Yeah it's easy for something to be canon when there are absolutely 0 consequences and an infinite number of universes so they can retcon anything they want later
Oof, I thought they were gonna do a "world" trilogy and be done with it. Though, it was naive of me to keep thinking that after seeing Dominion's box office earnings
I genuinely thought Jurassic World was a great almost reboot of the franchise. The next one was ok and I haven't seen Dominion because everyone said don't bother.
2001 will never not hold up; the story isn't one that's tied to an era or a fad - it's the story of evolution and struggle; it's about wonderment and hubris and drive. The characters aren't even really that important, because the story isn't about them- they're just in it.
Don't forget some of the best cinematography of all time paired with fantastic classical music that has you riveted to the screen even watching a space station slowly rotate. Also the incredible mid-century modern conception of future fashion, design, and technology
But that doesn’t mean that you can’t appreciate innovative variations on the premise: an original choice of weapon, perhaps, or particularly haunting motivation, or indeed a memorable mask.
Chris Nash’s low-budget slasher qualifies as one of the more interesting formal variations; the weapons are not unusual (hooks feature prominently), the motivation is fairly standard (a Jason-style past wrong), and a fun but not that outlandish mask (a vintage firefighter’s mask).
Where Halloween’s iconic score followed Michael Myers wherever he went, In a Violent Nature is almost devoid of music; set almost entirely outdoors in a national park, you can hear birds tweeting and not much else.
The film is fond of a static camera too, with long, locked-off wide shots and slow pans replacing the standard roving or hectic horror visuals.
Horror is a genre with strong heavy metal connections, but this is the acoustic, unplugged cover version: it hits all the same beats in the melody, but without the power chords.
Gruesome and disgusting, yes, but not scary; if you’re looking to get your nerves actively shredded, you might have to seek out other men in masks to accept that particular mission.
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Think we may need a bot to post this to all the Lemmy movie Cs, it is annoying that there are so many remakes but there's also been so many brand new movie ideas and directors coming out in 2023 and 2024, go see those movies to show the studios what they need to make instead of 8 people posting Hollywood has no ideas anymore.
Ones off the top of my head to see right now, The Bikeriders, Kinds of Kindness, Longlegs and Thelma.
Now on streaming: Monkey Man, I saw the TV Glow, and Hit Man.
Ones off the top of my head to see right now, The Bikeriders, Kinds of Kindness, Longlegs and Thelma.
I saw In A Violent Nature last week which was worth a watch (possibly not a rewatch any time soon). Sting was the non-sequel before that. I'm hoping to catch Kalki 2898 AD tomorrow and Kill at some point. I'm really looking forward to Longlegs.
However, I've also recently seen A Quiet Place: Day One and Kingdom of the Planet of the Apes, both sequels, both very good. So I wouldn't rule sequels out.
I'm off to see MaXXXine tonight which I don't have high hopes for as I thought Pearl was pointless. However, I am prepared to be surprised.
Definitely not knocking all sequels, just most of the comments in this thread and over on movies@lemmy.world are all about Hollywood only making sequels anymore. I do want to see Kingdom of the Planet of the Apes, Maxxxine and Quiet Place: Day One as well. Going to see either Maxxxine or Kinds of Kindness this weekend and hopefully Longlegs after that. Sequels can be done right and be great and lots have been done to prove that but seems that's all people pay attention to now days while complaining that's all that gets made apparently.
Sequels can be done right and be great and lots have been done to prove that but seems that’s all people pay attention to now days while complaining that’s all that gets made apparently.
In the end, we vote with our wallets. If people don't want to see certain types of films (franchises seem to be the focus of most ire) then go an see something else.
Just looking at my local multiplex, there are 4 sequels and 4 original movies playing today, so plenty of options. I'm now booked in for Kali 2898 AD as it finish its run there today. I hope to fit Kill in next week.
What I will do is try and post more on here about smaller and/or non-English language films. Blockbusters will still get mentioned to but, if that irritates anyone then they can just skate over them.
Some will argue that sequel or franchise fatigue is not really a thing, in that it is immediately disproved when a hit like Bad Boys: Ride or Die comes along. But it’s hard not to feel fatigued when original films are just croutons in a Hollywood buzzword salad: made entirely of sequels and prequels and existing IPs and brands and reboots and remakes.
So basically the evidence suggests it isn't a actually a thing, but you're going to continue to imply it is?
The whole article just reeks of projection. The writer feels something, and insists the rest of the world feels it too, to spite the evidence to the contrary.
I also don't get what they're trying to imply by saying original films are "just croutons in a buzzword salad". I mean...yeah? What year is this? Does this writer believe this is a fresh take? Original films share the space with franchises and adapted IPs, that has been the case for decades now, and people have been complaining about it for just as long.
But so what? Original films are getting made all the time, and really good ones at that, you just have to stop giving a shit what Disney or Warner Brothers are doing and seek them out.
Apply this idea to Hollywood, and its paralysing aversion to taking risk, and you end up in our current situation: cinemas clogged with safe, so-so sequels no one really asked for.
How many years have we had a Past Lives, The Zone of Interest, Anatomy of a Fall, Poor Things, Oppenheimer and The Holdovers?
They watch what we’re watching and rewatching and it means they bring back, to varying degrees of success: The Matrix, Scream, Top Gun, Indiana Jones, Mad Max, Hocus Pocus, Legally Blonde, Ghostbusters, Home Alone, Blade Runner, Kung Fu Panda, Jurassic Park, Teenage Mutant Ninja Turtles, Beetlejuice and many, many more.
An investment banker’s approach to film-making that has left us hungry for more original, mid-budget films when they’ve put all their money in intellectual properties (IPs).
Some will argue that sequel or franchise fatigue is not really a thing, in that it is immediately disproved when a hit like Bad Boys: Ride or Die comes along.
But it’s hard not to feel fatigued when original films are just croutons in a Hollywood buzzword salad: made entirely of sequels and prequels and existing IPs and brands and reboots and remakes.
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