Is Hollywood’s Addiction to Sequels Cannibalizing Its Future?

As a cinephile who’s been around the block a few times, I must say, I find myself both enthralled and dismayed by the state of sequel culture in today’s Hollywood. The top 10 movies of 2024 being entirely composed of sequels is something that would have made me roll my eyes back in the ’80s, but now it seems to be the norm.

Recently, while searching for a data point on boxofficemojo.com, I stumbled upon an intriguing observation: The top 10 highest-grossing movies of 2024, ranging from “Inside Out 2” to “Kingdom of the Planet of the Apes,” are all sequels. Every single one of them. Both “Wicked” and “Moana 2” are poised to join this list soon – interestingly, while “Wicked” isn’t a literal sequel, given its original Broadway show’s popularity, it essentially serves as a follow-up to a well-known quantity. This pattern reflects the culture of repetitive entertainment we find ourselves in.

It’s surprising that I could still be surprised by the release of sequels, considering how Hollywood has been churning them out since the Reagan era. By 1985, making fun of creatively bankrupt films with Roman numerals in their titles was an overused joke. Most sequels back then failed to live up to their predecessors, from “Staying Alive” to “Fletch Lives,” and “Beverly Hills Cop II” to “Poltergeist II: The Other Side.” They were generally just attempts to make money. However, there were exceptions like “Aliens” or “Star Trek II: The Wrath of Khan.

Today, sequels are perceived quite differently compared to earlier times. The conventional notion of what constitutes a sequel has significantly evolved. Regardless of their quality, they’re seldom mere repetitions or cheap rehashes. Instead, they frequently form part of expansive franchise worlds, and even when standing alone, they often demonstrate a drive for greatness, an inclination to strive for more and present themselves less cynically than the sequels of yesteryears.

2024’s top 10 movies encapsulate the year exceptionally well. “Inside Out 2,” the highest-grossing film, is an enthralling sequel to Pixar’s last original masterpiece. “Deadpool & Wolverine” offers a hilariously witty ride, surpassing “Deadpool 2.” “Despicable Me 4” might just be the finest installment in the series since the beginning. “Beetlejuice Beetlejuice” serves as a delightful dose of gothic humor for fans. While “Dune: Part 2” might not appeal to those allergic to “Dune” films, it’s highly regarded by enthusiasts. “Twisters” may not reach the heights of the original, but it’s still engaging. “Godzilla x Kong: The New Empire” is average, while “Kung Fu Panda 4” follows suit. “Bad Boys: Ride or Die” ignites unexpected bursts of cleverness. Lastly, the prequel “Kingdom of the Planet of the Apes” stands out as one of the most captivating entries in the series without human characters.

The trend of sequels in Hollywood, which can also be referred to as repeated film installments, is thriving creatively and financially. In an entertainment industry that’s facing existential challenges, every box office success is crucial. It’s hard to argue against the necessity of producing these sequels because they are attracting audiences more effectively than even critically-acclaimed films like “Anora” and “Conclave”. One might wonder what the current movie scene would look like without them.

Nevertheless, there’s an unusual feel to this scene. I don’t remember a time when sequels dominated the box office as decisively as they do now (with fifteen out of the top 20 films being sequels). The sequel-making trend in Hollywood during the ’80s was a worrying reflection of the times: it showed how the industry, in chasing guaranteed success, had grown too accustomed to rehashing old stories instead of creating new ones. Perhaps this tendency has always been there, to some extent. In the era of studio systems, Westerns weren’t exactly sequels, but they were repetitive, with countless films sharing similar themes and plots. Modern superhero movies can be seen as the modern-day equivalent of this trend.

Hollywood has always cannibalized itself. But the thing is, it hasn’t just cannibalized itself. The contradiction of sequel culture, and the threat of it, is that if all you rely on is concepts from the past, you’re not going to produce enough of a future. To put it in the industry’s corrupt terms: There won’t be enough hit movies to make sequels to. Sequel culture contains, by definition, an element of non-sustainability. And when it comes to the trend of making sequels to 40-year-old movies, how many times can we really go back and strip mine the primal nostalgia of films like “Top Gun” and “Beetlejuice”? (Tom Cruise is said to be trying to line up a sequel to “Days of Thunder.” What’s next, Ridley Scott’s “Legend II”?)

As a cinephile, I’ve found myself caught in the grips of sequel mania – it’s both exhilarating and disheartening. The allure of revisiting familiar worlds is undeniable, yet seldom do these follow-ups live up to their predecessors. This year, we’ve seen several high-profile sequels that missed the mark, not due to a lack of effort or ambition, but because the originals were so uniquely powerful in their originality.

Many people recognize iconic sequels, such as “The Godfather Part II,” “The Empire Strikes Back,” and “The Dark Knight,” which are remarkable in their own right, sometimes even surpassing their predecessors. However, it’s important to note that this list is quite small. The demand for sequels often seeks a sense of familiarity that feels like bliss, but similar to any addiction, it provides a temporary satisfaction while leaving a lingering emptiness. These movies may help the industry stay afloat, but its long-term survival depends on fostering a vibrant movie culture rather than dwelling too much on past successes. To thrive, the industry must look ahead more than it looks back.

2024-11-30 21:16

Is Hollywood’s Addiction to Sequels Cannibalizing Its Future?

Read More

Minority Mindset