The ultimate showdown
While the visual effects were stunning, it took the storyline that the first Matrix established, set it on fire, threw it into an oblivion, and brought the third into a void of obscurity.īut as a film fan, it’s really disheartening to see Hollywood go back to the well so often with sequels and remakes.
THE ULTIMATE SHOWDOWN MOVIE
Suddenly there are billions of robot squids and the movie climaxes while fighting 10,000 Agent Smiths’. Then not but 6 months after Reloaded, The Matrix Revolution was released. Then the Matrix Reloaded came out, with far more emphasis on the new visuals and computer generated engineered “laser squids” which was a bit of a letdown, but it was still a pretty good movie. The Matrix IS a legitimately good movie, with an engaging storyline and some kick-ass special effects. The Matrix Trilogy for example, was produced right around when special effects started kicking off. They are then made purely because Hollywood will always make money off of them–that’s why it’s an actually lucrative business. Star Wars, Lord of the Rings), but a lot of the time they are just made plainly for the sake of it–like the fourth Shrek movie which some people don’t even know exists. Some sequels are indeed made because the original truly warranted one, some are originally planned to be made as part of a story arc (i.e.
THE ULTIMATE SHOWDOWN PLUS
But again the trouble is the studios make sequels because they’re easy, plus they have name recognition right off the bat. Although even if a film didn’t, studios seem to make them anyway just on the hope the sequel will do better. Sequels are just as tempting for studios to make-–oh, so flippantly as they do–particularly if the first one made a ton of money. Other notable kaiju include Gamera, Mothra, King Ghidorah, Mechagodzilla and Rodan.) Specifically, it is used to refer to a genre of tokusatsu entertainment. (Kaiju has been translated and defined in English as “monster”. Over the top visual renderings won’t make up for the amazing soundtrack or the hilarious props of Kaiju films produced by Toho Co., Ltd. I fear the brand new Godzilla, which comes out May 16, will also be subject to this. But the trouble lies in the ease of making these remakes, and how pretty much every time studios make a profit on them, those same studios lose track of what the films are truly for, entertainment of an audience rather than monetary profit.
It seems now that so little effort and creativity go into reboots and remakes because studio’s can make money even if they don’t strive for top-notch quality.
Murphy says, after shooting a perp in the groin, “Your move, creep.” The new Robocop is instead rebooted for a family setting, bleeping out profanity and removing ideas of graphic violence or drugs, which were both used extensively in the 1987 original. The original had a great story and dialogue, you couldn’t re-create the magic of when Officer Alex J. The new Robocop is a perfect example of this slap on some new paint and smooth out the lines and it’ll be great, right? I think otherwise. So it’s understandable why studios would do this. The reason for this is threefold movies are popular in general (even if they suck), they’re relatively cheap to make (certainly in comparison to the almost guaranteed return at the box office for some genres like horror) and they come with a built-in audience who loved the originals. But fast forward to the 21st century and the number of remakes has skyrocketed. For several decades afterwards, people didn’t know or care if a movie was a remake of another, and even if they did know, their concerns were minimal. The reboot of Evil Dead, which came out in 2013, had a budget of $17 million dollars but then grossed $97,542,952 despite getting 57% from reviewers.Īt the time when movies just started to take off as an industry, very few movies were produced. For example, The Evil Dead franchise, debuting in 1981, started with a budget of only $350,000 but made $2,400,000 and was rated at a 98%.
Now, why is that? It’s recently been so popular to remake or make a sequel out of something, rushing it simply for profit and quantity instead of quality. Reboots, in fact, are an extremely noticeable trend, but not one that is healthy for the industry as a whole.
THE ULTIMATE SHOWDOWN FULL
But lately (perhaps over the last 15 years or so), they have come to full fruition and they seem to be getting made left, right and center. It’s a notion that has been around for almost fifty years, starting with the original Godzilla, filmed in Japan by Toho Company, LTD in 1954. Reboots and sequels of movies are not new.