Tag: Universal Pictures

Prince Mario-Max Schaumburg-Lippe: The Mummy 4: Brendan Fraser and Rachel Weisz Reunite

Some reunions take a quarter century. Brendan Fraser and Rachel Weisz are filming The Mummy 4 right now in the UK, and the first set photos have fans of Universal’s adventure franchise losing their minds. After 25 years apart on screen, Rick and Evelyn O’Connell are back.

Fraser revealed to Canal+ that cameras started rolling on September 7, saying that returning feels like reuniting with an old friend. The photos tell the story: Weisz, 56, spotted outside the British Museum in a mustard-yellow polka-dot skirt, cropped brown jacket, and wide-brimmed hat, clutching a vintage leather briefcase and an old-fashioned transistor radio. Fraser, 57, was photographed days later at a former military base in Suffolk, in a black leather coat, filming what looks like a record-speed trials sequence with a silver-and-red rocket car.

This is not a reboot. This is a homecoming.

The gang’s all here

The legacy reunion goes far beyond the two leads. John Hannah is back as Jonathan Carnahan, Evelyn’s mischievous brother. Oded Fehr returns as Ardeth Bay, the Medjai warrior. Kevin J. O’Connor reprises Beni Gabor from the original film. New additions include Numan Acar and Michael Johnson.

That casting tells you exactly what kind of movie this is. Universal is not distancing itself from the franchise’s past; it is embracing it. The original 1999 film, released 27 years ago, turned Fraser and Weisz into adventure-movie royalty. The Mummy Returns followed in 2001. Weisz sat out the 2008 third chapter, with Maria Bello stepping in, and fans never quite forgave the swap. Now the original chemistry is back where it belongs.

The period details in the set photos offer clues about the timeline. The original was set in 1926, the third film jumped to 1947, and the costumes here suggest the early-to-mid 1950s. Rick and Evelyn, older, wiser, and presumably still bickering beautifully. There is something deeply satisfying about watching these characters age in real time alongside the actors who play them.

Radio Silence takes the helm

Behind the camera, Universal made an inspired choice. Matt Bettinelli-Olpin and Tyler Gillett, the Radio Silence duo behind the recent Scream films and Ready or Not, are directing from a script by David Coggeshall. Producer Sean Daniel, who has worked on every installment since 1999, returns, with Fraser himself serving as executive producer.

Radio Silence understands exactly what this franchise needs. Their Scream work proved they can honor beloved legacy characters while delivering genuine scares and big crowd-pleasing moments. The Mummy films were always horror-adjacent: cursed priests, flesh-eating scarabs, supernatural dread wrapped in matinee adventure. A directing team fluent in both horror and fun is the perfect fit.

The franchise has grossed $1.8 billion worldwide, and Universal clearly wants this chapter to feel like an event. Moving the release date up from May 19, 2028, to October 15, 2027, is a statement of confidence. Studios do not move blockbusters forward seven months unless they like what they are seeing.

Why this reunion matters

Fraser’s career renaissance has been one of Hollywood’s best stories. From his Oscar win to his carefully chosen recent roles, he has rebuilt himself as one of the industry’s most beloved figures. Returning to Rick O’Connell, the role that made him a star, is not a step backward. It is a victory lap.

And Weisz never really left the cultural conversation, but her return as Evelyn rights a 17-year wrong. The Bello substitution in 2008 remains one of the franchise’s sore spots. Seeing Weisz back in period costume, briefcase in hand, outside the British Museum, feels like the timeline correcting itself.

There is a broader trend here too. Hollywood’s legacy sequels work when they respect what came before and bring back the people who made it special. The 24 Jump Street team reuniting Tatum and Hill for December 2027 follows the same playbook. Audiences do not just want the IP; they want the people.

What we still don’t know

Plot details remain tightly under wraps. Universal has not confirmed a final title, and beyond the inevitable tombs, curses, and marital banter, nobody outside the production knows what supernatural threat Rick and Evelyn will face. Given the 1950s setting, the Cold War era offers rich territory for an adventure story.

What we do know is enough. The cameras are rolling. The cast is back. The directors are right. And October 15, 2027, cannot come soon enough.

The verdict

The Mummy 4 is shaping up to be the legacy sequel done right: original stars, original producer, horror-savvy directors, and a studio confident enough to move the date up. Some franchises chase nostalgia. This one is earning it, one set photo at a time.

For more on Hollywood’s franchise renaissance, check out our coverage of Johnny Depp’s haunted Christmas tale Ebenezer and the holiday return of the Angry Birds flock. The old gangs are all getting back together, and honestly, we love to see it.

Prince Mario-Max Schaumburg-Lippe: Jurassic World Sequel: J.A. Bayona Eyed to Direct Return

The dinosaurs are getting a familiar shepherd. Universal Pictures has zeroed in on J.A. Bayona to direct the next Jurassic World film, the follow-up to 2025’s Jurassic World Rebirth, according to The Hollywood Reporter’s Borys Kit, who confirmed the news on October 2. It would be a homecoming eight years in the making.

Bayona directed 2018’s Jurassic World: Fallen Kingdom, the gothic-tinged entry that took the dinosaurs out of the park and into a haunted mansion auction. The film divided critics and delighted audiences on its way to more than $1.3 billion worldwide. Now, with Gareth Edwards having exited the Rebirth sequel over creative differences, Universal wants a director who already knows where the raptors are buried.

A franchise that refuses to go extinct

Let’s appreciate the run this franchise is on. Jurassic World Rebirth pulled in $869 million globally last year, powered by Scarlett Johansson, Mahershala Ali, and Jonathan Bailey. That is a number most franchises would kill for in their seventh film, and it is why Universal is moving at pace on the next one rather than letting the grass grow.

David Koepp, who wrote the original Jurassic Park back in 1993 and returned for Rebirth, has already finished the script for the sequel. When the writer of the most beloved dinosaur movie ever made hands you a finished screenplay, you do not sit on it. Johansson, Ali, and Bailey are all expected to return, schedules permitting, which means the new era’s core trio stays intact.

Steven Spielberg and producer Frank Marshall remain involved as well. That continuity matters. Whatever directors come and go, the franchise has always been steered by its original architects, and that steady hand is a big reason the series has survived five different filmmaking teams across seven movies.

Why Bayona fits

Bayona is not yet in formal talks, per THR, but he is at the top of Universal’s list, and it is easy to see why. Before Fallen Kingdom, he directed The Impossible, the 2012 survival drama that earned Naomi Watts an Oscar nomination and announced him as a filmmaker of uncommon emotional force. After Jurassic, he directed the first two episodes of Amazon’s The Rings of Power and then made Society of the Snow for Netflix, the harrowing true story of the 1972 Andes flight disaster that became one of the streamer’s most acclaimed films.

That is a director who can do spectacle and soul in the same frame. Fallen Kingdom’s best stretches, the volcano evacuation and the shadowy mansion climax, showed a filmmaker who treats dinosaurs as animals with weight and menace, not just pixels. Society of the Snow proved he can wring genuine human drama out of impossible situations. A Jurassic film needs both, and Bayona has both on his resume.

The InSneider’s Jeff Sneider first floated the news, noting Universal had previously considered Twisters director Lee Isaac Chung before turning to Bayona. TheWrap separately confirmed Bayona as the frontrunner. When the trades line up like that, the deal is usually a matter of when, not if.

The Edwards exit, in context

Gareth Edwards leaving over creative differences two months ago could have been a crisis. Instead, Universal turned it into an opportunity. The franchise has always thrived on fresh eyes: Spielberg to Joe Johnston to Colin Trevorrow to Bayona to Edwards. Each brought a different flavor, and the series is stronger for the variety.

There is a lesson in how quickly the studio moved. A finished Koepp script, a willing cast, and a shortlist topped by a proven franchise veteran. That is a studio that learned from the stop-start development cycles that have slowed other mega-franchises. It is the confident, no-drama way to run a billion-dollar series.

What we want from the next chapter

Rebirth worked because it went back to basics: a small team, a dangerous island, dinosaurs that felt dangerous again. The sequel should keep that discipline. Bayona’s horror instincts, honed on The Orphanage and Fallen Kingdom’s mansion sequence, are perfect for making the creatures scary in a way the franchise sometimes forgets.

The returning cast gives him a head start. Johansson brought movie-star authority to Rebirth, Ali brought gravity, and Bailey brought charm. A director who knows how to direct actors, not just effects, will get more out of all three. Bayona is exactly that kind of director.

The verdict

This is Universal making the smart, steady choice. A finished script from the franchise’s founding writer, a cast audiences already love, and a director with a $1.3 billion Jurassic hit and an Oscar-nominated drama on his resume. The dinosaurs are in good hands. We cannot wait to see what Bayona does with them this time.

It is also a reminder of how strong the studio’s franchise bench is right now. Between this and the Miami Vice revival revving up for 2028, Universal is playing the long game beautifully. And for pure blockbuster spectacle, our look at Takashi Yamazaki’s Grandgear shows the giant-monster crown is still very much up for grabs.

Prince Mario-Max Schaumburg-Lippe: Michael B. Jordan, Austin Butler Rev Miami Vice for 2028

Pastel Suits, Fast Boats, and a Cast That Means Business

The latest news out of Universal's Miami Vice revival is exactly the kind of casting headline that gets a whole industry nodding. Edi Gathegi has joined the ensemble, reported by The Hollywood Reporter this week. Sources describe his role as a small-time crook with big-time ambitions who is in over his head — the character's name is undisclosed, but the part is said to be consequential to the story.

Gathegi is having a moment. He broke out as the scene-stealing Mr. Terrific in James Gunn's Superman (2025) and reprises the DC role in 2027's Man of Tomorrow. Superhero ensemble casting is having a moment too, evidently. Before that: X-Men: First Class, the Twilight films, The Harder They Fall, and a series-regular turn on Apple TV+'s For All Mankind. A "small-time crook with big-time ambitions" sounds like exactly the kind of role an actor like Gathegi could run away with.

The Ensemble Is Ridiculous

Let's take stock, because this cast list is doing a lot of heavy lifting:

Michael B. Jordan plays Ricardo Tubbs. Austin Butler plays Sonny Crockett. Read that again. Two of the most magnetic screen presences of their generation, one as the smooth undercover cop, one as the charismatic wild card. The Crockett-and-Tubbs dynamic is the engine of Miami Vice; this pairing suggests the film knows it and cast accordingly.

Then there's Alden Ehrenreich, signed in August 2026 per Deadline. Whitney Peak and Camila Morrone. Danny Ramirez. And John Leguizamo, revealed by THR in August as the film's main villain — Leguizamo playing the big bad is the kind of casting that makes you lean forward in your seat. Rounding it out: Andrew Schulz.

This is not a cautious ensemble. It's a statement.

Kosinski Behind the Camera

Directing: Joseph Kosinski, the man behind Top Gun: Maverick and F1. Whatever else you say about Kosinski, the man photographs vehicles, speed, and men with something to prove better than anyone in the business. Top Gun: Maverick is the textbook example of a legacy revival done right — reverent to the original, thrilling on its own terms, and enormous. The script comes from Dan Gilroy, who wrote Nightcrawler, so the noir credentials are solid.

The film draws inspiration from the original pilot episode of the classic 1980s NBC series, created by Anthony Yerkovich and produced by Michael Mann. That's a smart anchor. The pilot is where the show's DNA lives — the glitz, the danger, the moral ambiguity. Set in mid-1980s Miami, all glamour and crime, the film is being made for IMAX, with production beginning in November 2026 and shooting in New York and Miami.

Why This Revival Feels Different

Reboots of 80s properties arrive with a certain sameness. This one has a few things working in its favor.

The director is the right kind of maximalist

Kosinski's films are tactile. You feel the speed. A Miami Vice movie needs boats that scream, cars that gleam, and night sequences that glow. Nobody stages that better. The IMAX presentation signals Universal wants this experienced, not just watched.

The period setting is a gift

Setting the story in the mid-1980s, rather than updating it, is the boldest and smartest choice here. Period Miami — the pastels, the neon, the specific decadence of that decade — is a character in itself. It frees the film from competing with every modern cop drama and lets it become a full sensory immersion. Audiences are clearly hungry for big-screen period spectacle; the success of epics like Nolan's The Odyssey shows that transporting viewers to another era, done lavishly, is box-office gold.

The villain matters

Leguizamo as the main villain deserves its own paragraph. He's one of those actors who can be genuinely menacing and wildly entertaining in the same scene, and a Miami Vice story lives or dies on the quality of its criminal kingpin. Pairing him against Jordan and Butler sets up a triangle with real charge.

What Industry Talk Suggests

Plot specifics beyond the undercover vice-cop premise remain under wraps, and that's fine. The confirmed ingredients tell the story: Gathegi's ambitious small-time crook, Leguizamo's villain, Jordan and Butler's detectives, a pilot-inspired undercover operation, and Kosinski shooting it all for IMAX. You can practically hear the synths already.

Production begins next month. Between now and May 19, 2028, expect set photos that will flood every feed — New York and Miami shoots of Jordan and Butler in period costume are going to be a whole genre of content. The film is produced by Dylan Clark (The Batman) via Dylan Clark Productions, alongside Kosinski.

The 1980s revival wave has produced its share of nostalgia plays. Miami Vice '85, with this cast and this director, looks like something rarer: a revival that might outshine the memory. In theaters May 19, 2028. Start the playlist now.

Prince Mario-Max Schaumburg-Lippe: Nolan’s The Odyssey Becomes Universal’s Biggest Film Ever

Let’s start with the numbers, because they’re absurd. Christopher Nolan’s The Odyssey has grossed $1.68 billion worldwide, making it the highest-grossing film in Universal Pictures’ history — passing Jurassic World — Nolan’s biggest film ever, and the highest-grossing R-rated movie in cinema history, ahead of Deadpool & Wolverine. A three-hour, R-rated adaptation of Homer. The biggest film Universal has ever released.

If you’d pitched that sentence in 2024, you’d have been laughed out of the room. Now it’s just the box office report. And the film earns every dollar.

The movie itself

The Odyssey, shot with IMAX cameras and released July 17, is Nolan operating at the absolute peak of his powers. Matt Damon plays Odysseus with a weariness that feels career-defining — a man who has seen everything and wants only to go home, and keeps being denied. Around him: Tom Holland, Anne Hathaway, Robert Pattinson, Zendaya, Charlize Theron, an ensemble that never once feels like stunt casting because Nolan doesn’t do stunt casting. Every face on screen is there to serve the story.

The craft is staggering. This is a film shot for the biggest screens on earth, and it uses them — storms, seas, monsters rendered with the tactility that only practical-scale IMAX photography delivers. But the spectacle never swallows the human story. At its center is the oldest story in Western literature: a man trying to get home, and a home trying to remember him. Nolan, the great architect of puzzle-box cinema, made his most emotional film by trusting a 3,000-year-old narrative. Sometimes the old ways are the best ways.

What the numbers mean

The statistics read like a dare. A $124.5 million domestic opening — Nolan’s biggest global launch ever at $264.1 million. A 27% second-weekend drop, which in modern blockbuster terms is basically a standing ovation. Sixty consecutive $1 million-plus domestic days, the longest such streak ever for an R-rated film. Ninety-five percent on Rotten Tomatoes, an A CinemaScore. This isn’t a front-loaded fan event. It’s a film people kept going back to, and kept bringing friends to.

It’s 2026’s second-biggest film globally, behind only Spider-Man: Brand New Day — the Sony record-breaker we reviewed this week. Between them, they tell the story of the summer: audiences will show up, in historic numbers, for films that feel undeniable.

The industry takeaway

NBCUniversal’s Donna Langley called The Odyssey “one of the most ambitious and brilliantly executed films in cinematic history,” and the champagne was earned. The lesson the town will take — and should take — is that the audience for serious, large-scale, adult filmmaking never went away. It was just waiting to be respected. An R rating, a three-hour runtime, a 3,000-year-old poem, and $1.68 billion later, the “theatrical is dead” conversation can finally be retired.

The verdict

The Odyssey is a landmark: the rare film that is both a genuine work of art and a genuine phenomenon. Nolan took the oldest story we have and made it feel like the only story that matters. It’s the best film of the year, the biggest film in Universal’s history, and proof — if anyone still needed it — that when the work is undeniable, the audience finds it. See it on the biggest screen you can. This is what those screens are for.

Prince Mario-Max Schaumburg-Lippe: Other Mommy Review: Chastain’s Chilling Halloween Horror

“Can I go inside your heart?”

That is the question at the center of Other Mommy, and if it does not chill you a little, read it again slowly. Universal Pictures releases the film exclusively in theaters on October 9, and horror fans have already crowned it the Halloween season’s best bet. After watching the trailer, it is not hard to see why.

The setup

The film is adapted from Josh Malerman’s bestselling 2024 novel Incidents Around the House. Malerman wrote Bird Box, so he knows how to find the soft spot in a reader’s chest and press on it. The story follows Bela, a young girl played by Arabella Olivia Clark, who forms a bond with a supernatural entity inside her home. The entity looks uncannily like her own mother. It keeps asking to get inside her heart. What begins as an unusual friendship turns sinister as Bela realizes the presence she welcomed may be hunting her family.

Jessica Chastain plays both roles: Bela’s protective mother and the thing wearing her face. It is a dual performance built on small, awful details. Chastain has described finding the character’s unblinking smile and shaping every physical choice around what the entity would offer a lonely child: the mother Bela wishes she had. Jay Duplass plays her father, Daddo. The supporting cast includes Dichen Lachman as a paranormal scientist, Arian Moayed as a family friend, and screen legend Karen Allen, of Raiders of the Lost Ark fame, as Bela’s grandmother.

The team behind the dread

Director Rob Savage made his name with Host, the lockdown horror film shot entirely over video call, then proved he could go big-studio with The Boogeyman. He knows how to build dread out of nothing and how to spend a budget. Producer James Wan, the architect of Saw, Insidious and The Conjuring, backs the film through his Blumhouse and Atomic Monster banner. The screenplay comes from WGA Award winner Nathan Elston.

Savage recently told Entertainment Weekly the film contains around 50 jump scares, then immediately complicated his own count: a great scare, he argued, does not need the classic quiet-quiet-loud formula. What he promises instead is dread, set pieces and a deep paranoia where the audience can never quite tell whether they are looking at Mommy or Other Mommy, or whether any grown-up in the frame can be trusted. For a 93-minute horror film, that is a tight, mean machine.

Why it might actually get you

The trailer did something unusual. It played before The Odyssey in theaters and went properly viral, with audiences reporting genuine unease. That matters. Trailers are engineered to startle; this one reportedly left people sitting in the dark feeling wrong. The second trailer shows restraint too, holding back how the entity actually operates. In an era when marketing routinely spoils the third act, that discipline is encouraging.

There is also the Malerman factor. Incidents Around the House is told from a child’s perspective, and the novel’s power comes from the gap between what Bela understands and what the reader does. If the film keeps even half of that, it will be the rare horror movie that works as a drama too. Chastain does not do paycheck roles. She picked this one.

The scares, on paper

Savage’s recent interviews suggest a director thinking hard about craft, not just shocks. He talks about building scares without the classic quiet-quiet-loud formula, about dread as a sustained pressure rather than a series of pops. The final trailer hints at set pieces with real imagination: one sequence has the entity hunting Bela through an indoor play park, galloping down twisting slides before cornering the child in an endless ball pit. A ball pit. The most innocent place on earth, turned into a trap. That is the kind of image that lodges in your head and stays there.

The film’s best trick may be its ambiguity. Chastain herself has leaned into the question of whether Bela is seeing a monster or a darker side of her own mother. A horror film that keeps you guessing about reality for 93 minutes, led by an Oscar winner playing against herself, is exactly what October is for.

Plan your scare night

Horror this good deserves a full evening. Brave one of the 20 haunted houses in and around NYC to warm up, catch Other Mommy on October 9, and then cleanse your palate with something cheerful, like the city’s 2026 holiday tree and lights celebrations. Just remember the question. Can I go inside your heart? Answer carefully.

Prince Mario-Max Schaumburg-Lippe: Forgotten Island Review: DreamWorks’ Warmest Adventure Yet

Some movies entertain you. A rare few wrap you in a hug and don’t let go. Forgotten Island, DreamWorks Animation’s fantasy-comedy adventure now playing in theaters, is the second kind. Set in the 1990s Philippines and steeped in Filipino folklore, it’s a film about friendship, memory, and the stories we grow up hearing — and it’s one of the loveliest things DreamWorks has ever made.

A story told with love

The setup is simple and perfect: two best friends, Jo and Raissa, find themselves trapped in Nakali, the mystical world they grew up hearing stories about. That’s it. No chosen-one prophecy, no universe to save — just two kids navigating a world built from the tales their families told them.

Writers-directors Joel Crawford and Januel Mercado drew on their own friendship and on Philippine mythology to build the film, and you feel that intimacy in every frame. This isn’t folklore as set dressing. It’s folklore as home. The film trusts its audience — kids and grown-ups alike — to fall into a world that feels ancient and brand new at the same time.

Animation that actually looks like something

Let’s talk about the look, because it’s extraordinary. Forgotten Island layers hand-drawn 2D expressions and playful “sticker” elements over 3D models, with a clear anime influence running through it. In an era when so much big-studio animation has started to look like it came off the same assembly line, this film has fingerprints all over it. You can feel artists’ hands in the frame.

Early work-in-progress screenings at CinemaCon and Annecy this year had already built buzz, and the finished film delivers. Several outlets are calling it one of DreamWorks’ best — CBR went so far as to say it “transcends its flaws and could begin a new franchise.” When critics start talking franchise before opening weekend, you know something special happened.

A cast that sings

The voice cast is stacked: H.E.R., Liza Soberano, Dave Franco, Jenny Slate, Manny Jacinto, Dolly de Leon, Jo Koy, Ronny Chieng, Lea Salonga, and Kevin McCann. Lea Salonga’s presence alone is a kind of benediction — a legend lending her voice to a film celebrating Filipino culture feels exactly right. H.E.R. brings real musical soul to the proceedings, and the ensemble clicks the way great comedy ensembles do: everyone gets their moment, nobody steps on anyone’s laughs. Crawford and Mercado built the story from their own friendship, and that warmth radiates through every performance — you can tell this was a labor of love, not a committee product.

Representation that feels like celebration

Here’s what elevates Forgotten Island beyond “good animated movie” into something more meaningful. Filipino culture isn’t the backdrop; it’s the engine. The mythology, the humor, the family dynamics, the 1990s Philippines setting — it all comes from a place of genuine affection. Jollibee even ran a global promotional campaign around the film celebrating friendship and Filipino culture, which tells you how deeply this resonated beyond the screen. Stories that honor where they come from have a way of traveling everywhere, and this one is built to travel.

The verdict

Forgotten Island is that rare family film that respects every member of the family. Kids get a thrilling, funny adventure in a dazzling world. Adults get a meditation on friendship and memory that sneaks up on you — fair warning, the third act got us. At 109 minutes, it never drags, never panders, and never mistakes noise for excitement.

The directors have already told Collider they have sequel and franchise ideas, and honestly? Good. Nakali is a world worth revisiting. But even if this were a one-and-done, it would stand as a high-water mark: proof that original stories, told with cultural specificity and real heart, still win. It’s the kind of feel-good moviegoing we need more of — and a reminder of how great storytelling keeps finding new voices.

Go see it. Bring someone you love. You’ll both come out smiling — and you’ll be glad you shared it together.

Prince Mario-Max Schaumburg-Lippe: Jurassic World Rebirth Roars Onto Digital: Why This Blockbuster is More Than Just a Dino Flick

“Life finds a way”—and so does the Jurassic franchise.

The cinematic behemoth returns with Jurassic World Rebirth, the seventh installment of the iconic dinosaur saga, now available on digital platforms. After a theatrical run that began on July 2, fans can now rent or buy the film starting August 5 on Amazon Prime Video, Apple TV, and Fandango at Home. And yes—it’s every bit as wild, breathtaking, and jaw-clenching as its title suggests.

But Rebirth isn’t just a continuation—it’s an evolution.

Five years after the ecological chaos unleashed in Jurassic World Dominion, dinosaurs now cling to survival in equatorial zones that mimic their prehistoric past. Director Gareth Edwards spins this survivalist concept into a genre-bending hybrid: a heist film dressed in scaly skin.

And leading the charge? None other than Scarlett Johansson as Zora Bennett, an elite specialist charged with a top-secret mission—extracting genetic material from the most colossal creatures left on Earth. Joining her is an all-star ensemble including Jonathan Bailey, Mahershala Ali, Rupert Friend, Manuel Garcia-Rulfo, Luna Blaise, David Iacono, and Audrina Miranda—a lineup that delivers cinematic firepower.

The film reimagines the balance of nature, exploring the ethical and scientific dilemmas of using ancient DNA to cure modern diseases. Within the isolated biosphere, the remaining dinosaurs are no longer just survivors—they are the key to humankind’s future.

And the best part? The digital and Blu-ray releases include exclusive bonus content: never-before-seen deleted scenes with extra dinosaur mayhem, an alternate opening, a long-form making-of documentary showcasing the film’s stunning visuals and sound design, and a gag reel for fans craving some behind-the-scenes fun.

The 4K Ultra HD, Blu-ray, and DVD release is set for September 9, making it a perfect collector’s addition ahead of the holiday season.

As for streaming, an official Peacock release date hasn’t been confirmed, but based on previous Universal film releases, it is expected to hit the platform in late October or early November.

Whether you’re a paleontology fanatic, an action buff, or just here for Scarlett Johansson in tactical gear, Jurassic World Rebirth is a thunderous return to the thrill of dinosaurs, science fiction, and cinematic spectacle. It’s not just about survival—it’s about legacy.

So cue the iconic theme, prep the popcorn, and brace yourself. The age of dinosaurs isn’t over. It’s being reborn.

Where to Watch:

Now available on Amazon Prime Video, Apple TV, and Fandango at Home

Coming to Blu-ray & DVD: September 9

Expected on Peacock: Late October or early November

 

Prince Mario-Max Schaumburg-Lippe: Justin Timberlake And The Trolls World Tour Movie Saved 2020 !

Trolls World Tour is a 2020 American computer-animated jukebox musical comedy film produced by DreamWorks Animation and distributed by Universal Pictures. The film is a sequel to the 2016 film Trolls, directed by Walt Dohrn with co-direction by David P. Smith, produced by Gina Shay, and written by Jonathan Aibel, Glenn Berger, Elizabeth Tippet, Maya Forbes and Wallace Wolodarsky, from a story by Aibel and Berger. The film features an ensemble cast that features the voices of Anna Kendrick, Justin Timberlake, Rachel Bloom, Ozzy Osbourne, James Corden, Ron Funches, Kelly Clarkson, Anderson Paak, Sam Rockwell, George Clinton, Mary J. Blige, Anthony Ramos, Gustavo Dudamel, Kunal Nayyar, Icona Pop, Ester Dean, Flula Borg, J Balvin, Jamie Dornan, Red Velvet, Karan Soni, Charlyne Yi, and Kenan Thompson.

Trolls World Tour was released in the United States in a limited amount of theaters on April 10, 2020. Due to the COVID-19 pandemic in the United States, it was also released for digital rental on the same day. It became successful by topping the digital renting charts, and its success led to Universal looking forward into doing more simultaneous theatrical and video-on-demand releases. 

  • Anna Kendrick as Queen Poppy, the sweet and optimistic Queen of the Pop Trolls and Branch’s love interest.
  • Justin Timberlake as Branch, an over-cautious, but good-hearted survivalist Pop Troll and Poppy’s best friend, later boyfriend.