The Force Awakens is really a “creative remix” of the original trilogy, and there’s a strikingly good reason for this that might shed light on the future of the entire franchise.
An “extended look” trailer for Cars 3 came out just this past week, so last night, the Pixar Detectives took to Super News on Facebook Live to talk about it. And of course, the question our minds is pretty obvious: will this movie be any good? Or should we prepare for another Cars 2 situation?
Despite what you may be led to believe from its title and the marketing for it, Independence Day: Resurgence is more “requel” than sequel, in the sense that while it does continue the storyline from the 1996 blockbuster, it’s still in the business of kicking off a new series of movies, rather
Mark Harris via Vulture: The Sequels of 2016 Aren’t About Storytelling; They’re Just Brand Extensions
I don’t consider “sequel” a slur. But it’s notable how much the impetus behind them has changed, and with it, their very nature.
This summer’s sequels are not, for the most part, story continuations but brand extensions. Some are good and some not; some have succeeded and some have flopped, but almost all of them are different beasts than the first generation of blockbuster genre sequels.
To my taste, the best reason to make a sequel is because the story demands it.
Overall, this is a great write-up by Harris that articulates a lot of the frustration I and many critics and fans have been having with sequels this year. He even champions Marvel’s Civil War as a good example of how sequels with grander narrative purpose make better impressions on audiences who’ve grown savvy to Hollywood’s sequel formula.
But I would disagree on one example he brings up briefly.
As for Finding Dory, it’s a solid brand refresher that will make a mint — an effective way for Disney to remonetize a dormant franchise. But nothing will convince me that Pixar’s move from being arguably the finest producer of original content in Hollywood to a sequel manufactory (next up: The Incredibles 2, Cars 3, Toy Story 4) is anything but dispiriting news.
I don’t disagree with Harris on this point at all, but I think Finding Dory is a wildly inappropriate example of his main point. Finding Dory is no Civil War in the sense that it exists in a larger universe of movies with a single narrative (or is it?), but that doesn’t mean it’s a bad sequel off of the definition Harris attributes above to movies like TMNT: Out of the Shadows and The Huntsman: Winter’s War.
When I saw the first live-action film, Alice in Wonderland, I found the whole thing sort of…OK. It wasn’t very good or anything, but the 3D at the time was so stunning, and the effects so magical, it was easy to overlook how off-putting it was to see Alice being transposed
There’s a lot going on in Richard Linklater’s spiritual successor to his 90s cult classic, Dazed and Confused. Taking place at just past the beginning mark of 1980 yet right at the beginning of the first semester of college, Everybody Wants Some is a crammed ensemble movie about a group of college
10 Cloverfield Lane is built on a premise that goes beyond itself: what if you could watch a sequel to a movie without knowing anything about it? The news of this semi-followup to the found-footage monster movie Cloverfield only dropped this past January. Scant and frankly uninformative marketing materials and trailers have