Scarlett Johansson is stepping into one of horror’s most iconic universes, joining forces with Universal Pictures and the horror powerhouse collaboration of Blumhouse-Atomic Monster for a new chapter in The Exorcist franchise. The film will be written, directed and produced by acclaimed filmmaker Mike Flanagan — a creative choice that already signals a striking shift in tone and style from previous installments.
As per the reports this new project is being described by the studios as a “radical new take”, a phrase that has sparked significant curiosity across the industry. Rather than attempting to recreate the original film or continue the storyline of more recent entries, Flanagan’s approach is built on reimagining the possibilities of possession horror itself. For a franchise with immense cultural and cinematic weight, the decision to bring in a filmmaker known for emotional depth, psychological precision and atmospheric dread suggests a bold new direction.
Johansson’s casting is equally noteworthy. While she has been part of large-scale franchises and dramatic features, taking the lead in a full-fledged horror property — and particularly one connected to The Exorcist — marks a rare and intriguing move in her career. It also gives the film a global anchor: Johansson is one of the few contemporary stars with proven crossover appeal across blockbusters, adult dramas, and genre projects. Her presence alone elevates expectations for what Flanagan is crafting.
To understand the scale of this moment, it helps to revisit the origin of the franchise. The original Exorcist, directed by William Friedkin, remains a landmark in cinematic history. Released in 1973, the story followed a mother, played by Ellen Burstyn, who seeks help from two priests to save her demonically possessed daughter, portrayed by Linda Blair. The film became a global cultural event, earning $441 million worldwide and securing 10 Academy Award nominations — achievements that positioned it as not only a box office phenomenon but a defining moment for both horror and mainstream American cinema.
What makes Flanagan’s involvement significant is his reputation for reinventing horror language. Through works like Doctor Sleep, Ouija: Origin of Evil, and his celebrated long-form series, he has become synonymous with stories that merge genre tension with grounded human emotion. His films often focus on grief, trauma and psychological vulnerability — elements that align naturally with the thematic foundations of The Exorcist universe. Yet, Flanagan has emphasized that he does not intend to rely on nostalgia or familiarity. Instead, he plans to craft the project as something new, rooted in authenticity while still honoring the franchise’s legacy.
Behind the scenes, the production brings together several major players. In addition to Universal and Blumhouse-Atomic Monster, the film is being developed in partnership with Morgan Creek Entertainment, which has long held the rights to the franchise. Flanagan is also producing through his independent banner, Red Room Pictures, further signaling the personal creative investment he has in shaping this film. Producers Jason Blum, Ryan Turek, David Robinson and Alexandra Magistro are all working alongside him, forming one of the strongest contemporary creative teams in mainstream horror.
Another compelling angle is the timing. Johansson is coming off renewed box office momentum thanks to her recent success with Jurassic World: Rebirth. She has also expanded her artistic footprint by directing Eleanor the Great, reflecting her shift into more creatively driven choices. Pairing her with Flanagan — who is known for intense, character-driven performances — creates an exciting possibility: a horror narrative anchored not just in spectacle but in emotional weight.
The studios have not yet revealed plot details, supporting cast or the role Johansson will be playing, but early signals suggest a story grounded in human drama that spirals into the supernatural. Filming is expected to take place in New York City, though timelines may shift depending on Flanagan’s schedule and ongoing commitments.
Still, there is no doubt that this new Exorcist film is shaping up to be one of the most intriguing horror projects currently in development. By combining a major global star, one of the genre’s most respected writer-directors, and a property that remains deeply influential more than fifty years after its debut, Universal and Blumhouse are positioning the franchise for a fresh, contemporary resurgence — one driven not by repetition, but reinvention.
Read More: