Next year marks 50 years of Steven Spielberg’s industry-changing horror classic Jaws, and Deadline reports today that a 50th anniversary documentary is currently in the works.

From National Geographic, the documentary’s working title is Jaws @ 50, and what’s particularly exciting about the project is that Spielberg’s company Amblin is producing.

Deadline details, “Laurent Bouzereau will direct the documentary, which will include footage and photography from the Peter Benchley and Spielberg archives, as well as all-new interviews from the worlds of film, literature, pop culture and ocean conservation.”

“The behind-the-scenes stories of the book’s writing and the legendary tumultuous production of the film — including being over budget, over schedule, malfunctioning mechanical sharks, weather issues and sea sickness — will serve as the spine of the documentary,” the outlet previews. “It also will explore the world and impact of sharks today through testimonials from people who have dedicated their lives to studying and safeguarding sharks and our seas.”

The documentary is swimming our way Summer 2025, part of National Geographic’s annual “Sharkfest” event. Deadline notes that it will also be streaming on Disney+ and Hulu.

“National Geographic has celebrated sharks for over two decades with our annual summer event Sharkfest, so we naturally jumped at the chance to partner with Amblin Documentaries and Nedland Media on Jaws @ 50,” said Janet Vissering, senior vice president, Production and Development, National Geographic. “Jaws not only became a massive pop culture phenomenon, but the initial fear it elicited propelled the world’s fascination with sharks, opening the door to our understanding of these apex predators and stressing the urgency in protecting our oceans.”

“Jaws, the novel by Peter Benchley and the film by Steven Spielberg, defined both popular literature and cinema,” said Darryl Frank/Justin Falvey, Presidents of Amblin Documentaries and Amblin Television. “The idea of diving into the past, present and future legacy of Jaws, combined with an informed and inspiring discussion about sharks and the ocean in one documentary, is a unique opportunity to explore the perfect union between art and science.”

Amblin Documentaries and Nedland Media produce the upcoming Jaws @ 50.

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With a sequel to the fear-of-heights thriller Fall on the way, Variety reports this week that the two stars of the 2022 movie will reunite for the upcoming remake of The Breed, a new take on the killer dog horror movie that was produced by Wes Craven back in 2006.

Virginia Gardner and Grace Caroline Currey will star alongside Page Kennedy (The Meg) in the remake that’s being directed by filmmaking brothers Sean and Bryan Furst.

‘The Breed’ (2006)

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In Southern California, there is a hotbed of paranormal activity known as the Anza-Borrego Desert State Park. The area called the Borrego Triangle boasts stories of UFOs, eight-foot-tall ghost skeletons, and a furry cryptid known as the Borrego Sandman. Filmmaker Zeshaan Younus and producer Trevor Dillon crowdfunded, assembled a small cast, and spent a week in the Anza-Borrego Desert filming Younus’ directorial debut, The Buildout, with real life paranormal investigator Greg Newkirk (Hellier) serving as Executive Producer.

Part found footage and part paranormal fever dream, The Buildout draws from the rich supernatural history of the location, as well as the majestic scenery, with captivating results.

The Buildout follows close friends Dylan (Hannah Alline) and Cameron (Jenna Kanell) as they venture out into the California desert on motorbikes. The two women have been friends since childhood and this long journey into the desert will be the last time they are together. It’s been a couple of years since Dylan decided to get sober and during that time, she also joined an enigmatic church and believes that she has found God. Cameron says she’s in a cult. As they drive, the women reminisce about their lives together and the death of Cameron’s sister Dakota (Danielle Evon Ploeger). It soon becomes clear that Cameron does not share Dylan’s spiritual beliefs and she also has some resentment towards her for her sister’s death.

When they stop to have lunch, Dylan secretly records a video for Cameron to remember her by because she isn’t planning to come back.

Meanwhile, in the middle of the desert, a Cleric (Natasha Helevi) has set up a tent and base camp and is ecstatically recording a message for the Clergy to let them know that they have been guided to the location they were meant to find. She tells the Clergy she has had visions to confirm that they are on the right path. This will be the new, permanent home for the members of the church. Inside the tent are maps of the desert and various drawings, including one of a hooded figure without a face and the word “Manifest.”

The Buildout is beautifully shot, and the seemingly endless Southern California desert feels like the perfect location for the otherworldly story to unfold. The remote setting provides a sense of desolation, which is magnified by immersive, surreal storytelling, as well as the obvious vulnerability of the two women. Alline gives an incredible performance as Dylan, a recovering addict claiming to have found rebirth and peace, when in reality she is not as confident in her beliefs as she seems. Kanell effortlessly portrays Cameron as bold and self-assured, but she is also struggling with grief due to the loss of her sister, and questioning her lifelong friendship with Dylan, as well as her own spirituality.

The Buildout is a stunning, genre-bending odyssey into the unknown that skillfully blends themes of mysticism, grief, and the paranormal into a film where reality and the supernatural blur. Gorgeous cinematography, outstanding performances, and a thought-provoking, transcendental story make The Buildout an incredibly impressive first feature film. The audience will benefit from a second viewing.

The Buildout premiered virtually at this year’s Chattanooga Film Festival.

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The filmmakers behind Winnie the Pooh: Blood and Honey are expanding their public domain horror universe with a handful of upcoming “Poohniverse” movies, including Bambi: The Reckoning, Pinocchio: Unstrung, and Peter Pan’s Neverland Nightmare. Bloody Disgusting has exclusively scored the poster art for Neverland Nightmare today.

Scott Jeffrey directs Peter Pan’s Neverland Nightmare, now in post-production. Find the poster below and read on for everything you need to know about the Peter Pan horror movie.

The Jagged Edge Productions film — being sold by ITN Studios — follows Wendy Darling as she strikes out in an attempt to rescue her brother Michael from “the clutches of the evil Peter Pan.” Along the way she meets Tinkerbell, who in this twisted version of the story will be seen taking heroine, convinced that it’s pixie dust.

Jeffrey tells us, “This is tonally an extremely darker film to Winnie-The-Pooh: Blood and Honey. When dealing with children being abducted, it felt right. All of the films from our Poohniverse will feel different from the last. So, if one isn’t for you, then maybe the next will be. Peter Pan is the most vicious of them all. He is twisted, cruel and cunning.”

The cast includes Megan Placito as Wendy Darling, Peter Desouza-Feighoney as Michael Darling (The Pope’s Exorcist), Kit Green as Tinkerbell, Martin Portlock (Wolf Manor) as Peter Pan, Nicholas Woodeson (Skyfall), Kierston Wareing (Fish Tank), Olumide Olorunfemi (Venom: Let There Be Carnage), Teresa Banham, Charity Kase and Campbell Wallace.

Created by J.M. Barrie way back in 1902, the character of Peter Pan – like Winnie the Pooh – is in the public domain, even if the iconic Disney iteration of the character is very much not

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It still carries that “Coming Soon” tag, but for those of you itching to see more of the upcoming George A. Romero’s Resident Evil documentary, Residence of Evil has just the thing. Founder J.J. sat down with George A. Romero’s Resident Evil director Brandon Salisbury to chat it up about the documentary, as well as delving into the Resident Evil series itself, Salisbury’s thoughts on Romero’s work and more.

Salisbury first got into the Resident Evil in 1998, when the marketing campaign for Resident Evil 2 was kicking off. “In December 1997, I got a PlayStation 1, and that was when the marketing campaign for Resident Evil 2 ramped up right over the Christmas season.” Salisbury said he was “absolutely floored” by one of the commercials for Resident Evil 2, as up until that point, he had never played a video game that you would even consider a horror video game. “So when the game came out in January 1998, I immediately played it.”

Salisbury then pivoted to how he came to be aware of Romero’s involvement with a Resident Evil film adaptation. “I found out around when Resident Evil 2 came out. That’s when they had the “win a part in the movie” sticker. Right after that was when the rumours started that George Romero might be directing. And then it was about 7 months after the release [of RE2] when it was officially announced that he was attached.”

Obviously, as we know now, things unfortunately didn’t pan out with Romero’s involvement, which led to Salisbury’s documentary. “What had happened, just as a little bit of additional backstory, is I really wanted to make movies. But then I went into the military for 12 years, and then when I got out, I really didn’t know if that point in my life I could even get into film. I had tried a couple of times before like in high school, and then when I was out of the military, and nothing ever seemed to work out.”

Eventually, Salisbury had done a video on Romero’s Resident Evil script on his YouTube channel, which he was “never satisfied” with it. “I wanted to redo it. So I did more research, and then I contact Robbie McGregor who I’d known from the Horror is Alive forum. I had helped them a little bit with McElroy’s script, finding additional information that had kind of been lost for years. So I contacted him and just said ‘Hey, I want to make this video.’ So we decided to join forces.”

After uncovering more information about the film, as well as realizing the possibilities from going into the Romero archives at the University of Pittsburgh and learning about Romero’s process, Salisbury decided that this should be a full-length documentary. “It needs to be feature length. It’s not a YouTube documentary anymore.”

You can check out the full 40 minute interview below, as well as the most recent trailer for the documentary.

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