Category Archives: movies that were supposed to…
When Unbreakable was released in 2000, writer-director M. Night Shyamalan was riding high. His previous movie, the supernatural thriller The Sixth Sense, had been a surprise smash. On a modest $40 million dollar budget, The Sixth Sense became the second-highest grossing movie of 1999 right behind The Phantom Menace. But unlike the Star Wars prequel, The Sixth Sense also enjoyed critical success as well. It was also nominated for six Academy Awards including Best Picture, Best Director, and Best Original Screenplay.
After his second movie as a director, Shyamalan was a Hollywood power player. Disney, which had released The Sixth Sense, couldn’t wait to make more movies with their new superstar. He was paid a record-breaking $5 million dollars for a spec script for Unbreakable in addition to another $5 million in directing fees. That is a quarter of what it cost to make The Sixth Sense. But if Shyamalan’s follow-up was even half as successful as that movie, it would be money well spent.
Tonight on CBS, Supergirl comes to TV in the form of a brand new series. I couldn’t be more excited about it. While they aren’t perfect, the Flash and Green Arrow shows from the same producers are a lot of fun. I’m hoping the new Supergirl show will be just as entertaining. The fact that the show will have a female protagonist is just icing on the cake. I have two daughters and I am really excited about the possibility that we could watch this show together.
With Supergirl coming to TV tonight, I thought it would be a great time to look back at the Supergirl movie which tried (and failed) to make the Girl of Steel into a movie star.
Ten years ago today, Dwayne “The Rock” Johnson starred in the video game adaptation, Doom. Video game movies are always a risky proposition. Even Doom‘s executive producer, John Wells, admitted that most of them sucked. But there was reason to think Doom might be different. The game the movie was based on was credited with popularizing the first-person-shooter style of gaming. If a video game can be considered historically significant, Doom was. Additionally, Johnson seemed poised to break out as a movie star. All he needed was the right vehicle. If Doom was it, you could practically smell the sequels.
But it turns out, Doom sucked.
With 2004’s Van Helsing, Universal was certain it was sitting on top of a goldmine. For years, they had been looking for a way to capitalize on their classic monster movie library. Then along came writer/director Stephen Sommers. Sommers put a fresh comedic spin on Universal’s troubled mummy movie. In 1999, The Mummy turned into a surprise hit for the studio. A sequel followed in 2002 which lead to a spin-off movie, The Scorpion King, in 2002. Sommers seemed to have a magic touch. So it seemed like a no-brainer to pair him with Wolverine and give him control of the complete Universal monsters collection. But often times, what looks like a no-brainer on paper turns out to be a misfire in execution. Van Helsing was one such case.
Today marks the 30th anniversary of the release of the action movie, Remo Williams: The Adventure Begins. When you subtitle a movie with something like “The Adventure Begins” you are sending a clear message to audiences of your intention to make sequels. The idea was that Remo Williams would be the American equivalent of James Bond with a long-running film series to rival 007. But if Remo Williams was comparable to any Bond, it was George Lazenby. Because after only one movie, he was done. The adventure ended as soon as it began
Today marks the 10th anniversary of the release of Joss Whedon’s big-screen Firefly adventure, Serenity. Stop me if you have heard this one before. A beloved science fiction show is prematurely cancelled by the network. Fans demand more and eventually, their favorite characters are reunited on the big screen. It worked for Star Trek. But instead of launching a series of movies about the crew of the Serenity, the Firefly movie turned out to be a one-and-done.
In 1989, Tim Burton’s Batman was a phenomenon. So it seemed like a given that the summer of 1990 would belong to Warren Beatty’s comic-strip adventure, Dick Tracy. The movie boasted big stars like Al Pacino, Dustin Hoffman, Madonna and of course Beatty himself. Also like Batman, Dick Tracy had an eye-popping visual style. Throw in original songs written by Stephen Sondheim and a promotional tour by the Material Girl and Dick Tracy seemed like a can’t miss blockbuster. Disney revved up the merchandise machine and prepared to count the money as it rolled in. But despite a massive marketing push, Dick Tracy didn’t become the phenomenon it seemed destined to be.
In the early 1990’s, comic book artist Todd McFarlane started a revolution. He took on the publishing giant that was Marvel Comics and against all odds, he won. His creation, Spawn, became the number one selling comic book on the shelves out-selling Spider-man, the X-Men and Batman on a regular basis. Toys, video games and of course movies followed. Sequels were part of the plan. A thriving Spawn movie series was supposed to be the final step in McFarlane’s victory over his former employer. Instead, the Spawn movie was a disappointment and Marvel slowly grew to dominance at the box office.
Way back in 1999, audiences were eagerly awaiting the release of a science fiction movie that would kick off a trilogy that promised to reshape the pop culture landscape for the 21st century. Star Wars fans had waited 16 years for George Lucas to continue his beloved saga. Despite the presence of a weird CGI lizard-creature with rabbit ears featured prominently in the trailer, fans were prepared to be wowed by The Phantom Menace.
Instead, the Star Wars prequels became one of the biggest disappointments in cinema history (not at the box office, but in the hearts of fans who had waited nearly two decades to see them). But 1999 brought movie-goers another sci-fi movie that proved to be far more influential than Lucas’ anticipated prequels. Compared to the Wachowski’s The Matrix, The Phantom Menace seemed completely out of step with what audiences wanted.
Sixteen years later, the Wachowskis set out to launch their own science fiction franchise. But what they ended up delivering was a movie that makes a lot of the same mistakes as the Star Wars prequels without having the Star Wars name to fall back on. Not surprisingly, Jupiter Ascending was a spectacular failure.
Tomorrowland featured an A-list director coming off a massive box office hit, one of the biggest movie stars in the world and a tie-in to a high-concept sci-fi premise that is recognizable to people all over the world. And yet, it joined John Carter and The Lone Ranger as high-profile box office disasters. What went wrong?
John Carter – I could write an entire article on John Carter. Where to begin?
Way back in 2011, I wrote an article about movies that were intended to generate sequels, but weren’t successful enough to do so. Ironically, that article was successful enough to generate a sequel. In the grandest of all franchise traditions, I went back to the well and made it a trilogy. Since 2012, my series about movies that failed to start a series of their own has been dormant. Until now. It’s time to reboot with a look at movies that were supposed to reboot franchises but didn’t.