our eyes. On a very relatable level, a horror heroine to look up to and draw inspiration from. And at a time when there’s so much cruelty being thrown around on a daily basis, we could all use a character like Tree to remind us that it’s never too late to be better to ourselves and to those around us.

Arguably, Tree’s most heroic moments have nothing to do with the handguns and axes she wields. Rather, her true heroism comes in the form of inspirational life wisdom she attains from quite literally living the same day over and over again, which she dishes out to a closeted schoolmate in the first film and a roommate making bad decisions in the second. None of us can relate to a camp counselor cutting off the head of a vengeful mother out to kill her, but Tree’s trials, tribulations and triumphs impart a wellspring of qualities we can draw from.

When you buy a ticket to see a Happy Death Day movie, you’re not paying to see “Babyface” or to watch attractive young people get brutally dispatched. You’re paying to see a new slasher icon: a flawed young woman who’s just trying to be the best version of herself that she can be. And never had that been more clear to me than during the opening 10 minutes of Happy Death Day 2U, which delay the return of Tree by instead focusing on actor Phi Vu’s Ryan Phan. In this opening sequence, Ryan finds himself in his own time loop, pursued by an unknown killer wearing the “Babyface” mask. Without Tree, quite honestly, the movie kicks off on a pretty lackluster note, cementing my personal belief that Happy Death Day is one franchise that simply could never continue without her. Other slasher franchises soldiered on without their leading ladies, but I just don’t think there’s anything to Happy Death Day without Tree.

Final girls aren’t just surviving anymore. With Tree as a new trailblazer, joined by a returning Laurie Strode just last year, they’re finally taking over the whole damn sub-genre.

And it’s about time.

The post ‘Happy Death Day’ Heroine Tree Gelbman is the Perfect Survivor Girl for a Whole New Generation appeared first on Bloody Disgusting!.

Here, Vanessa chats with director Christopher Landon on creating a sequel that wasn’t supposed to be: “It’s a truly batshit, crazy idea…“; superstar-in-the-making Jessica Rothe talks new challenges, her favorite death, and watching Back to the Future II; Ruby Modine proves she’s a legit horror fan; composer Bear McCreary discusses the daunting kitchen sink score; Phi Vu details the evolution of his character into a “mad scientist”; with producer Jason Blum and costars Rachel Matthews and Israel Broussard also chiming in.

Hosted by Vanessa Decker
https://www.instagram.com/horror.vixen/

Filmed and edited by Ryan Valdez
https://www.instagram.com/raldez/

The post BD’s Vanessa Decker Takes Us to the ‘Happy Death Day 2U’ Red Carpet Premiere in Hollywood! [Video] appeared first on Bloody Disgusting!.

The film opens with Ryan Phan (Phi Vu), Carter (Israel Broussard)’s roommate in the first film, waking up in his car. Writer/director Christopher Landon tracks Ryan’s walk down the street and back to the dorm room, training the audience to make note of incidents that could recur should the day repeat. After being booted out of the room by Tree and Carter, Ryan is sequestered in his lab with his scientific thesis project before he is lured into an empty room and stabbed by Baby Face, the franchise’s cherub-masked killer. He immediately reawakens back in the car, retraces his steps and confesses his déjà vu to the lovers. Upon hearing about his experience, Tree and Carter snap into detective mode, aiming to keep Ryan safe and uncover the identity of his assailant.

In these early scenes, Christopher Landon’s screenplay is filled with potential. The opening attack initially makes it seem as though Ryan has replaced Tree as the new repeat survivor of the film, a concept that is upended as both the source of the time loop is revealed and a new loop is instigated… with a twist to keep things fresh and interesting.

This means an increase in screen time for several of the first film’s secondary characters, including Ryan and, more specifically, Danielle (Rachel Matthews) who accounts for a great deal more comedy. Meanwhile, the introduction of a key character pays off one of the first film’s weaker subplots. It also allows Rothe several emotional scenes in which to flex her dramatic muscles.

Suddenly all of the familiar character traits and relationships from the first film are upended (these are hinted at in the trailer). These alterations allow HDD2U to playfully shake things up and help the sequel avoid becoming a déjà vu loop of its predecessor.

Whereas the first film centered around Tree’s need to die repeatedly in order to identify the Baby Face killer, the main thrust of the sequel is driven by Tree’s desire to reset this loop and return to her stable relationship with Carter. This means less focus on the killer and more on Tree’s work with Ryan and his lab mates, Samar (Suraj Sharma) and Anna (Sarah Bennani) trying to identify a scientific algorithm over several weeks worth of trial and error, resulting in another terrific montage set to pop music.

The new montage sequence is a high point of the film, which struggles with its energy and focus. Landon’s efforts to pay off eagle-eyed fans of the first film is admirable as whole sequences and lines of dialogue are replayed. Attempts are also made to explain narrative gaps such as Tree’s accruing injuries and why the school has such an unusual mascot, but overall Landon’s witty screenplay is much more comedically inclined than it is in revisiting the slasher tropes of the first film.

This is most apparent in the egregious use of Dean Bronson (Steve Zissi), an unfunny new supporting character who acts as a foil for the group’s work. Bronson would fit right in on the set of National Lampoon film and he (unsurprisingly) figures prominently in a third act comedic set piece that grinds HDD2U’s momentum to a halt at a time when it should be barreling towards the climax. Sure it’s mildly amusing, but at what expense?

At this point, we should probably discuss the (forgotten) Baby Face in the room. There is still a masked killer (albeit one that is seemingly relegated solely to the hospital). Serial killer John Tombs (Rob Mello) is also back, but he’s little more than a pawn in a new scheme that Landon’s screenplay is completely disinterested in. Baby Face is largely absent from this film, as are any thrills or notes of horror.

Following the first two attacks on Ryan at the start of the film, there is arguably one other scary set piece here, but for the vast majority of the runtime, Happy Death Day 2U is focused on Tree’s emotional relationship. The sequel doesn’t invest in the identity of the killer, so much so that by the time the showdown with the new Baby Face occurs, the revelation and its narrative impact equates to little more than a shoulder shrug (albeit still with a self-reflexive wink to the first film).

Fans who were initially attracted to the original film’s creative deaths and its choose-your-own-adventure style narrative will need to adjust their expectations accordingly. Rothe remains a dominant and endearing presence and her chemistry with Broussard is palpable, plus the expanded roles for several secondary characters is noteworthy. Unfortunately, Happy Death Day 2U too frequently loses sight of its slasher origins in favour of comedy first, sci-fi second and horror a far distant third. The sequel is an admirable attempt to offer a new spin on a familiar tale that frequently works in the small moments, but audiences anticipating a second round of Baby Face will undoubtedly walk away disappointed.

Note: there is a mid-credits stinger that offers hints of where the franchise could go in a potential third outing, but it is also simultaneously a capper in the event that HDD2U is the end of the road.

The post [Review] ‘Happy Death Day 2U’ Offers Plenty of Comedy and Drama, But Few Thrills appeared first on Bloody Disgusting!.

In this video recap of Christopher Landon’s 2017 franchise-starter, he quickly recaps the events of Happy Death Day (in just over 3 minutes) as a nice little refresher course.

What was all that about a poison cupcake? Brush up below!

Tree and Babyface return in Happy Death Day 2U on February 13th.

The post [Video] Before ‘Happy Death Day 2U,’ Let’s Recap the Events of the First Film appeared first on Bloody Disgusting!.

Speaking with EW, Landon teases that an end credits sequence holds the clues to HDD 3.

“There’s a big clue already in [Happy Death Day 2U]. There’s an end credit sequence, so people who stick around, they’ll see that,” Landon told the site. “But, beyond that, mum’s the word right now.”

He added, “I have more than an idea. I always imagined this as a trilogy, so I have the third movie, but it’s just a question of whether this one does well. I would love to make the third one. I think it’s a really bonkers, fun idea.”‘

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In Happy Death Day, Teresa “Tree” Gelbman’s birthday is the worst day of her life, starting when she wakes up in a stranger’s bed. It’s also the last day of her life, ending when she’s killed by a psychotic killer with a knife. She’s dead. And then she wakes up in a stranger’s bed, it’s September 18, and she has to live it all over again . . . until she’s hunted down and wakes up, again, and again. It’s a Groundhog Day situation, only with murder, guns, and mean girls, and Tree’s only shot at living to see the next day is to relive the day of her murder, over and over, until she discovers her killer’s identity.

Happy Death Day 2U picks up the story without missing a beat. Tree Gelbman thought she’d finally lived to see a brand-new day. But when she wakes up on her same birthday and an all-new psychopath in a mask is out to kill her and her friends, she’s going to find out that all the rules have changed. Death makes a killer comeback.

Pre-order your copy today and expect it on February 19th. Happy Death Day 2U, meanwhile, will be released into theaters on February 13th, just in time for Valentine’s Day.

The post Double Feature of ‘Happy Death Day’ and ‘Happy Death Day 2U’ Novelizations Releasing February 19 appeared first on Bloody Disgusting!.

Having not seen the movie yet, it’s unclear just how big of a spoiler follows, but it’s one that reared its head in the massive batch of images I shared last week and is also teased within the film’s trailers.  Much like Blumhouse’s US, there are also doppelgangers in Happy Death Day 2U.

In this clip, Phi Vu‘s character is attacked by Babyface, only to be saved by Tree. Going full “Scooby-Doo”, they remove his mask and cut to black. If you look closely, you can see that his attacker appears to be none other than himself. This adds an entirely new layer of insanity to this cupcake and I can’t wait to see how this unfolds on February 13th.

Jason Blum once again produces and Christopher Landon returns to write and direct this next chapter, while Happy Death Day executive producers Angela Mancuso and John Baldecchi are newly joined by EP Samson Mucke (Scouts Guide to the Zombie Apocalypse).

The post This ‘Happy Death Day 2U’ Clip Repeats Itself in an Entirely New Kind of Way [Video] appeared first on Bloody Disgusting!.

Minor spoiler warning…

As I noted before, what’s notable are the various masks, which remind us of Scream 2‘s use of multiple Ghostface masks. There are also some other interesting shots, including one character coming face-to-face with himself – does this sequel introduce time travel? I love that there aren’t many spoilers since the concept is of character’s dying over and over again, although we do learn that Tree’s killer makes a return. Don’t eat the cupcakes.

Jason Blum once again produces and Christopher Landon returns to write and direct this next chapter, while Happy Death Day executive producers Angela Mancuso and John Baldecchi are newly joined by EP Samson Mucke (Scouts Guide to the Zombie Apocalypse).

Death loops on February 13, 2019.

The post OMG! We Have a *Ton* of New ‘Happy Death Day 2U’ Images! appeared first on Bloody Disgusting!.

“When Universal Pictures became aware last week that the one-year anniversary of the tragic events in Parkland, Florida fell on the Happy Death Day 2U release date, the studio spoke with victim advocates and immediately began the process of changing the release date of the film,” the studio explained. “Following discussions with its partners in exhibition, Universal will move the North American release date to February 13th. Additionally, the studio has decided not to show the film in Parkland and the surrounding areas. Outdoor, digital and in-theatre marketing for the film will be suspended in that market.”

Universal added, “The studio understands the importance of memorializing the February 14th date as an opportunity to continue to allow the Parkland community to heal.”

Jessica Rothe is back in Happy Death Day 2U, wherein Tree Gelbman discovers that dying over and over was surprisingly easier than the dangers that lie ahead.

The post ‘Happy Death Day 2U’ Will Now Release One Night Earlier Than Planned appeared first on Bloody Disgusting!.

We officially can’t wait for 2019 – the release calendar looks ridiculously stacked. There’s an insane amount of horror on the horizon, from highly anticipated reboots, sophomore efforts by breakout voices in horror, festival darlings, and so, so much more. As this decade is winding down, it’s clear horror intends to end it with a bang.

Here’s what we’re most looking forward to:

Escape Room – January 4

The first major theatrical release of the year is the latest by director Adam Robitel (The Taking of Deborah Logan, Insidious: The Last Key). Six strangers are lured to a mysterious room, and are forced to rely on their wits and each other to solve a series of traps in a game of life or death. Escape Room stars Deborah Ann Woll, Tyler Labine, Logan Miller, Taylor Russell, and Adam Robitel.

Glass – January 18

Two years after M. Night Shyamalan surprised audiences with the tease of Unbreakable’s David Dunn (Bruce Willis) at the end of Split, he brings the unwitting superhero back in a major way by pitting him against not just former foe Mr. Glass (Samuel L. Jackson), but Split’s Kevin Wendell Crumb (James McAvoy) as well. Anya Taylor-Joy’s Casey Cooke returns to the fold, too. More Crumb and Dunn sounds great, and it’ll be interesting to see how these characters collide. It’s a safe bet that Shyamalan has more surprises in store.

The Final Wish – January 24

Co-written by Jeffrey Reddick (Final Destination) based on his story, The Final Wish stars Lin Shaye, Tony Todd, Spencer Locke, and Melissa Bolona. Shaye and Todd would be enough to pique our interest, but the plot follows a son returning home to help his grief-stricken mother after the death of his father and finds a mysterious object while going through his dad’s things. That object grants wishes, albeit in the nastiest way possible. Be careful what you wish for.

Jacob’s Ladder – (TBD)

This reboot is currently slated for February 1 release, but it’s been so quiet that I wouldn’t be surprised if it changes. Jacob’s Ladder is supposed to “honor the spirit and concept (of the original), while telling a different story.” The original followed a Vietnam vet returning from war and struggling to maintain his sanity as he’s plagued by hallucinations and surreal flashbacks. David M. Rosenthal directs the re-imagining, which stars Michael Ealy (Underworld: Awakening), Guy Burnet (“Ray Donovan”), Karla Souza (How to Get Away with Murder) and Nicole Beharie (“Sleepy Hollow”).

Piercing – February 1

Nicolas Pesce’s sophomore feature is a very different beast than his debut The Eyes of My Mother, and draws heavy influence from gialli films. Based on a novel by Ryu Murakami, it follows Reed (Christopher Abbot), a family man who decides to channel his frustrations by checking into a hotel and plotting to murder a prostitute. But when call girl Jackie (Mia Wasikowska) arrives, Reed realizes he may be in over his head. Stylish as it is twisted, and definitely violent, this is another film that makes Pesce a director to watch.

The Prodigy – February 8

A mother grows increasingly concerned about her son’s disturbing behavior and begins to believe something supernatural may be responsible. Taylor Schilling stars as mom Sarah, and It’s Jackson Robert Scott plays her son Miles. But the biggest reason The Prodigy is a horror film we can’t wait to watch? It’s directed by Nicholas McCarthy who brought us gems like The Pact and At the Devil’s Door.

St. Agatha – February 8

The latest by Darren Lynn Bousman (Saw II, Saw III, Saw IV, Repo! The Genetic Opera) is a period horror film set in the 1950s, and follows a pregnant unwed woman seeking shelter at an isolated convent. Unfortunately, the strict nuns are a lot more sinister than they initially appear, and Bousman revives the nunsploitation genre with nerve-fraying tension and primal rage.

Happy Death Day 2U – February 14

This sequel to 2017’s surprise hit Happy Death Day sees poor Tree Gelbman (Jessica Rothe) getting sucked back into the vicious time loop that has her dying on repeat in order to solve who’s behind the baby-faced mask. In other words, much more fun and more Rothe letting loose as Tree, both a huge plus. Happy Death Day 2U is the perfect Valentine’s Day treat.

Climax – March 1

On paper, this plot doesn’t exactly sound like horror – a group of dancers gather together in an empty school building to rehearse and cut loose. But someone has spiked their sangria with LSD, and their night descends into a hallucinatory nightmare. I should also mention that this is written and directed by Gaspar Noe (Irreversible, Enter the Void), so it doesn’t get much more horrific than Climax. Brutal, mesmerizing, and disturbing.

The Hole in the Ground – March 1 (January 31 DirecTV)

Acquired by A24 ahead of its Sundance premiere, The Hole in the Ground will be available on January 31 for DirecTV subscribers. The rest of us will have to wait until March. This Irish horror film stars Seána Kerslake as a mother attempting to build a new life for her and her son in a rural home at the edge of a forest that happens to have a massive sinkhole. When her son disappears into the forest one night only to reappear unharmed soon after, she begins to suspect that whatever returned isn’t her son.

Us – March 22

Arguably the most anticipated film of the first quarter, Jordan Peele’s sophomore effort promises to bring the horror. Starring Lupita Nyong’o, Winston Duke, Elisabeth Moss and Tim Heidecker, Us follows a family’s vacation gone wrong when uninvited visitors arrive. What begins as a seeming home invasion film turns into something more with Peele’s The Tethered – terrifying doppelgangers of the family. This one looks intense, and new monster mythology potential is always a plus.

Pet Sematary – April 5

One of Stephen King’s scariest novels gets a new adaptation, this time by directors Kevin Kölsch and Dennis Widmyer (Starry Eyes). The Creed family will discover that sometimes dead is better when they move to a rural home along a dangerously busy road and tragedy strikes. Kölsch and Widmyer are serious King fans, and we can expect them to bring something new and different to the story than the 1989 adaptation. Pet Sematary stars John Lithgow, Jason Clarke, and Amy Seimetz.

Hellboy – April 12

Actor David Harbour (Stranger Things) bears the Right Hand of Doom this time, for the reboot adaptation of Mike Mignola’s beloved comic series. Directed by Neil Marshall (The Descent, Dog Soldiers), expect a bloodier take on the comic character that promises to more closely align with its comic roots. Hellboy also stars Milla Jovovich, Sasha Lane, Daniel Dae Kim, and Ian McShane.

The Curse of La Llorona – April 19

This is the feature film debut by Michael Chaves, who has since been tapped to helm the next entry in The Conjuring series. It’s about time we got a major horror movie about the creepy folktale of The Weeping Woman, a ghost of a woman who lost her children and weeps while in search of them. Linda Cardellini stars as a social worker and single mother who catches the attention of La Llorona when she investigates a troubled mother suspected of child endangerment.

BrightBurn – May 24

What if Superman crashed on Earth as a baby, but wasn’t such an upstanding superhero? What if he was evil, instead? That’s the concept explored in this horror film produced by James Gunn, and co-written by Brian Gunn and Mark Gunn. The film stars Elizabeth Banks, a woman so desperate for a child that she quickly assumes the role of mother when one crash lands from another planet in her backyard. She soon discovers that this alien child might not be the friendly kind.

Godzilla: King of the Monsters – May 31

Godzilla, Mothra, Rodan, and King Gidorah, all in one stunning film, as evidenced by the trailer. Do we really need anything more to be sold? Oh yeah, it’s also co-written and directed by Michael Dougherty (Krampus, Trick ‘r Treat) and boasts a cast with Vera Farmiga, Millie Bobby Brown, Sally Hawkins, Kyle Chandler, O’Shea Jackson Jr., David Strathairn, and so many more.

Child’s Play – June 21

At first glance, it seems the only real update in this remake is that Chucky is now Buddi, a high-tech doll for the modern era that has voice recognition, English language comprehension, and a different origin story than serial killer Charles Lee Ray. Aubrey Plaza stars as single mother Karen Barclay, who gifts the doll to her son Andy for his birthday. And if it turns out that this isn’t much more than a modern update, we still win- Don Mancini is working on a Child’s Play TV series with Chucky.

Grudge – June 21

Mark June 21 as a day for horror reimaginings, as the Takashi Shimizu horror movie about a cursed house with vengeful ghosts dooming any who enter to a violent end, is getting a new iteration. Directed by Nicolas Pesce (The Eyes of My Mother, Piercing), this iteration promises to be very different than the franchise we’re used to. Moreover, the cast is impressive; Grudge stars Andrea Riseborough (Mandy), William Sadler, Demian Bichir, Lin Shaye, Jacki Weaver, Betty Gilpin, and John Cho. This looks to be the dark horse of June 21 releases.

47 Meters Down: Uncaged – August 16

It wouldn’t be summer without a shark horror movie, and director Johannes Roberts returns for the sequel to sleeper hit 47 Meters Down. This time the plot follows five divers exploring ruins of an underwater city, and quickly discover they’re not alone in the underwater caves. If Roberts can land another terrifying scare like the flare scene in the first film, this sequel will be golden. 47 Meters Down: Uncaged stars Nia Long and John Corbett.

Annabelle 3 – June 28

Currently untitled, the latest entry in the Annabelle spinoff series brings the Warrens into the fold, as the creepy doll wreaks havoc from her display case in the Warrens’ artifact room and awakens many other evil spirits resting there. The Haunting of Hill House’s Mckenna Grace stars as Judy Warren, and Madison Iseman as Judy’s babysitter Mary Ellen. Look for Patrick Wilson and Vera Farmiga to reprise their roles as Ed and Lorraine Warren in a smaller capacity, as well. Gary Dauberman, who penned the previous two Annabelle films, will be making his directorial debut.

The New Mutants – August 2

This film has gotten bumped back so many times that it’s plausible to happen again. Following a group of young mutants discovering their powers while held at a secret facility against their will, initial trailers indicated this would be a straight-up horror take on the superhero story. But the actual film didn’t really have much in the way of horror at all, so it was bumped for reshoots to add the horror. If it succeeds, The New Mutants could be just as exciting as the initial trailer suggested. Guess we’ll find out. Eventually.

Scary Stories to Tell in the Dark – August 9

Based on Alvin Schwartz’s internationally best-selling book series, the movie follows a group of young teens solving a string of murders in their town. Produced by Guillermo del Toro, who has been working to get this movie made for a while now, Andre Ovredal (The Autopsy of Jane Doe) directs from a script by Daniel Hageman, Kevin Hageman and del Toro. Between Ovredal and del Toro, we’re sold, but if they can even partially capture the essence of illustrator Stephen Gammell’s creepy artwork, we’re in for a major treat.

It: Chapter Two – September 6

The highly anticipated conclusion to 2017’s It is finally here! Set 27 years after the events of the first film, most of the Loser’s Club have grown up and moved out of Derry. But the return of It has them returning to fulfill their promise to finish It off once and for all. The young cast of the Loser’s Club returns in flashback form, while the adult Loser’s Club is played by Jessica Chastain, James McAvoy, Jay Ryan, Bill Hader, Isaih Mustafa, James Ransone, and Andy Bean.

Zombieland 2 – October 11

Ten years after the first film, we finally get a sequel. The core cast returns, along with original director Ruben Fleischer. This time, Wichita, Little Rock, Tallahassee, and Columbus have to contend with growing pains within their makeshift family, new survivors, and evolving zombies. The real question is – can they top the Bill Murray cameo?

Are You Afraid of the Dark? – TBD

The beloved Nickelodeon 90’s anthology show that featured a group of teens gathering around the campfire to tell each other scary stories is getting a feature film adaptation, but plot details are scarce as of now other than it’ll be a completely original story. Gary Dauberman (Annabelle) penned an earlier script, and BenDavid Grabinski wrote the most recent draft. D.J. Caruso (Disturbia) was only recently tapped to direct, so the Paramount targeted release date of October 11 can potentially change. Either way, we’re in.

Doctor Sleep – November 8

Director Mike Flanagan takes on the works of Stephen King once more, and this time it’s for the sequel to The Shining; Doctor Sleep. A now adult Danny Torrence (Ewan McGregor) meets a young girl with very powerful Shining abilities unlike anyone he’s ever met. It’s the very thing that makes her a target from the dangerous True Knot, a vampiric group that preys on children like her to remain immortal. Dan must overcome his personal demons to protect her. Look, this had us at Flanagan, who’s proved uncanny at developing literary horror masterpieces. But we also really can’t wait to delve into the world of The Shining once again. That the release date was bumped up from January 2020 to the holiday season this year is also a great sign.

In the Tall Grass – Late 2019

Based on the novella by Stephen King and Joe Hill, In the Tall Grass follows a brother and sister driving through rural Kansas on a road trip. When they stop to investigate cries for help, they find themselves lost in a field of, you guessed it, tall grass. Directed by Vincenzo Natali (Cube, Splice), and based on King and Hill’s story, you can expect things to get weird. The film stars Patrick Wilson and Rachel Wilson.

TBD

These films currently have no release date but are expected to arrive in 2019:

3 From Hell

This highly anticipated follow up to The Devil’s Rejects is going to be a very different experience, while still reuniting fans with the surviving members of the Firefly clan. Do we really need to know anything else? Take my money now, please.

Body at Brighton Rock

Written and directed by Roxanne Benjamin (Southbound), this survival thriller follows an inexperienced park ranger as she’s stuck guarding a dead body overnight on a remote mountain trail until authorities can arrive. It causes her to confront her deepest, darkest fears.

Depraved

Written and directed by Larry Fessenden, Depraved looks to be a new, twisted take on the Frankenstein story. In it, a field surgeon suffering from PTSD makes a man out of body parts and brings him to life, but this is Fessenden at the helm, so we know there’s much more to it than meets the eye.

Eli

To be released on Netflix, Ciaran Foy (Citadel, Sinister 2) directs this supernatural story about a young boy battling an auto-immune disorder while stuck in a house that might be haunted. Eli stars Kelly Reilly, Lili Taylor, and Sadie Sink.

The Lighthouse

Robert Eggers follow up to The Witch is another period piece, this time set in 1890 Nova Scotia. It’s about an aging lighthouse keeper named Old, and stars Willem Dafoe and Robert Pattinson. That’s really all we have to go on, other than the actors reported that their time on set was one of the most grueling experiences. So, you can bet we’re very curious.

Midsommar

What begins as a summer road trip movie for a young woman and her boyfriend turns into an absolute nightmare as the couple falls prey to a Pagan cult in Sweden. Oh yeah, and it’s Ari Aster’s immediate follow up to Hereditary. So, we want Midsommar in our eye holes immediately, please.

Rabid

A remake of David Cronenberg’s original 1977, with Sylvia Soska and Jen Soska at the helm, Rabid sees central character Rose (Laura Vandervoort) aspiring to become a fashion designer until a gruesome accident leaves her so horribly disfigured that she turns to an experimental, untested treatment. As a result, it alters her personality from shy to extroverted, but it also comes with some horrific side effects.

What are you looking forward to in 2019?

The post Over 30 Horror Movies We Can’t Wait to See in 2019 appeared first on Bloody Disgusting!.

In the film, our hero Tree Gelbman (Jessica Rothe) discovers that dying over and over was surprisingly easier than the dangers that lie ahead.

Directed by Christopher Landon, it opens again and again on Valentine’s Day, 2019.

The post Second ‘Happy Death Day 2U’ Trailer Rings in the New Year! appeared first on Bloody Disgusting!.

In addition to the trailer, Uni provided Bloody Disgusting with the first three official stills from the film in which our hero Tree Gelbman (Jessica Rothe) discovers that dying over and over was surprisingly easier than the dangers that lie ahead. What’s notable are the various masks, which remind us of Scream 2‘s use of multiple Ghostface masks.

Directed once again by Christopher Landon, it opens again and again on Valentine’s Day, 2019.

The post Double the Baby-faced Killer in First ‘Happy Death Day 2U’ Imagery appeared first on Bloody Disgusting!.

Jessica Rothe leads the returning cast of Happy Death Day 2U, the follow-up to Blumhouse’s 2017 slasher hit of riveting, repeating twists and comic turns. This time, our hero Tree Gelbman (Rothe) discovers that dying over and over was easier than the dangers that lie ahead. The trailer has been playing in theaters since October, but it’s now available right here online!

The first Happy Death Day was a total win, combining an inventive slasher movie concept with a fun performance from Jessica Rothe to create one of the better post-’80s slasher films we’ve seen. Next year’s sequel looks to bring its own little inventive twist to the proceedings; the body count is being raised, like all good slasher sequels, as Tree’s friends are now also dying.

Check out the Happy Death Day 2U trailer below!

Happy Death Day 2U will arrive in theaters on February 14, 2019.

Jason Blum once again produces and Christopher Landon returns to write and direct this next chapter, while Happy Death Day executive producers Angela Mancuso and John Baldecchi are newly joined by EP Samson Mucke (Scouts Guide to the Zombie Apocalypse).

The post ‘Happy Death Day 2U’ Trailer Enters a Whole New Time Loop for More Slasher Fun appeared first on Bloody Disgusting!.

The trailer for Happy Death Day 2U is exclusively playing in theaters right now, attached to Halloween, and we expect it online soon. In the meantime, find the poster art below.

Happy Death Day 2U will arrive in theaters on February 14, 2019.

Jason Blum once again produces and Christopher Landon returns to write and direct this next chapter, while Happy Death Day executive producers Angela Mancuso and John Baldecchi are newly joined by EP Samson Mucke (Scouts Guide to the Zombie Apocalypse).

The post This New ‘Happy Death Day 2U’ Art is Woof appeared first on Bloody Disgusting!.

Jessica Rothe leads the returning cast of Happy Death Day 2U, the follow-up to Blumhouse’s 2017 slasher hit of riveting, repeating twists and comic turns. This time, our hero Tree Gelbman (Rothe) discovers that dying over and over was easier than the dangers that lie ahead.

The trailer for Happy Death Day 2U is exclusively playing in theaters right now, attached to Halloween, and we expect it online soon. In the meantime, find the poster art below.

Happy Death Day 2U will arrive in theaters on February 14, 2019.

Jason Blum once again produces and Christopher Landon returns to write and direct this next chapter, while Happy Death Day executive producers Angela Mancuso and John Baldecchi are newly joined by EP Samson Mucke (Scouts Guide to the Zombie Apocalypse).

The post While the Trailer Plays in Theaters, We’ve Got the ‘Happy Death Day 2U’ Poster for Ya Right Here appeared first on Bloody Disgusting!.

Blumhouse did a similar thing with Unfriended: Dark Web earlier this year, debuting the trailer in theaters and then holding off a few weeks before dropping it online.

Jessica Rothe will be returning as main character Tree Gelbman, while Israel Broussard will also be back as Carter Davis, Tree’s boyfriend. Ruby Modine reprises her role as Lori Spengler with Suraj Sharma (Life of Pi) and Sarah Yarkin (“American Horror Story”) also starring.

Rothe detailed sequel plans earlier this year…

“The sequel, the way he described it to me, elevates the movie from being a horror movie – and I wouldn’t even say it’s just a horror movie because it’s a horror, comedy, rom-com drama – into a Back to the Future type of genre film where the sequel joins us right from where we left off, it explains a lot of things in the first one that didn’t get explained, and it elevates everything,” Rothe told Collider.

Christopher Landon returns to direct Happy Death Day 2U, arriving February 14, 2019.

Well lookie here at what trailers this is getting! @ModernHorrors pic.twitter.com/hY983AMdSP

— it’s just frank (@FrankKemp3) October 17, 2018

The post The First Trailer for ‘Happy Death Day 2U’ Will Debut in Theaters, Playing Before ‘Halloween’ appeared first on Bloody Disgusting!.

Breakout star Jessica Rothe will be returning as main character Tree Gelbman, while Israel Broussard will also be back as Carter Davis, Tree’s boyfriend. Ruby Modine reprises her role as Lori Spengler with Suraj Sharma (Life of Pi) and Sarah Yarkin (“American Horror Story”) also starring.

Sharma is playing Samar Ghosh, a science enthusiast and geek who enjoys coding in his spare time. Yarkin has been cast in the role of Dre Morgan, a science geek and tom-boy with a sleepy feline gaze who is Samar’s partner-in-crime, as Deadline previously reported.

Rothe detailed sequel plans earlier this year…

“The sequel, the way he described it to me, elevates the movie from being a horror movie – and I wouldn’t even say it’s just a horror movie because it’s a horror, comedy, rom-com drama – into a Back to the Future type of genre film where the sequel joins us right from where we left off, it explains a lot of things in the first one that didn’t get explained, and it elevates everything,” Rothe told Collider.

Christopher Landon returns to direct Happy Death Day 2U, which filmed this past May.

The post ‘Happy Death Day 2U’ Gets a Valentine’s Day Release appeared first on Bloody Disgusting!.