Part 2 of my series “Everything Old is Old Again”
By Tom Holste
Feb. 16, 2016
In my previous column, I talked about how the word “reboot” gets misused by many in the media. However, even when the word is used right, it’s symptomatic of a larger problem: a lack of original ideas coming out of Hollywood.
The X-Files has come back to TV, and the similarly eerie show Twin Peaks is on the way. Last year saw three different film series hit their seventh installment (Rocky, Star Wars, and Fast & Furious). Jurassic Park and Mad Max got their first new movies in ages. Ghostbusters has a female-centric reboot heading our way later this year. New installments of the Predator and Alien franchises are in active development.
All of these shows and movies at least have dedicated fan bases. But when Netflix announced that it was producing a new Full House series, my reaction was: Who ever even asked for that?
In fact, I just saw a preview for Kindergarten Cop 2 with Dolph Lundgren, coming 26 years after the original. I had to double-check with a Google search to make sure this wasn’t just a FunnyOrDie.com parody.
Mind you, the concept of recycling ideas is nothing new. For instance, most of Shakespeare’s plays were stories that the audience already knew. And I distinctly remember Johnny Carson doing a routine about all the sequels coming out in the late ‘80s and early ‘90s, a time in filmmaking history that’s now greatly revered. But even with all that being said, there seems to be even less fresh material than ever before.
However, there’s a new, somewhat ironic problem: Many of these rehashes are not only popular but quite well made. Star Wars, Jurassic World and Fast & Furious 7 broke many all-time box office records, and they were highly praised by critics as well. Mad Max: Fury Road was so well-received that it got a nomination for a Best Picture Oscar. Creed (the Rocky spin-off) was adored by critics and snagged an Oscar nomination for Sylvester Stallone for playing a character he’s played six other times already.
Compare this to the late ‘90s, when Hollywood gave us reboots of Lost in Space, Godzilla, Wild Wild West, and even the old British TV spy series The Avengers. Some of them were popular (while others were not), but all of them were despised by critics and fans. None of them got a sequel. At the time, this situation seemed like the worst thing that could happen to cinema.
But now we have the ironic problem I mentioned earlier: When the sequels are this popular and this acclaimed and loved by fans, what possible incentive could studios have to keep trying new things?
In fact, last year Warner Bros. released a new movie from the Wachowski brothers (whose biggest claim to fame is The Matrix) called Jupiter Ascending. The movie boasted an original script and had some eye-catching visuals in its trailer, but the critics savaged it and audiences stayed away. I haven’t seen the film myself either; maybe it genuinely is that bad. But isn’t it heartbreaking that the studio tried to give people what they say they wanted only to have it blow up in their face? Now, you can bet that Warner Bros. has learned its lesson, and you can fully expect another dozen Hobbit and Batman sequels.
In my next column (coming soon), I look at one particular set of reboots on the horizon.