Universal Pictures and Blumhouse have released a new full Trailer for ‘The Woman in the Yard’ directed by Jaume Collet-Serra which serves up plenty of new footage from the horror-thriller.
You can watch the new Trailer for the movie below.
‘The Woman in the Yard’ is set to be unleashed into Theaters on March 28, 2025.
‘The Woman in the Yard’ is directed by Jaume Collet-Serra from a screenplay by Sam Stefanak. The cast of the film includes Danielle Deadwyler, Okwui Okpokwasili, Russell Hornsby, Peyton Jackson, Estella Kahiha.
A lone, spectral woman shrouded entirely in black appears on a family’s front lawn without explanation and warns them “today’s the day.”
Where did she come from? What does she want? When will she leave? Only The Woman in the Yard knows.
From Blumhouse, the most successful global brand in horror, comes a new original chiller starring BAFTA and SAG nominee Danielle Deadwyler (Till, The Harder They Fall, The Piano Lesson) as Ramona, a woman crippled by grief after she survives a car accident that takes her husband (Russell Hornsby; BMF, Fences).
Seriously injured, Ramona now must care for their 14-year-old son (Peyton Jackson; Respect, American Refugee) and 6-year-old-daughter (Estella Kahiha; Will Trent, BMF), alone in her rural farmhouse.
Then one day the woman takes form in their yard.
Ramona assumes the woman (Okwui Okpokwasili; The Exorcist: Believer, Julie Taymor’s A Midsummer Night’s Dream) is lost or demented, but as the woman creeps nearer and nearer to the house, it becomes clear she is no ordinary figure and her intentions are anything but peaceful. Now Ramona must rally to protect herself and her children from the grasp of the woman who simply won’t leave them alone.
The Woman in the Yard is directed by Jaume Collet-Serra (Black Adam, Jungle Cruise), who recently directed Deadwyler in the upcoming action thriller Carry On. The film is written by first-time feature screenwriter Sam Stefanak.
The film is produced by Jason Blum, producer of The Invisible Man and The Black Phone, along with acclaimed Emmy nominated producer Stephanie Allain p.g.a. (The Exorcist: Believer, Hustle & Flow), and is executive produced by star Danielle Deadwyler, Jaume Collet-Serra, James Moran and Gabrielle Ebron.
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This is a token move by Jason Blum at Blumhouse. Blum, who constantly gives political ideologies in interviews but then doesn’t back them up with much real action. In 2024, Blumhouse movies all had white males as directors and a predominantly white cast. So don’t give this diversity and inclusion rhetoric in public, but not walk the talk. A “token” move. Self-respect is far more important than a job or money.
Blum also bases business at Blumhouse on the “no small parts, no small speaking parts” as supposedly the small SAG fees of a few hundred dollars would prevent employing a few actors. So that cost would be a few thousand for the few small roles even on the Blumhouse small budget movies in 5-10 million range. Hardly affecting anything. The costs are probably what Blum and his friends spend on lunch in a few days. These acting parts are chump change yet make a world of difference to working actors for pay, opportunity for credit and SAG cards. Which again contradicts Blum in his verbiage in interviews as being a liberal.
Some can say this doesn’t matter fine, but then don’t be a hypocrite lecturing the world about ideologies meanwhile run a business completely differently from what you tell others to do. Especially when the actions of operations at the business are a far cry from beliefs this person gives to more or less pander to liberal minds in entertainment. Hypocrisy and token behavior.
The excuse offered by Blumhouse, Blum “better with sharing profits” than other studios is misleading. As other studios often make movies with a larger cast, smaller parts including speaking which gives more jobs and opportunities for credit and SAG. Blum means “better by sharing profits” to a select small few people, an elitist mindset. Such as hiring the same directors and actors over and over or giving work to his wife to write, like in Wolf Man.
Lastly, Jason Blum gets on Hot Ones and, twenty minutes or so in the segment, tells the story of how, due to hating airlines for years, he took first-class seats and didn’t pay or get airline business. Rather than be embarrassed, Blum is proud and entitled to such behaviors as a bragging point. Including Blum stating one flight was $20,000 or so for first-class seats. This makes a reasonable person think “if such a person is bragging about ripping off airlines, how are they really in business”.
These behaviors in many ways sum up the essence of entertainment, the value of money for more money for a few, to be misled into thinking that someone with “things” allows them to break the law and steal, and it is laughed off because they make movies. What is shocking is how, in these interviews, these “journalists” don’t check much but do a sit and giggle as they want to keep on good terms with someone for more interviews. Not even a few decent questions and letting Blum off the hook on these matters and stance on STRIKE, principles with it. Yet let Blum bring up politics in so many interviews and beliefs. Although it could be believed the rhetoric is unlikely as a person who removes small paid jobs, steals airplane tickets and makes up stories “my mom broke and my dad rich”, no mother was a tenured professor including when he was a child, is not someone that places much stock on authentic words.
So in regard to Blum and Blumhouse, I would avoid them completely. Yet I am sharing my perspective as I love movies and this person puts movies out. I would hope a publication allows feedback and comments that are not illegal on a person with influence in Hollywood and entertainment and not censor it because of the person’s “clout”.