Two years ago, Los Angeles art gallery iam8bit presented a great idea: an art show filled with work based on sequels that don’t actually exist. They called it SEQUEL—and now that show has its own sequel.
You can’t blame Hollywood for its non-stop deluge of remakes, sequels, and prequels. Audiences keep showing up for them, and they take one of the most difficult parts of art—the idea—out of the equation. What’s unforgivable though is making a movie under the assumption a sequel will be made after it.
Why wouldn’t they? Otherwise, they might wait too long and the sequel would come out a few months later than it originally would have, and all the momentum would be gone!
People go to horror movie sequels for many reasons—genuine interest, idle curiosity, tradition, blind optimism—but they almost never go to be scared. Horror movie sequels don’t just negate the point of the previous movie, the negate the point of their entire genre. They can’t help being increasingly less scary than…
We still don't know when Armada, Ernie Cline's next book, is coming out. But now we have something else to look forward to — he's writing a followup to his novel about people in a dark future who are obsessed with 80s video games, Ready Player One.
Even by the standard of recent obligatory horror sequels, The Woman In Black: Angel of Death feels like an exercise in futility. Scares are few and far between — and even the Woman in Black herself has the good sense to give this one a miss. Spoilers ahead...
Here's a tidbit to make horror fans who have sworn off remakes reconsider for a hot second: Bloody Disgusting picked up the news that Jason's mother, played in the original Friday the 13th by the inimitable Betsy Palmer, might be a character in the 13th Friday the 13th installment (touché!), due in 2015.
Movie sequels can be boring. Fortunately, you all shared plenty of creative sequel ideas (A space-station musical western as scored by David Bowie? Yes please.) that we really do want to see. Here, as pitched by you, are some our favorite potential sequels — if only someone would make them.
We know how (and where) franchises go to die, but what turns a one-off movie or a standard TV series into a franchise that can go on, sometimes even for generations?
News of a sequel of a movie that you love can feel a little bittersweet: On one hand you get to revisit a fictional world that you love. On the other, there's a not insignificant chance that visit will be unpleasant and awkward. Even worse, though, can be news of a prequel.
There are a lot of different methods of putting together a sequel (or three), with results ranging from the better-than-the-original to the eye-meltingly terrible. But does Die Hard, and its seemingly unending series of sequels, have a lesson to teach us about how to plan a sequel?
Mark Millar seems to think there's a chance. But the numbers from Kick-Ass 2 make it seem unlikely. Which is an opinion shared by the stars of the films.
Oh, sequels. Sometimes they're as good, or even better, than the originals (see: Toy Story 2 and Terminator 2), and sometimes they mean that you have to watch another 90 minutes of Transformers. But what about the movies that, while not really sequels, just kind of belong together anyway?
The world is full of movie sequels that nobody asked for. But then, there are some other films, which charmed us once and then disappeared without overstaying their welcome. Which movie would you actually pay good money to see a sequel to?
During promotion for Ender's Game in the U.K., Harrison Ford told IGN that 1) he's "chatted" with director Ridley Scott about a follow-up to the 1981 scifi classic Blade Runner and 2) he would be willing to return to the role. This is probably a bad thing.
In May of 2000 three legends of hip-hop formed a supergroup and created something nobody saw coming: A futuristic, sci-fi rap album. Over the years, Deltron 3030 has developed an almost fanatical cult following. The long awaited sequel—officially released today—is likely to do the same.
Why does Hollywood keep rebooting the same movie properties over and over again? It's not just because studios want fans of those franchises to be happy. It's because the movie business is about supply and demand, and the demand is strongest for a few known quantities, writes Scott Feinberg.
Prometheus made more than $400 million worldwide (although it underperformed stateside) — so a sequel seems like a safe bet. Except, according to one report, there's no forward movement on a sequel, because nobody can figure out what happens next after the first movie's somewhat baffling ending.
Sometimes it seems as though Hollywood is just deluging us with sequels, remakes, reboots and spin-offs. As though our beloved pop culture is just a relatively small number of properties, being endlessly milked for every last drop of cash. But you're just one consumer, and even if you vote with your dollars, you only…