Universal is returning to familiar territory.

Oscar winners Brendan Fraser and Rachel Weisz are set to reprise their roles in the studio’s The Mummy franchise, with a new installment dated for May 19, 2028. The studio had previously reserved the slot for an untitled event film, and there are currently no other wide releases scheduled for that weekend.

As previously reported, Fraser and Weisz had been in negotiations to star in the project, which will be directed by Radio Silence’s Matt Bettinelli-Olpin and Tyler Gillett from a screenplay by David Coggeshall (The Family Plan, Orphan: First Kill). Plot details are being kept under wraps.

Weisz starred opposite Fraser in 1999’s The Mummy and 2001’s The Mummy Returns, while Fraser led those two films as well as 2008’s The Mummy: Tomb of the Dragon Emperor. The original trilogy became a defining action-adventure franchise of the late ’90s and early 2000s, blending supernatural spectacle with swashbuckling humor.

The new film brings Radio Silence back into business with Universal following the duo’s 2024 vampire thriller Abigail. The project signals another attempt by the studio to reinvigorate the Mummy property after the 2017 Tom Cruise-led reboot failed to launch a broader “Dark Universe” franchise.

Sean Daniel, a longtime steward of The Mummy series — which has grossed $1.8 billion worldwide — returns to produce. Daniel previously produced the first three films as well as the 2017 reboot. Also producing are William Sherak, James Vanderbilt and Paul Neinstein through Project X Entertainment. Fraser, along with Hivemind’s Jason F. Brown and Denis Stewart, will serve as executive producers.

With Fraser and Weisz back in the fold, Universal appears to be leaning into nostalgia for the franchise’s next chapter as it stakes out a prime early summer release corridor.

Warner Bros. is bringing Mike Flanagan and Stephen King back together.

The studio has set a new feature adaptation of The Mist, based on King’s 1980 novella, with Flanagan attached to write and direct. The project marks the latest collaboration between the filmmaker and the prolific author, following Flanagan’s previous King adaptations including Gerald’s Game and Doctor Sleep.

Flanagan will produce through his Red Room banner alongside Tyler Thompson, as well as Spyglass’ Gary Barber and Chris Stone. Alexandra Magistro will executive produce for Red Room.

Originally published in King’s short story collection Skeleton Crew, The Mist centers on a small Maine town engulfed by a dense, otherworldly fog that conceals deadly creatures. As the threat escalates, a group of residents take refuge inside a local grocery store. Cut off from the outside world, tensions rise and social order begins to fracture. In classic King fashion, the true horror becomes twofold: the monstrous entities lurking beyond the mist and the unraveling of human behavior within, as fear fuels mob mentality and emboldens dangerous extremists.

The story has been adapted before, most notably as Frank Darabont’s 2007 feature film, which became known for its bleak ending, and later as a 2017 television series.

Flanagan, who has built a reputation for character-driven horror with projects such as The Haunting of Hill House and Midnight Mass, continues to be one of King’s most consistent big- and small-screen interpreters. The new Mist marks another high-profile King title returning to the marketplace as studios mine the author’s expansive catalog for fresh adaptations.

Simon Pegg and Sofia Boutella are stepping into dramatic territory in Only What We Carry, a Normandy-set feature that also counts Quentin Tarantino, Charlotte Gainsbourg, Liam Hellmann and singer-songwriter Lizzy McAlpine among its cast, marking McAlpine’s feature film debut.

The first images from the film have been unveiled as International Film Trust comes on board to handle world sales, which will launch this week at the European Film Market. The drama is currently in post-production.

Set on the windswept coast of Deauville, Only What We Carry centers on Julian Johns (Pegg), a once-celebrated artistic director of the Moulin Rouge who now lives in near isolation. His carefully guarded solitude is disrupted when Charlotte Levant (Boutella), a former dancer from his past, tracks him down after reading a newspaper article that reveals his whereabouts. Her arrival forces both characters to confront unresolved grief, buried truths and the emotional toll of the lives they have left behind.

Tarantino appears as Julian’s publisher, who resides at the château where Julian is writing his memoir, while Gainsbourg plays Charlotte’s fiercely protective sister. The role marks Tarantino’s most substantial on-screen appearance since Robert Rodriguez’s From Dusk Till Dawn in 1996. Pegg and Boutella previously appeared together in Star Trek Beyond.

The film is written and directed by Jamie Adams, whose work is known for its improvisation-driven style. The approach on Only What We Carry is said to continue that tradition, drawing inspiration from filmmakers such as Eric Rohmer and Hong Sang Soo, with performances shaped organically rather than driven by a conventional script.

Producers on the project include Charles Benoin, Hellmann and Jouri Smit. Executive producers are Alan Ganansia, Richard Althoff, Laura Auclair, Theodoros Ornithopoulos, Jihane Salim, Frédérique Mathias, Alain Bérard, Audrey Boccadifuocco and Pegg.

“Thanks to Charles Benoin, I joined this adventure the way you join a family,” said Auclair. “It was a real honor of contributing as an executive producer to make this project possible, and a privilege to witness this five-star cast evolve, create and improvise under our eyes.”

Ganansia echoed that sentiment, noting that the unconventional process initially felt uncertain. “At first the process felt abstract — improvisation, no traditional script, a lot of unknowns,” he said. “But once I was on set, it all clicked. There was a rare, natural energy, nothing forced or over-engineered. What could have been chaotic became incredibly focused. Watching the film reveal itself in real time was honestly magical, and it confirmed we were part of something truly special.”