93 movie remakes in the works...
- Thread starter Kyriakos
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Andersen's stuff was blood-freezing, too. In fact, if most tales go on screen unfiltered, they'll get at least 12+ markup, and then the question is who are they shot for? Well, unless they are rewritten to make a real horror survival thriller or outright роrn for adults to go watch. But then if they are rewritten anyway to get on air, then why not rewriting them for kids?
Well, yes. The original text of the little girl selling matches is very bleak... It spawned similar stories as well. Those tend to be about poor children dieing of cold or likewise, some at christmas time.
Andersen wrote that in the (iirc) years just after the 1864 destruction in Denmark, so the mood was quite low anyway.
Such scenes were common in 19th century classic euro literature though, eg in Dickens and Dostoevsky they are common as well.
Andersen wrote that in the (iirc) years just after the 1864 destruction in Denmark, so the mood was quite low anyway.
Such scenes were common in 19th century classic euro literature though, eg in Dickens and Dostoevsky they are common as well.
gay_Aleks
from the river to the sea, Palestine will be free!
Yes, but I don't think anyone will soon do a remake of Oliver Twist or Crime and Punishment, mostly because the former was done to death, and the latter will be the most boring thing ever filmed.
Manfred Belheim
Moaner Lisa
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To be fair I don't think you can really count any new Batman films, or other comic-based films, as a "remake". They're just another adaptation. Still annoys me that people kept calling Dredd a "remake" of the Stallone version, despite it having nothing to do with it at all.
Really? You don't think an incredibly basic revenge story where a guy inexplicably comes back from the dead (because crow) and proceeds to dispatch his assailants in a linear succession of set pieces, where there's no real tension because we know he's invulnerable (until the end at least), can't be improved? Maybe that's pretty much all it could be given the source material, so in that sense you might be right, but it's hardly a cinematic gem.
Really? You don't think an incredibly basic revenge story where a guy inexplicably comes back from the dead (because crow) and proceeds to dispatch his assailants in a linear succession of set pieces, where there's no real tension because we know he's invulnerable (until the end at least), can't be improved? Maybe that's pretty much all it could be given the source material, so in that sense you might be right, but it's hardly a cinematic gem.
Phrossack
Armored Fish and Armored Men
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This is almost as bad as the John Wayne era. Nothing but remakes, sequels, prequels, adaptations, remakes of sequel trilogies...
To be fair, though, audiences are largely to blame for this lack of originality. They--we--keep going to see these unoriginal movies rather than new ones.
To be fair, though, audiences are largely to blame for this lack of originality. They--we--keep going to see these unoriginal movies rather than new ones.
BBC had made crime and punishment as a mini-series (3 episodes or something) in the early 2000s.
It was dreadful. BBC sucks and must be killed with an axe blow to the head like the old pawn-shop hag it is
BBC had made crime and punishment as a mini-series (3 episodes or something) in the early 2000s.
It was dreadful. BBC sucks and must be killed with an axe blow to the head like the old pawn-shop hag it is
No, BBC cool, Dostoevsky sucks. Just take my word for it.
Fairy tales are a staple part of most girls' reading material, pre-teen... and there were a few that make me shudder to this day. There's so much emphasis on adults either actively harming children, trying to kill children, children struggling or even dying from neglect or indifference or evil curses... and there was one in particular that had me terrified of mud puddles for years.
I even had a nightmare about the Disney version of Snow White (many years before I ever saw it in the theatre - all I had was the Disney Little Golden Book, and that was enough to scare me).
Oh, as for adult versions of these things... there's a Sleeping Beauty ballet version in which the prince doesn't wake her with a kiss. He wakes her up by raping her.
Of course the lesson these stories are meant to reinforce pertain to obedience, hard work, prayer, and so on... be a perfectly obedient child with no bad thoughts and these terrible things won't happen to you.
Where did I say it's a "cinematic gem"? The end product isn't precisely what was planned, because Brandon Lee was killed during the filming and the movie sat unfinished for quite some time while his family mourned and the production company was investigated thoroughly to figure out first, if it was accident or murder, and then to figure out how it happened and how to prevent such a thing ever happening again. And finally they decided to do a workaround, finish the movie, and release it.
There was also an on-set accident during the filming of one of the episodes of The Crow: Stairway to Heaven. A boat was blown up by a bomb (part of the story) and one of the stunt men was hit and killed by a piece of debris. After that, word went around that maybe the whole Crow franchise had a curse attached to it.
The source material is a graphic novel, and they did a fair job of translating that to a movie. Some of what they left out eventually made it into the TV series. I saw the movie first, started watching the TV series, and then finally tracked down the graphic novel. And yeah, the plot seems pretty simplistic and methodical - kill the killers in a series of revenge murders. Some people were upset that the TV series wasn't like the movie, that Draven wasn't going around killing people. Well, he did in a couple of episodes, but one of those was to save the life of another person and in the other... there were definitely bad consequences attached to it. But what some of these detractors didn't seem to notice was that gradually, throughout the first season, the gang of murderers was being killed off.
So while some people would have done the TV series differently, the movie itself wasn't bad. The first sequel? I give that a pass since it uses a couple of characters from the first movie. The other sequels, though, really are crap.
The things you say are VERY true and are exactly the reason I read to my daughter only "soft" versions of those tales. To keep that staple part around but not to make her
Yeah, right. Only the notions happened in pedagogy since those stories were written proved that none of that is required to become a good person, and the life goes on in a way which proves that bad things can happen to you nonetheless. So, no big deal if there's no pain and terror, just the adventure and morale.
Yech
Lillefix
I'm serious. You can.
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The director is greek
Yeah. Same guy who is making this Gods of Egypt-movie you complained about in another thread
Dark City is also among my favourite movies btw.
I remember one Brothers Grimm story where wicked robbers get a beautiful girl drunk ("they plied her three kinds of wine, red, white and yellow") and then chop off her finger and kill her. I don't recall whether they intended to violate her as well.
<pause>
It turns out that said story ("The Robber Bridegroom") is hosted online. Apparently, the girl's body is also dismembered...
<pause>
It turns out that said story ("The Robber Bridegroom") is hosted online. Apparently, the girl's body is also dismembered...
Brandon Lee is still very iconic in that movie. A bit like a far better Heath Ledger Joker
SS-18 ICBM
Oscillator
Hasn't it been always like this, though?
sophie
Break My Heart
Manfred Belheim
Moaner Lisa
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Brandon Lee is still very iconic in that movie. A bit like a far better Heath Ledger Joker
I honestly think that they're both only considered "iconic" because they both died in tragic circumstances. I don't really rate either performance and certainly don't rate The Crow film much at all. But hey ho, each to their own.
Paul in Saudi
Emperor
Fantastic Voyage needs to be remade.
tl;dw?
sophie
Break My Heart
I mean it's worth watching in general,
but Max Landis, director of low-budget hit Chronicle, bomb American Ultra, and probably-bomb Victor Frankenstein, and son of director John Landis came in to rant about a number of things (notably to clarify why he seemed to be whining on Twitter when his movie bombed) and it ended up being a very enlightening look into what Hollywood has become, which is to say that the formula that predictions and expectations were once set to no longer apply, films now come down to two things and two things alone: a recognizable IP and a compelling trailer, and original products are no longer viable in the film industry. And he doesn't mean that in the sense that "Hollywood doesn't want to do original stories anymore" he means that in the sense of "moviegoers never seem to actually want to watch original stories when they're released, howevermuch they complain about the deluge of remakes, reboots, and sequels."
He also talks a bit about how critics write off a screenwriter for delivering a poorly written story where characterization and arcs are severely lacking; he says this is unfair because in nearly every instance this happens the screenwriter DID include those character elements and arcs but they get tossed in editing or because they didn't test well in focus groups. The screenwriter gets blamed for things that had nothing to do with him.
Finally Mike and Jay counter his doom and gloom by noting the recent spate of successful independent or low-budget horror films that have been showing up, and the success of Netflix-produced IPs. They likened this to the rise of independent filmmakers in the 80s - your John Carpenters, your Sam Raimis, your John Landises, what have you. But Max Landis counters by noting that unlike those directors, these new filmmakers aren't breaking through into the mainstream. They make their successful indy horror film but the budgeting and support that guys like Raimi got never follow. They get stuck in Netflix or else (as happened to Max Landis) they get stuck making a low low budget Hollywood film that gets 0 marketing budget and predictably flops.
but Max Landis, director of low-budget hit Chronicle, bomb American Ultra, and probably-bomb Victor Frankenstein, and son of director John Landis came in to rant about a number of things (notably to clarify why he seemed to be whining on Twitter when his movie bombed) and it ended up being a very enlightening look into what Hollywood has become, which is to say that the formula that predictions and expectations were once set to no longer apply, films now come down to two things and two things alone: a recognizable IP and a compelling trailer, and original products are no longer viable in the film industry. And he doesn't mean that in the sense that "Hollywood doesn't want to do original stories anymore" he means that in the sense of "moviegoers never seem to actually want to watch original stories when they're released, howevermuch they complain about the deluge of remakes, reboots, and sequels."
He also talks a bit about how critics write off a screenwriter for delivering a poorly written story where characterization and arcs are severely lacking; he says this is unfair because in nearly every instance this happens the screenwriter DID include those character elements and arcs but they get tossed in editing or because they didn't test well in focus groups. The screenwriter gets blamed for things that had nothing to do with him.
Finally Mike and Jay counter his doom and gloom by noting the recent spate of successful independent or low-budget horror films that have been showing up, and the success of Netflix-produced IPs. They likened this to the rise of independent filmmakers in the 80s - your John Carpenters, your Sam Raimis, your John Landises, what have you. But Max Landis counters by noting that unlike those directors, these new filmmakers aren't breaking through into the mainstream. They make their successful indy horror film but the budgeting and support that guys like Raimi got never follow. They get stuck in Netflix or else (as happened to Max Landis) they get stuck making a low low budget Hollywood film that gets 0 marketing budget and predictably flops.
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