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James Wong (filmmaker)
View on Wikipediafrom Wikipedia
 | This section of a biography of a living person needs additional citations for verification. (May 2009) |
Key Information
| James Wong | |||||||
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| Chinese | 黃毅瑜 | ||||||
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James Wong (born April 20, 1959) is a Hong Kong-American television and film director, screenwriter and producer. He is known for co-writing episodes of the Fox television series The X-Files with his writing partner, Glen Morgan.[1] Wong also directed the films Final Destination (2000), The One (2001), Final Destination 3 (2006), and Dragonball Evolution (2009).
Early life and education
[edit]Wong was born in Hong Kong. At age ten, he moved to the United States along with his family, settling in San Diego, California. During his youth, he met his future writing partner Glen Morgan at El Cajon Valley High School. Later on, he went to Loyola Marymount University, joining a comedy improvisational group. Originally seeking a major in engineering, he later switched to a film major after seeing Apocalypse Now at the Cinerama Dome. After graduating, he landed a job as an assistant to Sandy Howard. During this time, both Wong and Morgan wrote screenplays, eventually having one produced.
Personal life
[edit]Career
[edit]With Morgan, he co-wrote The Boys Next Door. After this Wong became a story editor on the short-lived ABC crime drama Knightwatch. Later, with Morgan, Wong would work on many Stephen J. Cannell productions, including Wiseguy (as supervising producer), The Commish (as supervising producer), and as a staff writer and story editor for 21 Jump Street and its spinoff, Booker.
Wong and Morgan began working with Chris Carter in 1993 on the science fiction/drama The X-Files, about two FBI agents investigating the paranormal, filmed in Vancouver.
In 1995, Wong and Morgan were offered an $8 million, four-year contract deal with 20th Century Fox Television to write and produce television series. As part of this deal, Morgan and Wong went on to create the short-lived series Space: Above and Beyond.
They returned to The X-Files briefly in its fourth season (1996–1997) when they wrote the horror episode Home. Wong also made his television directing debut with the conspiracy-themed "Musings of a Cigarette Smoking Man", written by Morgan. Wong and Morgan also took on production and writing duties for Carter's Millennium. Later, they would go on to executive produce the short-lived NBC paranormal series The Others.
During 1995, both Wong and Morgan were hired by producer Joel Silver to write the third intended Tales from the Crypt movie called Body Count. Their script was loved by executive producers Silver, Richard Donner, Walter Hill, David Giler and Robert Zemeckis but the main producers Gilbert Adler and A L Katz hated it and Universal thought it would be too expensive to shoot.
In 2000, Wong directed Final Destination, which was originally conceived as an X-Files episode by writer Jeffrey Reddick and was then reworked by Wong and Morgan. Wong followed the directorial debut with The One (2001), an action film starring Jet Li, and with more horror films, including Willard (2003), directed by Glen Morgan and starring Crispin Glover, and a second sequel, Final Destination 3 (2006), directed by Wong. In late 2006, Wong and Morgan's remake of Black Christmas was released; the script was by Wong and Morgan and the film was directed by Morgan.
In 2009, Wong directed the live-action film adaptation of the anime and manga media franchise Dragon Ball. It was poorly received by both critics and audiences and as of 2025, he has not directed a film since.
Since 2011, Wong has been working with Ryan Murphy as an executive producer on American Horror Story.[4]
In 2015, Wong wrote and directed one episode, Founder's Mutation, for the tenth season of The X-Files.[5] He returned again in 2017 for The X-Files season eleven to write and direct the episode Ghouli,[6] and to direct the episode Nothing Lasts Forever.[7]
The X-Files
[edit]As part of the initial production crew on The X-Files, Wong was among the most influential four writer-producers who worked closely with X-Files creator Chris Carter to define the characters, plots and aesthetics of the new series (the others were Glen Morgan, Howard Gordon and Alex Gansa). Wong was responsible with his longtime writing partner Glen Morgan for introducing a number of elements that defined The X-Files throughout its run.
Notable episodes co-written by Wong:
- "Squeeze", only the second X-Files episode ever produced, and the first "monster of the week" episode, which would provide a template for two thirds of the future episodes of the series.
- "Ice", the first episode to focus centrally on the Mulder/Scully relationship as the key to its plot.
- "Beyond the Sea", the first episode to receive notable critical acclaim beyond the science fiction genre, the first episode with serious character development for Gillian Anderson in her role as Dana Scully, and also Carter's personal favorite episode of the series.
- "E.B.E.", the first episode to introduce The Lone Gunmen trio of characters, whose popularity resulted in their own short-lived spinoff series (without Wong's participation) in 2001.
- "Tooms", the first episode to introduce the character of Walter Skinner, Mulder and Scully's boss, who would become a more central character over the remainder of the series, and also the first episode to give a speaking part to the Cigarette Smoking Man, the main nemesis of Mulder and Scully for most of the series' run.
- "Little Green Men", the first mythology episode to make use of voiceover and flashback.
- "Blood", the first episode to include a story contribution from Glen Morgan's brother Darin Morgan, who would become the most acclaimed X-Files writer and the only one to win an Emmy for his writing.
- "3", the first episode in which Mulder or Scully was involved in a sexual situation.
- "One Breath", the resolution episode for the abduction plot that was the foundation of the series' long running mythology.
- "Die Hand Die Verletzt", the first episode in which Kim Manners, who became the series' most prolific director over its nine seasons, was brought on board to direct, being an acquaintance of Morgan and Wong from their work with Manners on previous TV series.
- "Home", the first episode to be preceded by a warning from the network that it was intended for mature audiences only due to its disturbing content.
In his directorial debut, Wong also directed the episode "Musings of a Cigarette Smoking Man", for which he received an Emmy nomination, also becoming the first member of the series's regular writing staff (after Chris Carter) to direct an episode, as well as the only person of color to ever direct an X-Files episode. Wong's Emmy nomination for directing "Musings" made him the first Asian American to receive an Emmy nomination for directing anything on television; at that time, no Asian American and no person of Chinese descent had yet been nominated for an Oscar for directing a film. Wong was also, along with Chris Carter (nominated a year later) the only director of an X-Files episode to be Emmy nominated for his work.
As part of The X-Files main production team in 1994–1995, Wong shared the show's first Golden Globe Award win for Best Dramatic Series, and also shared its second win in the 1996–1997 season. (The X-Files would go on to become the first series to win a Golden Globe three times.) Wong was honoured as his name was used as character in The X-Files game released on the PS1 in 1998.
Filmography
[edit]Film
[edit]| Year | Title | Director | Writer | Producer |
|---|---|---|---|---|
| 1985 | The Boys Next Door | No | Yes | No |
| 2000 | Final Destination | Yes | Yes | No |
| 2001 | The One | Yes | Yes | Yes |
| 2003 | Willard | No | No | Yes |
| 2006 | Final Destination 3 | Yes | Yes | Yes |
| Black Christmas | No | No | Yes | |
| 2009 | Dragonball Evolution | Yes | No | No |
Television
[edit]- Booker (writer, story writer) (1989–1990)
- 21 Jump Street (writer, story editor) (1989–1990)
- Wiseguy (supervising producer) (1990)
- The 100 Lives of Black Jack Savage (producer) (1991)
- The Commish (writer, supervising producer) (1991–1993)
- The X-Files (director, writer, co-executive producer, consulting producer) (1993–1997)
- Space: Above and Beyond (co-creator, writer) (1995–1996)
- Millennium (executive producer, consulting producer, writer) (1996–1998)
- The Others (executive producer, writer) (2000)
- Tower Prep (director – Episode: "Whisper") (2010)
- THE EVƎNT (director – Episode: "Arrival"; writer, co-executive producer) (2010–2011)
- American Horror Story (writer, co-executive producer) (2011–2019)
- Rosemary's Baby (writer) (2014)
- The X-Files (director, writer) (2016–2018)[8]
- 9-1-1 (director, writer) (2022–2024)
References
[edit]- ^ "Hard Eight Pictures, Production Company". ProductionBeast. Archived from the original on April 1, 2017. Retrieved March 31, 2017.
- ^ "Director James Wong with his wife Teena and daughter Taylor". FilmMagic.com. February 2, 2006. Retrieved May 21, 2020.
- ^ "James Wong". IMDb.
- ^ Petski, Denise (September 10, 2015). "'American Horror Story: Hotel' First Trailer – Meet The Residents". Deadline. Retrieved January 16, 2019.
- ^ Miller, Liz Shannon (January 26, 2016). "Review: 'The X-Files' Season 10 Episode 2 'Founder's Mutation' Reminds Us What We've Been Missing". IndieWire. Retrieved January 16, 2019.
- ^ Fowler, Matt (January 31, 2018). "The X-Files: "Ghouli" Review". IGN. Retrieved January 16, 2019.
- ^ Handlen, Zack (March 15, 2018). "A gory X-Files offers up a new kind of vampire". The A.V. Club. Retrieved January 16, 2019.
- ^ Chris Carter Talks About Passing “The X-Files” Colonization Date (2012); Reveals Returning Cast!
External links
[edit]- James Wong at IMDb
- James Wong Director Bio – Biography by Tribute
James Wong (filmmaker)
View on Grokipediafrom Grokipedia
Biography
Early life and education
James Wong was born on April 20, 1959, in Hong Kong to Chinese parents.[7] At the age of 10, he immigrated with his family to the United States, where they settled in San Diego, California.[7] In San Diego, Wong attended El Cajon Valley High School, where he met his future longtime collaborator, writer Glen Morgan.[1] After high school, he enrolled at Loyola Marymount University (LMU) in Los Angeles, initially considering a major in engineering before switching to film after watching Apocalypse Now.[8] He graduated from LMU's School of Film and Television in 1983 with a degree in film production.[9] During his time at the university, Wong immersed himself in filmmaking, joining a comedy improv group and drawing inspiration from classic movies to hone his creative skills.[1]Personal life
James Wong married Teena Wong, and the couple has three children together.[10] The family maintains a private life centered on their relationships, with Wong occasionally sharing glimpses of their home activities.[1] Wong and his family reside primarily in Los Angeles, California.[7] Outside of his professional commitments, he enjoys family-oriented pursuits, such as watching television series like Game of Thrones and Modern Family alongside his wife.[1]Professional career
Early television work
After graduating from Loyola Marymount University in 1983 with a degree in film production, James Wong entered the television industry as a production assistant, initially working alongside his high school friend and future collaborator Glen Morgan for producer Sandy Howard.[11] During this early phase in the mid-1980s, Wong and Morgan honed their skills by co-writing screenplays, including contributions to the 1985 film The Boys Next Door, marking their initial foray into credited creative work.[11] By the late 1980s, Wong transitioned to more prominent roles in television production and writing, beginning with the short-lived ABC series Knightwatch in 1988, where he and Morgan served as writers.[12] Their partnership solidified through assignments at Stephen J. Cannell Productions, starting with 21 Jump Street (1987–1991), on which they worked as story editors and co-wrote episodes such as "Draw the Line" (Season 3, Episode 17) and "Wheels and Deals" (Season 4, two-part episode).[11] Wong's contributions to the series emphasized dramatic storytelling, focusing on undercover operations and social issues, which helped establish their reputation for character-driven narratives.[1] Wong continued building his producing credentials with the Fox spinoff Booker (1989–1990), again collaborating with Morgan as story editors and writers.[11] In 1990, he advanced to supervising producer for the fourth season of CBS's Wiseguy (1987–1990), overseeing production while contributing to writing duties that explored complex criminal underworlds and moral dilemmas.[11] These roles represented a key shift from entry-level assistant positions to credited creative leadership by the end of the decade.[13]The X-Files
James Wong, alongside his writing partner Glen Morgan, joined Chris Carter in 1993 as co-executive producers and writers for The X-Files, contributing significantly to the development of the series' core concept that blended science fiction, horror, and conspiracy theories through standalone "monster-of-the-week" stories and overarching mythology.[14] Their early involvement helped shape the show's tone, emphasizing paranormal investigations by FBI agents Fox Mulder and Dana Scully, with a focus on eerie, self-contained narratives that contrasted with the broader alien conspiracy arc.[15] Wong and Morgan co-wrote several key episodes in the first season, including "Squeeze," which introduced the recurring mutant serial killer Eugene Victor Tooms, a liver-eating creature capable of contorting through impossibly narrow spaces like ventilation ducts, establishing a template for the show's horror elements.[16] They also penned "Ice," where Mulder and Scully's team becomes trapped in an Arctic research station, uncovering a parasitic ice worm that induces violent rage and hallucinations, highlighting themes of isolation and scientific hubris. These episodes exemplified their skill in crafting tense, character-driven plots that advanced Scully's skepticism and Mulder's belief in the extraordinary.[17] As co-executive producers through seasons 1 and 2 (1993–1995), Wong participated in key production decisions, including script oversight and tonal balance between episodic horror and serialized intrigue, which helped the series gain critical acclaim and a dedicated audience.[10] After season 2, Wong and Morgan departed to develop their own Fox series, Space: Above and Beyond.[18] They briefly returned in season 4, where Wong made his directorial debut on "Musings of a Cigarette Smoking Man," an episode exploring the backstory of the shadowy Cigarette Smoking Man through a mix of historical fiction and noir styling. This work earned Wong an Emmy nomination for Outstanding Directing for a Drama Series in 1997. Wong returned for the 2016 revival (season 10), writing and directing "Founder's Mutation," a standalone tale delving into genetic experiments and telepathic mutations, which revisited themes of scientific ethics and personal loss while tying into the series' mythology around William, the son of Mulder and Scully.[19] His contributions to The X-Files were instrumental in establishing its cultural impact, with the show's innovative genre fusion and character dynamics earning 16 Emmy wins overall, including elements from the early seasons he helped produce; this success propelled Wong's career into feature film directing, starting with Final Destination in 2000.[1]Other television projects
Following his work on The X-Files, James Wong co-created the military science fiction series Space: Above and Beyond (1995–1996) alongside frequent collaborator Glen Morgan. The show, which aired on Fox, follows a squadron of U.S. Marine Corps Space Aviator recruits thrust into an interstellar war against alien invaders known as the Chigs, blending elements of war drama and speculative fiction to explore themes of duty, prejudice, and human resilience in a future where "In Vitros"—artificially gestated humans—are marginalized. Wong served as executive producer and co-wrote the pilot episode, "Pilot," which introduces the ensemble cast and sets the tone for the series' gritty, ensemble-driven narrative; he also contributed to several key episodes, such as "The Dark Side of the Sun," emphasizing tactical space combat and moral dilemmas.[20] Wong and Morgan then assumed showrunning duties on Millennium (1996–1999), a Fox psychological thriller series originally created by Chris Carter, shifting the focus to criminal profiler Frank Black (Lance Henriksen) who aids the shadowy Millennium Group in investigating apocalyptic crimes. Under their leadership during seasons one and two, the series evolved from procedural investigations into deeper explorations of psychological horror, biblical prophecy, and moral ambiguity, with Wong writing 15 episodes including "Dead Letters" and "The Thin White Line," and directing installments like "Beware of the Dog." This tenure marked a pivot in Wong's television style toward introspective, horror-infused storytelling, influencing the show's cult following for its blend of noir aesthetics and supernatural undertones.[21] From 2011 onward, Wong has served as an executive producer on the FX anthology series American Horror Story, contributing to its annual reinvention across themes from haunted houses to political cults. His involvement includes writing episodes like "Halloween: Part 1" from season one (Murder House) and writing "Mommy" and "She Gets Revenge" in season five (Hotel), emphasizing his expertise in genre blending and atmospheric tension.[2] In more recent years, Wong has taken on guest directing and writing duties for procedural dramas, including episodes of 9-1-1 (2018–present) on Fox and ABC, such as "Cursed" (2022, directed by Wong and written by his daughter Taylor Wong) and "Ghost of a Second Chance" (2024, co-written and directed by Wong). As of 2025, Wong continues his executive producing role on American Horror Story, with the series renewed through season 13 (upcoming in 2026).[10][22] In 2025, Wong serves as co-showrunner, writer, and executive producer on the upcoming Prime Video fantasy series Rise of the Empress, based on Julie C. Dao's book series and produced alongside Viola Davis and Julius Tennon.[5][6]Film directing
James Wong transitioned to feature film directing in 2000, marking his debut with the supernatural horror thriller Final Destination, which he co-wrote with longtime collaborator Glen Morgan. The film follows a group of high school students who escape death after a premonition of a plane explosion, only to face inevitable demise through elaborate, Rube Goldberg-style accidents, blending suspense with visceral, inventive kill sequences that subvert traditional slasher tropes. Made on a $23 million budget, it grossed $112.9 million worldwide, establishing a successful franchise and showcasing Wong's ability to infuse horror with psychological tension drawn from his television background in genre storytelling.[23] Wong's next project, the 2001 science fiction action film The One, starred Jet Li in dual roles as a multiverse agent hunting alternate versions of himself to gain ultimate power, incorporating high-octane martial arts choreography and multiverse lore inspired by quantum physics concepts. Directed and co-written by Wong, the film faced logistical hurdles in integrating practical effects with emerging CGI for alternate reality sequences, yet delivered dynamic fight scenes that highlighted Li's athleticism against a backdrop of parallel worlds. With a $49 million budget, it earned $72.7 million globally, appealing to action audiences while exploring themes of identity and consequence. Returning to horror, Wong directed Final Destination 3 in 2006, expanding the franchise with a narrative centered on a roller coaster disaster premonition, emphasizing elaborate death scenarios involving tanning beds and fireworks to heighten the series' signature unpredictability and fatalism. The film's stylistic approach amplified tension through foreshadowing clues and ensemble dynamics, reflecting Wong's recurring interest in supernatural inevitability. Budgeted at $25 million, it achieved $117.7 million in worldwide box office, solidifying the saga's commercial viability.[24] In 2009, Wong helmed Dragonball Evolution, a live-action adaptation of Akira Toriyama's manga series, casting Justin Chatwin as Goku in a quest to collect mystical dragon balls and prevent a demonic threat. The production grappled with balancing fidelity to the source material's energetic fights and mythology against Western narrative conventions, resulting in a visually stylized take with wire-fu action but criticized for tonal inconsistencies and deviations from the original's humor. Produced on a $30 million budget, it underperformed commercially, grossing $57.5 million worldwide amid backlash from fans. Post-2009, Wong has not released additional feature films, though he was attached to direct a remake of the Japanese thriller The Neighbor No. 13 as of 2010, adapting the manga's story of psychological torment and revenge, which remains in development. Throughout his filmography, Wong's work consistently explores horror, sci-fi, and supernatural motifs, often emphasizing elaborate set pieces and the inescapability of fate, themes rooted in his earlier episodic television contributions to suspense-driven narratives.[25]Recognition
Awards and nominations
James Wong has received numerous nominations throughout his career, primarily in recognition of his work on genre television series such as The X-Files and American Horror Story, though he has not secured major individual wins as of 2025. His contributions have been acknowledged in key industry awards, particularly in directing and producing categories, highlighting his impact on science fiction and horror programming despite a focus on collaborative efforts rather than solo accolades. These nominations underscore his influence within genre awards bodies like the Academy of Science Fiction, Fantasy and Horror Films, even as broader recognition has eluded him in competitive categories. Wong earned a Primetime Emmy nomination for Outstanding Directing for a Drama Series for his direction of the The X-Files episode "Musings of a Cigarette Smoking Man" at the 49th Primetime Emmy Awards in 1997.[3] He shared in two Golden Globe wins for The X-Files as an executive producer, for Best Television Series – Drama at the 53rd Golden Globe Awards in 1996 and the 55th Golden Globe Awards in 1998.[26] As co-executive producer on American Horror Story, Wong received three consecutive Primetime Emmy nominations for Outstanding Miniseries or Made-for-Television Movie (now Outstanding Limited or Anthology Series): for the second season (Asylum) at the 65th Primetime Emmy Awards in 2013, the third season (Coven) at the 66th in 2014, and the fourth season (Freak Show) at the 67th in 2015.[27] In genre-specific honors, Final Destination (2000), which Wong directed, won the Saturn Award for Best Horror Film at the 27th Saturn Awards in 2001, though Wong himself was not individually nominated in directing categories for the film.[28] For his The X-Files contributions, Wong and frequent collaborator Glen Morgan received a shared win for Best Writing in a Genre TV Series at the 1995 Universe Reader's Choice Awards, reflecting peer recognition in science fiction circles, while the series itself earned multiple Saturn Award nominations for Best Network Series during their tenure (1993–1996).[29] Additionally, Wong was nominated for a Bram Stoker Award for Superior Achievement in a Screenplay for his work on American Horror Story: Freak Show at the 2014 Bram Stoker Awards.[3]| Award | Year | Category | Project | Result | Notes |
|---|---|---|---|---|---|
| Primetime Emmy Awards | 1997 | Outstanding Directing for a Drama Series | The X-Files ("Musings of a Cigarette Smoking Man") | Nominated | Individual directing nomination.[3] |
| Golden Globe Awards | 1996 | Best Television Series – Drama | The X-Files | Won | As executive producer.[26] |
| Golden Globe Awards | 1998 | Best Television Series – Drama | The X-Files | Won | As executive producer.[26] |
| Primetime Emmy Awards | 2013 | Outstanding Miniseries or Made-for-Television Movie | American Horror Story: Asylum | Nominated | As co-executive producer.[27] |
| Primetime Emmy Awards | 2014 | Outstanding Miniseries | American Horror Story: Coven | Nominated | As co-executive producer.[27] |
| Primetime Emmy Awards | 2015 | Outstanding Limited Series | American Horror Story: Freak Show | Nominated | As co-executive producer.[27] |
| Saturn Awards | 2001 | Best Horror Film | Final Destination | Won (film) | Directed by Wong; no individual directing nomination.[28] |
| Universe Reader's Choice Awards | 1995 | Best Writing for a Genre TV Series | The X-Files | Won | Shared with Glen Morgan.[3] |
| Bram Stoker Awards | 2014 | Superior Achievement in a Screenplay | American Horror Story: Freak Show | Nominated | As executive producer/writer contributions.[3] |
Legacy and influence
James Wong's contributions to The X-Files, particularly through co-writing episodes with Glen Morgan, played a pivotal role in pioneering the integration of horror and science fiction elements into mainstream television storytelling. This approach, evident in standalone "monster-of-the-week" episodes and contributions to the overarching mythology, helped establish a template for genre-bending narratives that influenced subsequent shows such as Fringe and Stranger Things. Retrospective analyses praise Wong's scripts for their innovative balance of suspense, character depth, and speculative themes, solidifying his impact on the evolution of sci-fi horror on screen.[30][12] As one of the few prominent Asian American writer-producers in Hollywood during the 1990s, Wong's success on The X-Files and other projects advanced representation for Asian American filmmakers, demonstrating viability for creators from underrepresented backgrounds in high-profile genre television. His Hong Kong origins and rise in an industry historically dominated by non-Asian voices underscored the potential for cultural diversity behind the camera, inspiring broader opportunities for Asian American male directors. Wong has further extended this influence through mentorship, participating in industry panels via the Directors Guild of America's Asian American Committee and presenting awards at events like the DGA Student Film Awards, where he engaged with emerging talents from institutions such as USC.[31][32][33] The enduring legacy of Wong's partnership with Glen Morgan is evident in peer reflections on their collaborative work, which spanned multiple series and films, shaping genre television's narrative structures and thematic depth. As of 2025, Wong maintains ongoing relevance as an executive producer on American Horror Story, contributing to its anthology format since its 2011 debut, and as co-showrunner on the Amazon Prime Video series Rise of the Empress, a fantasy drama adaptation highlighting his continued influence in global storytelling.[2][6]Filmography
Feature films
James Wong's feature film credits span writing, directing, and producing, often in collaboration with longtime partner Glen Morgan. His work primarily falls within horror, science fiction, and action genres.- The Boys Next Door (1985): Wong co-wrote the screenplay with Glen Morgan for this crime thriller directed by Penelope Spheeris, marking his early entry into feature films. The film had a budget of approximately $5 million and earned modest box office returns, focusing on two young killers on a violent road trip.[34][35]
- Final Destination (2000): Wong directed and co-wrote the screenplay with Glen Morgan and Jeffrey Reddick for this supernatural horror film, which launched a successful franchise about death's elaborate pursuits. Produced on a $23 million budget, it grossed $112.0 million worldwide, establishing Wong's reputation in horror.[36][37]
- The One (2001): Wong directed, co-wrote the screenplay with Glen Morgan, and served as producer for this science fiction action film starring Jet Li, exploring multiverse concepts and alternate realities. With a $49 million budget, it earned $72.7 million globally.[38][39]
- Black Christmas (2006): Wong produced this horror remake directed by Glen Morgan, a reimagining of the 1974 slasher classic centered on sorority sisters terrorized during the holidays. Budgeted at $9 million, it grossed $21.5 million worldwide.
- Final Destination 3 (2006): Wong directed and co-wrote the screenplay with Glen Morgan for this supernatural horror sequel, continuing the franchise's theme of inevitable death sequences, set at an amusement park. On a $25 million budget, it achieved $112.8 million in worldwide box office earnings.[40][41]
- Dragonball Evolution (2009): Wong directed this live-action fantasy action adaptation of the manga series, featuring a young hero training to collect mystical dragon balls. Produced for $30 million, it grossed $56.5 million worldwide but faced criticism for deviating from source material.[42][43]