The Mummy 4 Is Set for October 15, 2027 as Filming Gets Under Way

The Mummy 4 is set for release on October 15, 2027. Universal moved the film up from its original date of May 19, 2028, according to Variety. The new date puts the O'Connells in theaters just before Halloween. The film still has no official title.

The change shortens the wait for fans of the adventure series by roughly seven months, and it places the sequel in a slot traditionally favored for horror and spooky-season releases. Even without a title, the film already has a firm date, a confirmed cast and cameras rolling, which puts it well ahead of many projects at a comparable stage.

Why the Halloween Window Matters

Studios often schedule films with supernatural or macabre themes in October, when audiences are in the mood for them, and moving from a May 2028 date to mid-October 2027 reflects that approach. Universal has long been associated with classic movie monsters, and a film about an ancient curse fits naturally in the weeks before Halloween. The earlier date also means the sequel will arrive before the end of the 2027 calendar year, which may help it stand apart from the crowded summer schedule that surrounds a May opening.

Cameras Roll in London and Morocco

Production began on September 7 in London and Morocco, according to Brendan Fraser, who told Canal+ that filming would start that Monday. The sequel reunites Fraser and Rachel Weisz as Rick and Evelyn O'Connell for the first time since The Mummy Returns in 2001.

The locations suit the franchise. The series has always paired period adventure with North African and Middle Eastern desert settings, and Morocco has long served as a filming location for productions that need sweeping desert landscapes. London offers a base for studio work and for scenes that call for a European setting. Starting filming in early September and aiming for an October 2027 release leaves roughly thirteen months for shooting and post-production combined, a workable schedule for a film that will need extensive visual effects.

The reunion of Fraser and Weisz is the central selling point. The pair starred together in the first two films, and their on-screen chemistry became a defining feature of the series. Their return after a gap of more than two decades gives the sequel a strong link to the original trilogy and a clear hook for audiences who grew up with those films.

Fraser's return also arrives at a notable point in his career. He won the Oscar for best actor for The Whale, and his career revival has made him one of the more closely followed actors of recent years. Playing Rick O'Connell again offers him a chance to revisit the role that made him a household name in the late 1990s, and his involvement as an executive producer shows how invested he is in the film.

Familiar Faces Return

John Hannah returns as Jonathan, Oded Fehr as Ardeth Bay and Kevin J. O'Connor as Beni. Cosmic Book News reports that Arnold Vosloo is also back as Imhotep.

The supporting players are as much a part of the series' identity as its leads. Hannah's Jonathan provided much of the comic relief, Fehr's Ardeth Bay was the stoic guardian, O'Connor's Beni became a memorable weaselly rogue, and Vosloo's Imhotep was the original film's imposing villain. Having the main figures from the earlier films return signals that the sequel intends to honor the tone of the originals. Vosloo's inclusion is reported by one outlet, so readers should treat it as a report rather than an official confirmation.

New Names Join the Cast

Numan Acar and Michael Johnston, who stars in Obsession, have joined the cast, Gizmodo reports, and their roles have not been disclosed. The addition of new performers indicates that the story will introduce characters beyond the original group, and the secrecy around their parts is typical of a production that wants to preserve surprises.

Radio Silence Takes the Director's Chair

Matt Bettinelli-Olpin and Tyler Gillett, the Radio Silence duo behind Ready or Not and Scream VI, are directing from a script by David Coggeshall. Sean Daniel, who produced the original trilogy, returns as a producer alongside William Sherak, James Vanderbilt and Paul Neinstein of Project X Entertainment, and Fraser is an executive producer.

The choice of directors is notable. Radio Silence is known for blending horror with humor and for reviving established franchises, as they did with Scream, and the combination of scares and wit has been a hallmark of their work. That approach resembles the mixture of action, comedy and the supernatural that defined the original Mummy films. Daniel's return as a producer offers continuity with the earlier trilogy, and Fraser's executive producer credit gives him a voice in the film's development beyond his on-screen role.

Sorting Out Which Mummy This Is

Plot details are being kept secret. Bloody Disgusting reports that the sequel is expected to disregard the events of 2008's The Mummy: Tomb of the Dragon Emperor, in which Weisz did not appear. Dread Central points out that the film has no connection to Lee Cronin's separate film The Mummy.

The reports help clarify a franchise history that can be confusing. The 1999 film starring Fraser and Weisz led to The Mummy Returns in 2001 and the 2008 installment, in which Maria Bello played Evelyn in place of Weisz. Universal also released a separate reboot in 2017. A new film that sets aside the 2008 story would restore Weisz's character to the center of the narrative, and the clarification that it is unrelated to Cronin's film will help audiences distinguish between the two projects.

How the Film Came Together

The film was first dated on February 10, when Universal announced that Fraser and Weisz had closed deals to return.

That timeline shows a project that has moved quickly. From the announcement of the returning leads in February to the start of filming in September took about seven months, and the release date has since been advanced rather than delayed, which is less common in the current film calendar. Moving a date earlier is less common than pushing one back, and it suggests that the studio sees the production as on track.