Everything Old is Old Again

Part 1: The Not-Really-Reboots

By Tom Holste

Feb. 15, 2016

The subject of reboots and rehashes has been coming up a lot lately. And unfortunately, the problem is that when it comes to reboots, to quote Inigo Montoya from The Princess Bride, “I do not think that word means what you think it means.”

What a reboot actually means is ignoring the previous continuity and starting completely starting over from scratch. Think of it like rebooting your computer. It’s a chance to start fresh, so that the creators and audiences aren’t weighed down with trying to remember tons of minautue to enjoy the new story, or perhaps to undo some creative decisions that the fans disliked.

DC Comics rebooted their fictional universe in the 1980s with their Crisis on Infinite Earths mini-series, and they keep rebooting every 10 years or so. When it comes to movies, Batman Begins was a reboot that dismissed the movies with Michael Keaton and company. And while 2006’s Superman Returns was a sequel to the Christopher Reeve movies, 2013’s Man of Steel is a full reboot that ignores the earlier movies.


TRANSFOMERS actually needed a reboot, since the cartoon concluded in the far-flung future of…the year 2006!

So, basic concept here: If a particular piece of entertainment continues or references the established continuity, it’s a sequel or prequel, but if the old continuity is thrown out and the filmmakers treat the new story as if it were the first-ever story, then it’s a reboot.

Simple, right? Apparently not to the thousands of journalists out there covering every entertainment news story on the planet.

For example, back in November, ABC fired Bob Kushnell, the producers of the new Muppets sitcom, and brought on Kristin Newman, citing declining ratings and fan dissatisfaction. Despite the fact that the characters and premise were staying the same, every news organization said that ABC was “rebooting” the series.

Then, after David Bowie’s passing in January, news surfaced that the Jim Henson Company was “rebooting” Labyrinth, which ignited a firestorm of protests from fans of the original movie. The screenwriter currently working on the project (Nicole Perlman) had to quickly take to Twitter to explain that the movie would be a sequel or some kind of follow-up story set in the same universe, not a reboot. Furthermore, Perlman explained that she’s been working quietly on the project since 2014, so this wasn’t just a cheap cash-in on Bowie’s death.


“THE SILVER CHAIR reboots Narnia!” uninformed bloggers say. “Who will play the new Goblin King? … Oh, wait. That’s LABYRINTH.”

But the trend continued. Mark Gordon, the producer of the Narnia movies, indicated that the next film The Silver Chair would not require audiences to have seen the other movies (or to have liked them), since the story had so many new characters in it. This is in accordance with the original book, which was written over 50 years ago. Nonetheless, every news article called it a reboot of the series. The only way to reboot this series would be to make The Lion, the Witch and the Wardrobe again, or possibly to go with the prequel story The Magician’s Nephew.

However, when DC Comics announced new comic-books based on Hanna-Barbera characters that reimagined them from modern eyes, and when Universal pictures announced the desire to do a new Battlestar Galactica series that likely has nothing to do with either of its previous incarnations, not one article that I read used the word “reboot” for either property, even though in this case that’s exactly what they are! Excuse me a minute while I pound my head on the desk.

Ow. Sorry about that. Now where was I?

Mind you, it doesn’t bother me as much when bloggers write something informally and refer to everything as reboots. But when professional websites with paid writers can’t tell the difference (or choose not to, since the word “reboot” is apparently great for clickbait), that’s when I get annoyed.

At any rate, even the sheer number of sequels and other follow-ups has gotten out of hand. But so has this article, so I’ll have to continue my thoughts on the subject in my next column.

For an excellent analysis of the Silver Chair confusion, here’s the Narniaweb podcast on the subject.


SUPERGIRL is Usually Pretty Super

By Tom Holste

Feb. 13, 2016

Anyone else in the blogosphere really enjoying this series?

I’m liking it quite a bit. In particular, I think Lisa Benoit is terrific in the title role, and Callista Flockhart’s character Cat Cora is an interesting mix of mentor and antagonist. I’m also liking the bits and pieces of DC Comics history that are interwoven into the show.


“I can handle any villain you throw at me…but please, don’t make me watch SUPERMAN IV: THE QUEST FOR PEACE!”

The problem with Supergirl as a character that’s plagued her since her inception is that she’s always in Superman’s shadow. It’s great to have female heroes, but she wasn’t an original character created from scratch; she’s “Superman, but this time it’s a girl.” Audiences have always been more interested in Superman stories overall. And previous TV and movie adaptations have not been able to overcome this problem.

So the producers wisely built this conflict directly into the show itself. The whole series is about Kara trying to prove to herself and to others that she has value, too, and that she contributes significantly to the universe she lives in. And the series is showing us that she indeed does.

The show isn’t perfect, certainly. The love triangle is kind of cliched, and considering that Winn is handsome, charismatic and available, Kara’s rejection of him makes little to no sense. He should have at least some flaw to explain her lack of interest.

Also… (Major SPOILERS follow.)



Still with me? Okay.

…I was very happy when Cat found out Kara’s secret identity. Considering how smart Cat is supposed to be, she needed to figure it out quickly, and considering how often Kara misses work, I thought it would be useful if her boss understood the reasons. But, no, this great plot development got hand-waved away in the very next episode, which was extremely disappointing. And it was very convenient that he just happened to meet a shape-shifter right before she needed one (although the reveal of Martian Manhunter itself was pretty great).

There have also been a number of plot holes. For instance, in “Bizarro”: If Kryptonite made Bizarro stronger, why did she suddenly fly away from the fight she was winning? And when Kara’s words didn’t convince Bizarro that she was wrong, why did she apologize in the end after she was subdued?

Furthermore, as of “For the Girl Who Has Everything,” the DEO has now captured Maxwell Lord, someone who’s as famous as Donald Trump or Bill Gates. Cat runs a major news organization in the city where Lord lives. How is it that no one is covering the news that Maxwell Lord is suddenly missing? Even though they wouldn’t know about the DEO, his sudden disappearance should be generating massive headlines.

Also, how did Lord not have security cameras on his office so that someone could prevent potential kidnappers? And why didn’t Alex wear something to cover her face when she broke into the office so that no one could identify her?
Didn’t I say I liked this show? Yes, I do. It’s got a breezy, light tone that I thoroughly enjoy, while it builds up to a more epic storyline. I enjoy all the actors, and both the heroes and villains on this show are interesting to watch. It may not always fire on all cylinders, but when I does, I enjoy it more than Agents of SHIELD or Agent Carter, which is saying something.

I’m glad that the show is being brought into the larger DC television universe. I didn’t catch Flash or Arrow when they started, and now I’ve got a good reason for going back and watching them!


“We should call ourselves the ‘Justice Club’! … How about the ‘Superpals’? … OK, we’ll work on it.”

READY PLAYER ONE Won’t Be Ready Until 2018

By Tom Holste

Feb. 10, 2016

Box Office Mojo has reported that Warner Bros. is moving the release date of the Steven Spielberg movie Ready Player One from December 1, 2017 to March 30, 2018. This move comes in the wake of Disney moving Star Wars Episode VIII from May 26, 2017 to the December date previously occupied by the Spielberg film.


(Darth Vader voice) “Even your high-profile Spielberg movie is insignificant compared to the power of a STAR WARS sequel.”

The fact that Warner Bros. moved the date of their movie away from Star Wars is not surprising at all. The fact that they moved it to March does say a lot about the current trend in big-ticket movies away from traditional dates.

Previously, big movies were only released in the summer or around the holidays. Spring and fall used to be seasons for studios to release movies that might have a harder time finding an audience (sci-fi films without big-name actors, or quirky comedies from overseas). But Batman v. Superman: Dawn of Justice (also by Warner Bros.) is being released in March, and now Ready Player One — based on a best-selling book that’s loaded with nostalgia and geek references, and directed by probably the most famous filmmaker living today — is also getting a spring release. Neither of these movies sound like they would have a hard time attracting an audience. 

What this move seems to reveal is that release dates are becoming less important overall to studios than they used to be. The prevailing thought used to be that people who might not care that much about something like Batman would still take a chance on his new movie if it was released during a vacation season when people head to the theater without much thought beforehand as to what they want to see. While the hardcore fans can almost always be counted on to show up for their favorite franchise, the people who don’t think that much about it can’t be expected to show up if it’s not convenient for them.

But now the rules are changing. While no one wants to open against Star Wars, the playing field is pretty much wide open otherwise. Batman is such a big property that Warner Bros. knows that they could release the movie on a cold Tuesday afternoon in February, and audiences will sell out the theaters in advance.

To put it another way, if you’re excited about Batman v. Superman, the fact that it’s not being released in June is not going to stop you from seeing it. And if you’re not interested, releasing the movie at a different time is not going to convince you otherwise.

Steven Moffat Exits the TARDIS

By Tom Holste

Jan. 28, 2016

Wow! A huge tremor in the Force … um … Whoniverse! Current head writer Steven Moffat announced he’s leaving Doctor Who; Chris Chibnall is taking over in that role; Moffat will still produce one more season before the transition; and there won’t be any new episodes until this year’s Christmas special.


I seem to like Moffat’s writing more than most people, but I’m OK with this. This show thrives on change, and it’s always interesting to see what a new showrunner will do with the mythology.


The soon-to-be-no-longer-current head writer Steven Moffat

In fact, ironically Moffat’s departure will probably make people like his writing more, since there’s always nostalgia for whatever version of the show goes away. There were a lot of fans harping on Russell T Davies’ run on the show from 2005-2009, who then promptly started ragging on Moffat as soon as he took over and asking why things couldn’t be more like they were in RTD’s day.

(Mind you, that’s not every fan. And certainly Moffat isn’t perfect. The 2011 season was pretty incoherent, and the non-50th anniversary episodes in 2013 were pretty dull. I’m not saying it’s never okay for one to say that they don’t like Moffat’s writing. I’m specifically thinking of people in forums I no longer visit, and on podcasts I no longer listen to, whose default position is that whatever is new is automatically bad.)

It was hard guessing who would ever take over if Moffat left. When RTD was in charge, Moffat was winning all the awards for writing on the show. Since Moffat took over, he’s still been the one winning all the awards. The exception was Neil Gaiman for “The Doctor’s Wife,” but no one liked his follow-up “Nightmare in Silver” nearly as much, and at any rate, Gaiman has no experience running a TV show.

Mark Gatiss has actually worked side by side with Moffat for years, co-producing Sherlock with him, but Gatiss’ DW episodes have not been among the best. His most recent, “Sleep No More,” is one of the lowest-rated episodes of the entire modern series.

I don’t see a whole lot of classics in the list of episodes that Chris Chibnall wrote, but there aren’t really a lot of clunkers either. I like most of them. Chibnall also was essentially the showrunner of the first two seasons of Torchwood; while I don’t like that show very much, he wrote some of my favorite stuff that was on it.

Also, he wrote the beautiful “P.S.,” which caps Rory and Amy’s time on the show, and is one of my favorite DW things ever.

And even though Chibnall hasn’t won any awards for DW writing, he has won awards for his police drama Broadchurch (which has featured many DW alumni). So that, plus his overall TV producing experience, plus the fact that he’s a lifelong Doctor Who fan — yeah, I’m on board with this.
I’m not so happy about having to wait another full stinkin’ year for new episodes, but hey, the BBC didn’t ask me. At least there’s the upcoming spinoff Class to look forward to, and I still have a lot of classic episodes that I can watch for the first time to help fill the void.


Brief FORCE AWAKENS Review; Spoil the Movie, I Will Not

By Tom Holste

Jan. 2, 2016

Most of my friends know what a huge Star Wars fan I am, so it won’t be a surprise to most of them that I saw the movie on the Friday that it opened.

After seeing the film, I realized that I needed to immediately see it again (although I probably won’t be able to until home video). The first time, I was holding my breath without realizing it. Would the filmmakers be able to pull it off? Yes, they would. It wasn’t until the end credits were rolling that I could finally relax enough to say, “Yes. This is a quality movie. It’s no longer embarrassing to be a Star Wars fan.”


The filmmakers missed an opportunity to name this film RISE OF THE MIDICHLORIANS.

Despite my own repeated statements before the release that the movie wouldn’t be able to make me feel like I was 8 years old again, some part of me still hoped it would. But at the end of the day, it’s just a movie, albeit a very entertaining one.

Daisy Ridley and John Boyega are both great in their roles, and the droid BB-8 is cute without being cloying. Harrison Ford is this movie’s MVP, though. He brings such fun and energy to the role of Han Solo, it’s like the character has never been gone. Watching him was my favorite part of this film.

However, I was surprised at how much more somber the movie was than I was expecting. I thought that this would be a lighthearted romp along the lines of the original 1977 movie, or even along the lines of JJ Abrams’ two Star Trek films. But this is the first part of a trilogy, and our characters have to be in some pretty sad, dark places in order for the story to have somewhere to go. If there’s no conflict for the characters, there would be no reason for them to be in this movie.

I was also surprised because I was expecting answers to a lot of my questions from the previews, but instead, I find myself with even more questions. Again, this makes sense. The filmmakers already know that they have 3 films with which to tell their story. It wouldn’t work to tell us everything right up front. Where would the trilogy go from there?

One more concern I had, which seems to be echoed by a lot of other people, is that there was an over-reliance on ideas seen in the other movies. Since Lucasfilm had previously announced that the Expanded Universe (the various Star Wars novels, comics, video games, etc.) were no longer canon, I thought that they intended to go in a bold, fresh new direction that couldn’t be accomplished with the old continuity. Instead, the filmmakers puzzlingly decided to do a retread of what we’ve already seen, and tell a story where many of the previous tales didn’t need to be jettisoned.

In short, what I came to the theater to see was familiar characters in new situations. What I instead got was (mostly) new characters in familiar situations.

Having said all of that, my teenage stepson came out of the theater totally energized. He had never had the chance to see any Star Wars movie in a theater before, and it blew him away. He declared that The Force Awakens was not only his favorite Star Wars movie, but also his favorite movie ever, period!

I think that was the ultimate goal of the filmmakers: to show modern kids what it was like to watch Star Wars for the first time in a theater, and to create a new generation of fans. Those concerns trumped all others for the filmmakers, and they seem to have succeeded admirably.

So, again, it was a very entertaining movie and I had a really good time. But I immediately wanted to see it again because I had some different (and perhaps somewhat unrealistic) expectations of the movie going in. I want to see it again with revised expectations, and I think I’ll enjoy the movie even more then.

Lights, Camera, Insert Coin

By Tom Holste

Nov. 10, 2015

Recently, a small independent movie company called Rainfall Films released a short 10-minute film called Metroid: The Sky Calls, based loosely on the Metroid video game series that started on the Nintendo Entertainment System back in 1987. This isn’t an official production, but a fan-made film.

“I’m ready for my close-up, Mr. Sakamoto.”

Metroid: The Sky Calls is the latest attempt by someone in Hollywood to tackle a challenge that has largely proved insurmountable: how to make a good movie out of a video game.

When video games were simpler, consisting of only a single screen, and with no actors or story, they must have seemed too primitive to make the jump to film. Sure, Space Invaders seemed influenced by Star Wars, Pitfall! took a page from Indiana Jones’ playbook, and Donkey Kong probably wouldn’t have existed without (of course) King Kong. But one would be hard-pressed to identify, for instance, exactly why Pac-Man needed to eat the ghost monsters, or where the game took place. (Yes, there have been fan films attempting to answer those questions, too — such as this and this. And there were Saturday morning cartoons with those characters, but the characters were shoehorned into rather generic cartoon plots.)

But as the years progressed, game developers were able to make the games longer, and eventually add voices as provided by the actors. The graphics grew more realistic; the music went from non-existent to repetitive to actually evoking mood from scene to scene; and the storylines and themes became more complex and sophisticated. In nearly every way, video games had become like movies. So why couldn’t video games actually make the jump to the big screen?

One of the first attempts was called The Wizard, which featured Fred Savage of The Wonder Years in a plot weirdly ripped off from Rain Man, just more family-friendly. Savage’s character traveled across the country to help his savant brother win a video-game championship (since his brother was a “wizard” at video games). Ultimately, the movie is now most remembered for a laughably bad line where an all-too-smug competitor expressed his admiration for Nintendo’s new game peripheral. “I love the Power Glove,” he cooed. “It’s so bad.” (“Bad” in this case means “cool,” for us old-timers out there.) The line launched a thousand Internet memes:

PowerGlovePowerGlove2PowerGlove3Apparently, the powers-at-be at Nintendo thought that this movie was a bit silly. (I can’t fathom where they got that idea from.) So they decided that their next movie, based on Super Mario Bros., would be a lot more serious. And it was. In fact, it was way more serious than any movie based on Super Mario Bros. had any right to be. Instead of the brightly beautiful Mushroom Kingdom from the games, the filmmakers inexplicably gave us a dark, post-apocalyptic looking world that looked like rejected sets from Blade Runner. The story was incomprehensible, giving us Bob Hoskins as Mario, and John Leguizamo as his adopted younger “brother.” Princess Peach was nowhere to be seen; instead we got the unmemorable Princess Daisy. In the games, Bowser is a giant dragon. In the movie, Bowser is played by Dennis Hopper, looking like Dennis Hopper with a few bumpy ridges on his head and a long tongue.

Critics rightly lambasted the film, and baffled audiences stayed away. Attention, people of Hollywood: This audience accepted a series of games where a plumber heroically fought against turtles before donning a raccoon suit that allowed him to fly. When this same audience says that your movie is too confusing, you really haven’t done your job right.


We got from this to … well, that (see following image).

to that

“Pop quiz, hotshot. You’re stuck in a lame video game adaptation. What do you do? WHAT DO YOU DO?”

Further games based on movies came out, but nearly all have been critical failures, and most have been commercial failures as well. Street Fighter, Mortal Kombat, Tomb Raider, Doom, Wing Commander … the list reads like a Hollywood hall of shame. The Resident Evil series is the only set of movies based on games that I can think of with more than two entries, and even those movies not held up as any kind of cinematic classics.

The Godfather is a very well made movie even if you don’t like gangster movies; The Wizard of Oz is very well made even if you don’t like fantasies. But where’s The Wizard of Oz or The Godfather of video game movies – the movie that would appeal to someone who doesn’t even play games? Since modern video games seems so much like movies, why is it so hard to make a good movie out of a video game?

I think the answer lies in the types of experience that audiences and players look for in their respective entertainments.

Video games are very much about letting the player enter the world as the character. When a player wants to be Sonic the Hedgehog, for instance, he or she wants to imagine himself or herself in the role of the little blue critter that runs fast and jumps on little robots. In contrast, a movie invests us in characters that have very specific personality traits and specific histories. In order for a Sonic movie to work, the filmmaker would have to create a deep psychological background for Sonic. However, if the writers and directors make Sonic too strange, with a shattered psyche, then audiences would reject the film because it’s not how they always imagined Sonic themselves (with everyone pulling from their own personality traits). But if they keep Sonic as generic as possible to fit everyone’s interpretation of him, then the movie will be suffocatingly dull.

Also, the pleasure of a game comes from overcoming a challenge after multiple attempts. There doesn’t need to be anything more in terms of conflict for a Super Mario game than simply executing a series of increasingly difficult jumps. The variety and style of the jumps creates an exciting challenge for the player. But how could one watch two hours of “Mario jumps, then he jumps again, and this time he has to jump a little bit higher”?

How profound of a relationship can Link have with an Octorok?

How profound of a relationship can Link have with an Octorok?

Let’s look at another example: The Legend of Zelda, a sword-and-sorcery series starring Link. In the games, Link usually travels alone while attempting to rescue Zelda. It’s a terrific series of games. But in a movie version of this game, who would Link talk to for two hours? Would he only talk to the bad guys just before killing them? Or would the filmmakers have to invent an annoying sidekick for him? There was a short-lived cartoon series where Link hung out with Zelda, and the two of them did lame romantic comedy-style bickering. Indeed, Link has an obnoxious catchphrase from the cartoon: “Excuuuuse me, princess!” As you can probably guess, there are memes galore for that too.

For another example, let’s go back to the 1987 video game classic Metroid. (Spoilers ahead for a 28-year-old game, and for the aforementioned fan film.)

Players found themselves on an eerie distant planet as a character named Samus Aran, an intergalatic explorer who had to fight off some nasty aliens. Throughout the game, players couldn’t see Samus’ face, as Samus was in a large space suit. When players successfully completed the game, Samus retired from duty by taking off the suit. That’s when players learned that Samus had, in fact, been a woman all along.

“Hello, my 8-bit avatar. How YOU doin’?”

It’s a great twist that no one saw coming, which is a good reward for finishing the game, and the twist nicely challenged our preconceived notions of who our video game heroes should be. So how does one capture that in a movie?

If one hides Samus’ face until the very end of the movie, as in the original game, audiences might be unable to connect with a character whose face they can’t see. Besides, millions of gamers already know that twist. But if the filmmakers get rid of the twist, what’s left to surprise the viewer?

Interestingly, the makers of Metroid: The Sky Calls show Samus as a woman right up front, but then do a story all about exploration. Weirdly enough, Samus never fights any aliens in the short film. Apparently the filmmakers were deliberately going for a 2001: A Space Odyssey tone, which is kind of neat. It’s certainly effective for 10 minutes. But would audiences accept a full-length movie where Samus never blasts any of the aliens from the game?

(Here’s a link to the movie, btw.)

(Spoilers end here.)

So as you can see, what people want when they play video games – to immerse themselves as the main character, to overcome hurdles that are physical instead of psychological, and to often explore the game area alone – are often the opposite things of what people want when they watch movies – to get to know unique characters, to watch those characters overcome complex challenges, and to watch them do it surrounded by other interesting characters.

Mind you, I’m not saying that it’s impossible to do a really good video game movie. I’m just saying that it hasn’t been done yet, and outlining what the challenges are for any filmmaker. If someone figures out how to crack the code, I’ll be first in line.

In the meantime, we have to continue to live in a world where, oddly enough, The Wizard remains the most memorable video game movie made to date.

And how can we not love it? It’s so bad!

Return of the R Rating

By Tom Holste

Oct. 15, 2015

THE HOBBIT may be the first adaptation where it takes longer to watch the movies than it does to read the book.

THE HOBBIT may be the first adaptation where it takes longer to watch the movies than it does to read the book.

On Wednesday, Warner Bros. released an extended cut of The Hobbit: The Battle of The Five Armies to theaters, with a video release soon to follow.  The studio promises an additional 20 minutes added to Peter Jackson’s final installment in his Hobbit trilogy.

Having an extended edition is nothing new for Hobbit and Lord of the Rings movies. What makes this release unique, though, is that it’s the first and only installment to receive an R rating from the MPAA.

It will be interesting to see if the extended cut improves the final film in the eyes of the moviegoing public. Five Armies has a 7.5 rating out of 10 based on voters’ rankings on the Internet Movie Database (IMDB). A 7.5 is a respectable rating, but it’s by far the lowest-ranked out of all of Jackson’s films based on the books. Notably, the highest-ranked installment is Return of the King, the previous “final” installment in the film franchise. While fans thought that the franchise originally went out on top, they now feel that its final film is the least impressive. Perhaps the added footage will change that.

One might reasonably ask (I certainly have) if an extended cut is really necessary for one book already stretched out over three movies. At 2 hours and 24 minutes, Five Armies is the shortest of the films so far. The 20 extra minutes will push the film closer to the on-average 3-hour mark of the other films. Still, it’s worth keeping an open mind to see if the new footage adds anything of value.

If the new version of the movie is well-received, it could be a further indication of a trend in moviegoing that suggests that audiences are more likely to embrace R-rated action movies in the theaters again.

The MPAA created the ratings system in 1968, and during the 1970s and 1980s, R-rated movies frequently were the highest-grossing movie of the year. From The Godfather to Rain Man, from Blazing Saddles to Beverly Hills Cop, R movies often ruled the roost. But with the introduction of the PG-13 rating in 1984, R-rated movies became big hits less and less often. Action movies became increasingly centered around comic books, video games and toys, which attracted kids, while the PG-13 rating assured parents and older siblings that they weren’t going to be forced to watch an overly cutesy kids’ film that’s more common with a PG or G rating. In other words, studios had found a way to have their popcorn and eat it too.

Before last year, the last time an R-rated film was #1 for the year at the box office was in 1998 (for Saving Private Ryan). (More on last year in a couple of paragraphs.)

It would be grossly inaccurate to say that no R-rated movie has been popular in the intervening years. In particular, comedies seem to be skewing away from the PG-13 rating as more of them find success again with the restrictive rating. And the Oscars often honor dramatic films (usually biographies) that have an R rating. (Indeed, the awards trend has been the reverse of the box office trend. The last time a PG-rated movie won Best Picture was when Driving Miss Daisy won in 1989.) Still, PG-13 or lower-rated movies tend to dominate the most. As recently as 2010, the G-rated Toy Story 3 topped the box office for the year.

But then in 2014, the R-rated American Sniper had the biggest box office. It’s perhaps not entirely surprising, as the film was based on a best-selling book, and like Saving Private Ryan before it, the movie appeared to honor American soldiers, which resonated with a huge portion of our nation’s population that’s still deeply patriotic. (Whether or not the films are actually patriotic is a complicated question, one that I don’t have the answer to, and one that’s beyond the scope of this article anyway.) Still, for the film to be so successful was a little unusual for this day and age.

MAD MAX: FURY ROAD wouldn't be an unusual success story for 1985, but it's pretty unusual for 2015.

MAD MAX: FURY ROAD wouldn’t be an unusual success story for 1985, but it’s pretty unusual for 2015.

Then came Mad Max: Fury Road. A sequel that came 20 years after the last installment, with a recast lead, didn’t seem like it was destined to be widely accepted. Even having the original films’ writer/director, George Miller, back at the helm, didn’t guarantee acclaim. (Just ask George Lucas.) But fans and critics thoroughly embraced the film. The movie has an 8.3 out of 10 rating on IMDB, a staggering 97% positive out of 100 rating on Rotten Tomatoes, and an 89% rating on Metacritic. It’s not the highest-grossing film of the year – it ranks at a modest but still successful #15 – but this level of acclaim for a sequel so many years after the original film is practically unheard of.

The makers of the Die Hard, Terminator and Alien franchises have not been so lucky. When Bruce Willis returned to the previously R-rated film series with the PG-13 rated Live Free or Die Hard in 2007, critics and fans mostly rejected it. Many were frustrated that even John McClane (Willis)’s character’s famous expression from the movies – “Yippie-ki-yay, mother…” – got deliberately obscured by a gunshot. While I actually found the movie kind of fun, I couldn’t deny that a friend of mine had a point when he asked why the studio (Fox) felt the need to make a John McClane movie for kids in the first place. Similarly, audiences turned their noses up at the PG-13 rated Alien vs. Predator and Terminator Salvation. (To be fair, Alien vs. Predator did make a lot of money, but it was widely reviled.)

Here’s the thing, though: The R-rated follow-ups didn’t save the franchise. Alien vs. Predator: Requiem was even less well-liked than the previous entry, and the sort-of prequel Prometheus (with the original director, Ridley Scott) got a middling reception. (It’s getting a sequel, but the studio – Fox again – almost went in a completely different direction for the next film.) Meanwhile, A Good Day to Die Hard (a film with a title that seems to have been written by a Klingon from Star Trek) is widely considered to be the worst in the series, and likely the final nail in that franchise’s coffin. So when Mad Max: Fury Road debuts to near-universal acclaim, one has to note how very unusual that is.

(The producers of Terminator Genisys announced their original intention to get an R rating for the movie, but the final film ended up getting a PG-13 anyway. Whether the rating was a factor or not, Genisys failed to bring audiences back into the fold.)

With stars like Arnold Schwarzenegger, Chuck Norris and even Dolph Lundgren, the only thing missing from EXPENDABLES was a VHS release.

With stars like Arnold Schwarzenegger, Chuck Norris and even Dolph Lundgren, the only thing missing from EXPENDABLES was a VHS release.

In fact, a big part of the appeal for the fans of the recent Expendables film series starring Sylvester Stallone is that it feels like a total throwback to the R-rated action movies of the ‘80s. Interestingly, the PG-13 rated Expendables 3 made significantly less money than its predecessors. Ditto for PG-13 reboots of Robocop and Total Recall.

Going back to The Hobbit: The Battle of Five Armies – Since the original novel The Hobbit actually skews toward a younger audience than The Lord of the Rings, it’s actually amusing that any film based on it would get an R rating. However, the MPAA says that the rating is for violence, a mainstay of these movies, so it’s good to know that Peter Jackson didn’t feel the need to add sex and profanity into a series for which such things would be an odd fit.

At any rate, I certainly have to wonder if Jackson and company would have even considered releasing a retooled Five Armies with an R rating without recent success stories like American Sniper and Fury Road. If the new version greatly improves fans’ perception of the film, look for the trend of more R-rated movies to continue. (In fact, the trailers alone for next year’s comic book-based Deadpool and Suicide Squad look like they’ll almost have to accept an R rating.)

Is this trend good thing or bad? I don’t know. It’s too early to say. While many conservatives like myself have seen films that we thought had gratuitous sex, language or violence, most of us would also say that the use of the rating for such films as Saving Private Ryan, Schindler’s List and The Passion of the Christ was valid and worthwile, as they depicted real-life violent historical events in an unflinching manner. Big-budget popcorn movies don’t really fall into that category, but since some PG-13 movies marketed to kids push the upper level of that rating, it might be useful to parents if some blockbusters had a more informative, restrictive rating.

On the other hand, the notion that only adults watch R-rated movies is largely just a myth. Even 30 years ago, while attending a private Christian grade school, I would be regaled with the plots of slasher movies by my classmates during recess, movies which they had apparently seen the night before on HBO. (To be fair, none of them went on to be serial killers themselves, at least as far as I’m aware.) I’m not saying that all entertainment needs to be exclusively suitable to little children. In fact, I don’t know what all the answers are. I’m just offering what I’ve observed, for whatever it’s worth.

At any rate, time will tell if the recent success of a few R-rated action films will be just a blip in the popular culture or a continuing trend. For the last 20 years or so, the PG-13 rating has been insurance for film studios to guarantee a return on their investment. But the pendulum may be swinging back the other way.