Atomic Monster
Atomic Monster is an American film and television production company founded on October 21, 2014, by acclaimed filmmaker James Wan, specializing in horror, science fiction, and genre entertainment across multiple platforms.[1][2] The company was established with a first-look deal at New Line Cinema and Warner Bros. Pictures, enabling Wan to develop and produce mid-budget projects that emphasize innovative storytelling and commercial appeal. Under Wan's leadership, Atomic Monster has become a key player in the horror genre, producing standout films including the Annabelle spin-off series (2014–2017), Malignant (2021), Night Swim (2024), and contributions to the broader *Conjuring* Universe such as The Nun (2018) and The Conjuring: The Devil Made Me Do It (2021).[3][4] In television, it has executive produced diverse series like the DC Universe's Swamp Thing (2019), the horror anthology Archive 81 (2022) on Netflix, and adaptations such as I Know What You Did Last Summer (2021).[5] The company's output often features supernatural themes, psychological tension, and practical effects, earning critical acclaim and box office success, with films like Aquaman and the Lost Kingdom (2023) expanding into action-adventure territory.[3] A pivotal development occurred on January 2, 2024, when Atomic Monster completed a merger with Blumhouse Productions, forming a collaborative entity that retains the creative independence of both labels while sharing infrastructure and a first-look deal with Universal Pictures.[6][7] This partnership has accelerated projects, including recent hits such as The Monkey (2025), M3GAN 2.0 (2025), and The Conjuring: Last Rites (2025), alongside upcoming releases like Mortal Kombat 2 (2026), positioning Atomic Monster as a cornerstone of modern genre filmmaking.[8][9]Company background
Overview
Atomic Monster is an American multimedia production company specializing in horror, thriller, science fiction, and action genres.[5] Founded by filmmaker James Wan in 2014, the company initially focused on developing and producing mid-budget films within these genres.[5][1] Following its merger with Blumhouse Productions, which was completed in January 2024, Atomic Monster operates as a distinct label under a shared banner while maintaining creative independence through a three-way ownership structure split between Jason Blum (majority owner), James Wan, and Comcast.[6][7] The company has produced 26 feature films that have collectively grossed more than $1.26 billion worldwide (as of November 2025), with notable contributions from key franchises such as The Conjuring Universe.[10] It has also expanded into television production, developing commercial content across multiple platforms from its headquarters in Los Angeles, California.[5][2]History
James Wan, having co-created the Saw franchise with his 2004 directorial debut and directed the successful horror film Insidious in 2010, established Atomic Monster in 2014 to serve as a dedicated banner for producing genre films, particularly in horror.[11] This move came after Wan's involvement in high-profile projects like The Conjuring (2013), allowing him to expand his production role beyond directing.[7] Atomic Monster was officially founded on October 21, 2014, with a first-look producing deal secured at New Line Cinema and Warner Bros. Pictures, enabling priority access for developing and financing projects.[12] The company's early years from 2014 to 2018 focused on building a core team and launching initial films, starting with Lights Out (2016), a horror thriller directed by David F. Sandberg and produced under the new banner in partnership with Warner Bros.[13] This period solidified Atomic Monster's reputation in the genre through strategic deals and a pipeline of mid-budget horror productions. From 2019 to 2023, Atomic Monster entered an expansion phase, diversifying into higher-profile films and television. Key productions included the DC Universe series Swamp Thing (2019), marking the company's entry into TV, as well as films like Malignant (2021) and Mortal Kombat (2021), which broadened its scope to include action-horror hybrids.[14] These projects highlighted the company's growth in output and collaborations, leveraging Wan's creative oversight to deliver commercially viable genre content. In November 2022, Atomic Monster announced advanced talks to merge with Blumhouse Productions, aiming to combine resources for enhanced production capabilities.[12] The merger was completed on January 2, 2024, establishing a three-way ownership structure split between Jason Blum (majority owner), James Wan, and Comcast, while preserving creative independence for both labels.[6][7] This union provided Atomic Monster with access to Blumhouse's first-look deal at Universal Pictures, facilitating broader distribution opportunities.[15] Following the merger, Atomic Monster adapted to post-2023 Hollywood strikes industry shifts by prioritizing joint productions and streaming adaptations, with Night Swim (2024) serving as the first release under the combined entity.[7] By 2025, the merged structure continued to drive developments in horror and genre content, focusing on integrated film and television pipelines amid evolving market demands.[6]Leadership and operations
Key personnel
James Wan founded Atomic Monster in 2014 and serves as its primary creative force, guiding the company's focus on horror and genre storytelling through his role as producer on the majority of its projects. Renowned for directing landmark films including Saw (2004), which grossed over $100 million worldwide, Insidious (2010), The Conjuring (2013), and Aquaman (2018), Wan leverages his expertise to steer Atomic Monster's artistic vision and franchise development.[5][16] Michael Clear acts as President of Atomic Monster, overseeing the development, production, and business operations of feature films since joining in 2014. Previously a development executive at Bluegrass Films, Clear manages day-to-day activities and has played a key role in expanding the company's slate of high-profile horror titles.[5][16] Judson Scott holds the position of Executive Vice President of Film, concentrating on script acquisition, project shepherding, and broadening Atomic Monster's portfolio in horror and genre cinema. He frequently executive produces initiatives that align with the company's emphasis on innovative storytelling.[5][17] Rob Hackett serves as Head of Television, directing Atomic Monster's expansion into TV series and unscripted content to diversify its multimedia offerings. His leadership supports the integration of television projects post the 2024 merger with Blumhouse.[5][18] Alayna Glasthal functions as Director of Creative Production and a key creative executive, overseeing development on select film projects and contributing to the company's genre-specific creative pipeline.[5][19] Annie Smith operates as Coordinator for Film, Television, and Books, assisting in the management of development across Atomic Monster's core areas.[5][20] Sarah Paek is the Film Coordinator, supporting production logistics and coordination for feature films within the company's growing output.[5][21] The leadership team has expanded since Atomic Monster's inception as a lean operation, evolving into a more comprehensive structure by 2025 that bolsters its creative and operational capacity in horror and sci-fi genres following the Blumhouse merger.[5][18]Partnerships and distribution
Atomic Monster established a foundational partnership with Warner Bros. Pictures and New Line Cinema upon its founding in 2014, securing a first-look producing deal that has facilitated theatrical releases for numerous projects. This ongoing arrangement, spanning over a decade, has enabled collaborations such as the co-production of The Conjuring Universe films with New Line Cinema, leveraging Warner Bros.' distribution network for global reach.[6] The 2024 merger with Blumhouse Productions has significantly expanded Atomic Monster's operational capabilities, allowing for shared resources in marketing, financing, and production while maintaining the distinct Atomic Monster label under joint ownership with James Wan and Blumhouse principals.[7] Post-merger, Atomic Monster gains access to Blumhouse's first-look distribution deal with Universal Pictures, effective from 2024, which complements its existing Warner Bros. ties and supports a broader slate of mid-range budgeted films typically ranging from $20 million to $100 million.[12] This integrated infrastructure enhances efficiency in budgeting and global streaming adaptations, positioning the combined entity for increased output by 2025.[22] In television, Atomic Monster has pursued diverse distribution partnerships, including a deal with The CW for the 2019 series Swamp Thing, originally premiered on DC Universe before acquiring broadcast rights.[23] The company has also secured agreements with Netflix for projects like the 2022 limited series Archive 81 and the 2025 supernatural horror True Haunting, capitalizing on the platform's global audience.[24] Additionally, Peacock serves as the distributor for the 2024 horror-thriller Teacup, while a forthcoming Conjuring Universe series is in development for Max (formerly HBO Max), with no release date announced as of November 2025, further diversifying Atomic Monster's streaming portfolio.[5][25] Beyond core horror output, Atomic Monster has engaged in co-productions with DC Studios, notably on the 2023 film Aquaman and the Lost Kingdom, distributed theatrically by Warner Bros. Pictures. International distribution for these projects is handled through Warner Bros. Discovery's global network, ensuring wide accessibility across markets.Filmography
Feature films
Atomic Monster has produced a diverse slate of feature films since its inception, predominantly in the horror genre, with occasional forays into action and superhero fare. The company's output emphasizes atmospheric tension, practical effects, and innovative storytelling, often under the creative oversight of founder James Wan, who has directed several entries. Budgets typically range from $5 million for intimate horrors to over $200 million for large-scale blockbusters, reflecting a balance between low-to-mid-budget genre films and high-profile franchises. Many productions highlight practical effects and on-location shooting to enhance realism, particularly in horror titles where tangible scares replace heavy reliance on CGI. The company's most prominent contribution is to the Conjuring Universe, a shared horror franchise that interconnects supernatural tales inspired by the Warrens' paranormal investigations. Launched with The Conjuring (2013, pre-Atomic Monster), the universe expanded significantly under Atomic Monster's involvement starting with The Conjuring 2 (2016). Key spin-offs include the Annabelle trilogy (from 2017 onward), The Nun (2018), The Curse of La Llorona (2019), and The Nun II (2023). These films collectively grossed over $2.7 billion worldwide (as of November 2025), establishing the franchise as the highest-grossing horror series in history, with an average Rotten Tomatoes score of around 70% for its horror entries, praised for escalating scares and ensemble performances.[26]| Film | Year | Director | Genre | Worldwide Gross | Budget | Notes |
|---|---|---|---|---|---|---|
| Lights Out | 2016 | David F. Sandberg | Horror | $149 million | $5 million | Adapted from Sandberg's short film; emphasized practical shadow effects for the titular entity.[27][28] |
| The Conjuring 2 | 2016 | James Wan | Supernatural Horror | $321 million | $40 million | Wan’s directorial follow-up; focused on the Enfield poltergeist case with practical hauntings and family dynamics.[29][30] |
| Annabelle: Creation | 2017 | David F. Sandberg | Supernatural Horror | $306 million | $15 million | Prequel origin story in the Conjuring Universe; utilized doll prosthetics and orphanage sets for eerie atmosphere.[31][32] |
| The Nun | 2018 | Corin Hardy | Supernatural Horror | $366 million | $22 million | Conjuring Universe spin-off set in 1950s Romania; featured gothic architecture and practical demon makeup.[33] |
| The Curse of La Llorona | 2019 | Michael Chaves | Supernatural Horror | $123 million | $9 million | Conjuring Universe spin-off based on Mexican folklore; emphasized watery practical effects and cultural authenticity.[34][35] |
| Annabelle Comes Home | 2019 | Gary Dauberman | Supernatural Horror | $231 million | $27 million | Third Annabelle film; centered on artifact room security with teen-centric scares and prop-based effects.[36] |
| The Conjuring: The Devil Made Me Do It | 2021 | Michael Chaves | Supernatural Horror | $206 million | $40 million | Third mainline Conjuring film; explored occult murder case with practical exorcism sequences.[37][38] |
| Malignant | 2021 | James Wan | Horror Thriller | $35 million | $40 million | Original Wan-directed story blending psychological horror with action; noted for twist-heavy narrative and stunt choreography.[39] |
| Mortal Kombat | 2021 | Simon McQuoid | Action Fantasy | $84 million | $55 million | Video game adaptation; incorporated motion-capture fights and practical arena builds for martial arts sequences.[40][41] |
| M3GAN | 2023 | Gerard Johnstone | Sci-Fi Horror | $181 million | $12 million | Emerging IP about a killer AI doll; highlighted animatronics and dance sequences, launching a potential franchise.[42][43] |
| The Nun II | 2023 | Michael Chaves | Supernatural Horror | $270 million | $38 million | Sequel expanding the demon nun's lore; used 1970s France settings with practical possession effects.[44][45] |
| Aquaman and the Lost Kingdom | 2023 | James Wan | Superhero Adventure | $440 million | $205 million | DC sequel with Wan's direction; emphasized underwater practical sets and creature designs.[46][47] |
| Night Swim | 2024 | Bryce McGuire | Supernatural Horror | $54 million | $15 million | Blumhouse co-production post-merger; centered on a haunted pool with water-based practical stunts.[48][49] |
| Salem's Lot | 2024 | Gary Dauberman | Horror | $0.8 million | $30 million | Stephen King adaptation, direct-to-streaming on Max with limited theatrical; focused on vampire lore with rural Maine practical builds.[50][51] |
| The Monkey | 2025 | Osgood Perkins | Horror | $64 million | N/A | Stephen King adaptation; follows cursed toy monkey legacy with Theo James starring.[52][53] |
| M3GAN 2.0 | 2025 | Gerard Johnstone | Sci-Fi Horror | $39 million | $25 million | Sequel to 2023 hit; continues AI doll storyline with Allison Williams reprising role.[54][55] |
| The Conjuring: Last Rites | 2025 | James Wan | Supernatural Horror | $494 million | $55 million | Final mainline Conjuring film concluding Warrens' storyline; high-stakes supernatural investigations.[56][57] |