Sadly Dredd didn't make enough money to recoup their production costs, while it was in theaters. It's been estimated that Dredd made around $20 million in the Home Market. This means how many DVD and Blu-ray sales they made. I wasn't able to find any info on streaming numbers unfortunately.
I still hold out hope that a sequel is made and released before the end of the decade.
I might be in the minority but Chappie was a really good movie. It’s a real bummer Die Antword were so horrible to work with that the director kinda gave up on it.
I saw Chappie for the first time last week and was moderately devastated to find out there isn't going to be sequels. It had so much style, humor and personality!
Jurassic World is a guilty pleasure of mine.
It's good enough to grip you and at the same time so predictable and full of clichés it's also funny.
Plus, Chris Pratt and Bryce Dallas Howard are both hot as hell.
There was a bit more to the story and required paying attention. The second two had more action that's wasn't directly related to the story but was still good.
I'm surprised nobody has done a modern TV version. All five books have been successfully adapted for radio, the scripts are done, it's already blocked out into well-paced individual episodes. It's just sitting there waiting to be made. You just need a good cast and a show runner who isn't going to monkey with the source material. It's already proven to be popular and long-lived. Seems like a no-brainer.
It was a great try, visually stunning and true to the overall feel of the book, but it didn't have a very cohesive story. They tried to cover too much ground. It would have been better if they had just stuck to the first book.
But seriously: it was a perfect ending. Now he's Superman, kicks everyone's ass, frees mankind. The sequels were not only shit but completely unnecessary.
Like the video game. It was actually a pretty good introduction to the lore, (which I only know surface level from playing the games and not digging real deep. So there may have been mistakes) and it was just about to get good, but, there just wasn't enough interest to sink more money in the franchise.
I saw Warcraft in theaters when it came out. I left the theater thinking that it was 6/10 at best.
Fast forward to 2021. I Saw that it had gotten better reviews since years ago, and I was thirsty for some nostalgia and was willing to give it another try. Turns out, I liked it more this time around. I believe that I had my expectations really high when I went to see it. Seconded watch, I gave it a 7.5/10.
I really liked how neither the Orcs or Humans were the bad guys. They painted both teams as equally sympathetic.
When we were following the Humans I was like "Yeah! Let's crush those Orcs!" But then we start following the Orcs and I'm like "Watch out! Those asshole Humans are coming for you!"
I thought the exact same thing after I watched it. Sadly, that same thought made me especially excited for the sequel.... that never came.
I understand why they did it, but there's just too much to absorb. I was a fan, and although I recognized some of the names, I wasn't familiar with any of the characters besides Gul'dan.
The entire first movie should have been a 5-10 minute exposition. "It's been X years since we came through the portal..." And instead we follow Thrall and Grom, and Uther while two factions battle for dominance! (and it's been a while, so I forget what all happens in Warcraft 2)
Now that I've typed it all out, I've decided that if they could only make one Warcraft movie, but I got to pick which era, it would definitely be Arthas and the Lich King. That's a good story.
As a fan of genuine hong kong kung fu cinema growing up, this remains one of the few films I had to stop watching about 15 minutes in—was clear whoever made the movie had never actually seen a kung fu film. To add insult to injury the dvd decided to hide itself under a pile of magazines causing me and my brother to pay extra on a massive late fee because of it. I hate that movie.
Wow that's the worst reason to hate a movie i have ever seen. "as a fan of star wars, it was clear that the makers of spaceballs have no idea how to make a scifi movie."
It's a bit odd to claim the guy who reedited and remixed an entire existing kung fu film never watched a kung fu film. Like his work or not, he pretty evidently saw the thing.
Jumper. It was setting up an interesting world with more depth than the first movie could delve. I loved that one of the characters was so cool that the author of the original novel went out and wrote another book just about the movie's character and it rocked.
The novel Jumper by Steven Gould, on which the film Jumper was based, spawned a continuing series that went on for a while and kept being pretty good. For the hell of it the author also wrote Jumper: Griffin's Story which wasn't part of his novels' continuity, instead it was a prequel to the movie.
The fifth element is a perfect self contained story. I’m not sure how you could up the stakes for a sequel. You could tell other stories in that world maybe, but I don’t think a sequel featuring the original characters would be good.
Valerian and the City of a Thousand Planets was something of a spiritual sequel by the same filmmaker, but it turned out to be an unentertaining bag of cinematic butt.
Crimson Skies and Sky Captain and the World of Tomorrow have somewhat-similar settings, if you're jonesing for Sky Captain dieselpunk American alt-history interwar air-carrier content and are not aware of it. Was just talking about Crimson Skies with someone on here the other day.
Funny story. I happen to have a bunch of Crimson Skies toys sitting in a box, all unopened. There was a comic shop near my job and they had a clear-out table that sold unpopular items at a steep discount. I got a bunch of T-shirts and other stuff, and liked the Crimson Skies stuff. For a buck each, why not?
Beetlejuice. It was such a popular movie that spawned a musical, a cartoon, various video games, etc yet there's only been the one movie. There's been talks about a sequel over the years but nothing has materialized yet.
There were plans, with the daughter joining the family business.
FUBAR on Netflix isn't terrible since it plays some of the same keys as True Lies, and it got renewed for a second season...but it's painfully obvious that Arnold is too old for this stuff anymore.
They tried a TV reboot adaptation of True Lies. It was baaad
I'll answer a slightly different question -- what film I would have liked to have had a sequel for that didn't. I don't know enough about the factors that go into deciding to fund sequels of movies.
I'd like to have had a sequel for Tora Tora Tora! doing Midway.
Tora Tora Tora! covers the attack on Pearl Harbor. It is, also in my opinion, one of the best war films out there. A lot of war films fall into a "rah rah rah good guys versus bad guys" thing; Tora Tora Tora! had both Japanese and American teams working on it and was designed for release in both countries, and was, I would say, impressively-objective. It was pretty light on actual action shots, which I think was probably reasonable -- the really critical factors were decisions made in the runup to the event, rather than the specific actions of any one person on-scene. I believe that it did do a good job of highlighting the significant factors leading to the outcome.
Looking at IMDB, a number of people seemed to feel that Tora Tora Tora! was boring. It had a lot of people talking, and not a lot of actual combat shots (and those were not high-budget, not where the money really went).
The 1976 Midway was not good.
The 2019 Midway was better, but the things that it was good at tended to be the kinds of things that Hollywood conventionally does well -- high production values, pretty lighting, lots of action shots, people being tough, etc. I was kind of irritated by the amount of coverage that John Ford got -- I appreciate that he was one of Hollywood's own, and he was in the middle of things, but he was really not very significant in the grand scheme of things. Contrast that with, say, Henry Harrison in Gettysburg, the actor who was working for the Confederate States of America, where the people making the movie enjoyed repeatedly pointing out that Harrison was an actor...but at least there, Harrison really did have a meaningful role in the battle.
It also was awfully light on a few important bits that arguably didn't reflect very well on the US. Tora Tora Tora! talks about material that was covered in analysis on what went wrong, so it doesn't shy away from that. Midway tends to gloss over some bits. It does cover some, like McClusky's error in target selection that almost caused Enterprise's strike to leave Akagi undamaged.
However, a more-serious set of issues weren't. Maybe the most-serious -- in the actual battle, one of the most-critical issues was that a significant part of the three carriers' flight groups headed off into nowhere. Partway through the flight, one of the torpedo bomber squadron commanders, Waldron, disagreed with the flight's commander, Ring, told Ring that he was flying to the wrong place, openly mutinied and ordered his squadron to disregard Ring and fly to where he thought the Japanese carriers were. This was in a strike where working together between different types of aircraft was absolutely critical and the entire operational Pacific American carrier force was at stake. That is court-martial material, and probably the only reason it didn't happen was because (a) Waldron was absolutely right, and had flown directly to the Japanese carriers, attacking without support, whereas Ring flew the rest of the planes off into nowhere and had some ditch on the way back, and (b) Waldron was killed along with all but one of his squadron when he conducted his attack solo. But then there's the question of why Ring was flying off into the middle of nowhere. I think that modern historians -- think John Parshall or the US Naval Institute -- present an extremely unflattering
picture of Mitscher, one of the carrier commanders, who likely disregarded his own actual orders from his carrier force commander, Spruance, and sent his own forces off into the middle of nowhere due to disagreeing with him. Further, it's likely that Mitscher concealed information on the situation -- a situation for which he was likely in large part responsible -- from being sent back up to higher command. While Mitscher did ultimately redeem himself, did well later in the war, this could easily have been a career-ending move, and because of that move, the battle ultimately was much more on a knife edge than it needed to be.
Its focus on the action rather than the leadup to the battles and the decisions that caused various events to happen the way they do is why it can get through four entire battles -- the attack on Pearl Harbor, the subsequent American raid on the Marshalls, the Doolittle Raid, and the Battle of Midway -- in a single movie. There's enough time to cover four battles in one movie if you're heavily-weighting action shots, but you can only do that if you throw out most of the decision-making leading to those battles.
It did spend some time covering the intelligence side of Midway, which was significant, but that was only really one input into the calls that were made, and only for one of the four battles.
It's not that I don't feel that there's a place for that sort of action-oriented movie, but there are also lots of them, but very few war movies like Tora Tora Tora!
That is an epic answer. And you've convinced me I need to watch Tora Tora Tora! again because the last time I watched it I was probably under 10 and had no appreciation for it, particularly on network television cut with commercials.
I was always under the impression that Midway was in the bag thanks to the Americans breaking the Japanese codes.
So, this is getting outside the movie itself, but...
That gave the US a major advantage relative to where they would have otherwise been -- they otherwise would have probably had at most just two carriers instead of three, and an unprepared island garrison versus the four Japanese carriers (and large follow-up surface fleet that was coming behind). Japan's intention was to force a lopsided battle with the American carriers. Japan had a picket line of submarines that would have had a shot at the US's carriers if they sortied from Hawaii; because the Americans moved early, the carriers were already past the submarines by the time that they were in place.
But it was by no means in the bag simply because of the intelligence. That intelligence was probably necessary for the US to have done what it did at the Battle of Midway, but not alone sufficient. The Japanese and American carrier air wings, even with the US doing emergency patch-up to get an extra carrier into the fight, were close in size. Midway's garrison absorbed the initial Japanese air attack, but even with the US putting every aircraft it could on the island, the land-based air arm didn't do much to the Japanese fleet (though a bomb or two from a land-based aircraft falling differently could also have significantly affected the outcome; Lady Luck played her role on both sides). The Japanese fleet did detect the American carriers and had been on the verge of launching a strike against them, and were only boxed out by minutes. That boxing out only happened because of an extraordinary series of lucky events for the US -- various groups of American aircraft showing up at the right times to prevent Japan from launching strikes; the USS Nautilus being held down by the Japanese destroyer Arashi; McClusky leading USS Enterprise's strike group -- which did a huge amount of the damage and was going to miss the Japanese fleet -- seeing Arashi and deciding to fly ahead of its path in the hopes that it was heading for the Japanese carriers; and Yorktown's and Enterprise's dive bomber groups actually hitting with their weapons after poor earlier performance from some other -- often much-less-experienced -- air groups. Normally, the weapon one would want to use against a carrier or other large ships were torpeoes; the American torpedo bombers generally weren't able to land hits and at that point in the war, American torpedoes had a number of technical problems. The Japanese pilots in the fleet in the early war were generally much-better trained than the American pilots, and had performed significantly better; had the Japanese managed to get that strike off, the American carriers would have been in trouble.
One reason that the Battle of Midway makes for a cinema-friendly movie is because events that happened in a short period of time did a great deal to drastically determine the battle's outcome. It could very easily have been a lopsided battle in the other direction.
A better statement is that, with what we know today, the US probably more-or-less had the war in the bag, albeit not that battle. It's difficult to see how Japan could have won the war; their war plan, Kantai Kessen, was gambling on one great Japanese naval victory over the US, a resultant collapse in American public support for the war, and for the US to give up when it realistically had a great deal of ability to continue a war and strong long-term advantage. In general, I think that planners in most countries drastically-underestimated the willingness of publics in various countries to continue and sustain a war effort. My own guess -- and I want to be clear here that I am not echoing any expert analysis that I have read -- is that this had a lot to do with war planners in a number of countries focusing on Russia's collapse in World War I (and in Japan's case, Russia's loss in the Russo-Japanese War; their actions looked in many ways similar to attempting a repeat of their attack on Russia there) and believing that it could be extrapolated to other countries and other times. The right lesson, I think, was probably that Imperial Russia had a lot of very serious political problems around the time of those wars, not that it was particularly easy to defeat major powers.
As for the Battle of Midway itself, the best sources in terms of understanding the battle are probably in text form, but if one wants to watch a pretty good -- in my opinion -- documentary-style set of videos, I'd recommend Montemayor's series of three YouTube videos on Midway. They don't have fantastic production values, have the occasional capitalization error, but the history is solid, and they do a good job of talking about most of the actual factors that determined the battle. And they keep maps visible, so one can see what's happening.
Montemayor also doesn't talk about Mitscher, though it's also not as if he actively avoids that; he does cover American organizational problems effectively in his video on the Battle of Savo Island: "Battle of Savo Island 1942: America's Worst Naval Defeat".
Wait is it confirmed they're not picking that back up? I thought that movie was pretty solid! Really felt ripe for franchising. Could either continue that party, or same actors different campaign, etc.. so much potential!
The Road to El Dorado was the pilot for an animated series that never got greenlit. Massive missed opportunity, I would love to see "the continuing adventures of three latin rogues and a horse"
At the time animated series didn't have the same quality they do today, I suspect it's reputation is so good because there's no subsequent animated series.
An I just finding out that there will be no sequel to that?
I remember that were planning, and planning, and planning, and it was too come out in 20XX, and then 20XX etc (can't remember the years)
What happened? Not enough funding, or was bullshit all along??
I feel so....... Duped..
A sequel to Prometheus that actually focused on getting answers from the engineers. Covenant had an interesting performance from Fassbender but nothing else.
I'm in the opposite camp, lol. I feel like Prometheus and Covenant both were deeply unnecessary. The most hurtful thing you can do for a horror franchise is add too much detail. Even if it is as weird and convoluted as Prometheus and Covenant
Me neither. Actually, I didn’t realize Split was in the same “universe” until the very end, when David was watching the news on TV. That was an awesome surprise!
The trouble with the movie was that the studio got scared out of continuing by fundamentalist Christian groups who really objected to the central premise of the books; namely that God can be killed and all life will be better off for it.
They then fumbled the shit out of it, editing it so poorly that what they did make was a jumble of shit that no one who wasn’t familiar with the stories would care to see, and no one who loved the books would be happy with. For me it was shit like revealing Lyra’s parentage right at the beginning, rather than it being a huge surprise as in the books.
It was a massive shame though, because the casting was damn near perfect. If they’d got Sam Elliott back to reprise the role of Lee Scorseby for the BBC adaptation, I’d have been as happy as a pig in shit. To my mind he is Lee. Lin Manuel Miranda was fine, but lacked the essential taciturn nature of the character as written. And Sir Ian McKellan as Iorek? Perfect.
I’ve never read the series but the His Dark Materials television show is really well produced. Not sure how closely it follows the books but as far as I understand it’s pretty faithfully executed.
Unfortunately not long after the first movie came out some component company on the back end had financial troubles and the rights to the movie got caught up in an ownership battle or something like that. It’s been a while since I read about why the sequel was never made even though everyone seemed primed to do it so my details may be fuzzy on it but it had something to do with the rights halting the project for a long time, like 15-20 years or something like that.
Although there were a lot of problems with Ender's Game, I was a little surprised that they didn't adapt any of the sequels. I mean I wouldn't have watched them, but it seemed like they went pretty all in on that first one to not at least try the second with a significantly reduced budget.
The novel Jumper by Steven Gould, on which the film Jumper was based, spawned a continuing series that went on for a while and kept being pretty good. For the hell of it the author also wrote Jumper: Griffin's Story which wasn't part of the novel continuity, instead it was a prequel to the movie.
I'm gonna answer a slightly different question, What film am I surprised didn't get a sequel sooner? The Incredibles. Sure, it was a self-contained story, but it could've gone anywhere after that. The last scene with the undertaker was just teasing another Incredibles adventure. But instead we just kept getting toy stories.
By the time they did announce a sequel, it had been so long that I wasn't confident that it could live up to the original - and I was pretty much right, it wasn't a bad movie but I've never felt the desire to watch it again like I have the first a few dozen times. So yeah, that's one movie where I'm like "why didn't they ever make a sequ- ... oh, that's right they did"
I think an incredibles series would be awesome to give a story more breathing room. The monsters Inc series has been great.
The last toy story should have been a series of shorts.
I can't see anyone mentioning Titan A.E. man I love that movie, the mix of hand drawn animation and CGI was great for the time and I really enjoyed the world building.
I remember there being a joke about a sequel where Jack is found frozen, revived, then has to make sense of all the merchandising and romanticism around what to him was a very real and recent tragedy.
The title for the sequel could be some kind of pun on how the film is faster and/or more furious than what would be reasonable under normal circumstances
I mean, even though they're not explicitly connected, Guy Ritchie has made a number of movies with similar tone/vibe and London Crime setting. I'm choosing to believe they're happening in the same universe
Lock, Stock and a smoking barrel
Snatch
Revolver
The gentlemen (which was also derived as a decent Netflix show)
There's also Layer Cake from Matthew Vaughn which scratches the same itch.
If you like it you should check out Guy Ritchie's previous film, 2005's Revolver. It's a little more "experimental" I'd say, but some of the film's choices are really cool, especially how it depicts how some characters remember and interpret events differently than others.
Ninja Assassin. Okay, not a great film but it made a profit in the box office, the fight scenes were pretty sick, and it hinted at a little bit of world building with the mention of other clans.
I got around to watching it a few years ago, and holy shit is it ever better than everyone says it is. It’s SO FAR ahead of its time—it feels like an early-to-mid 2010’s Adult Swim movie. Ebert can fuck right off, it’s a comedic MASTAPIECE.
I never saw it back in the days where it was sooooo critically panned. It seems to have aged swimmingly.
Wow. I caught it on a channel recently and watched the first 20 minutes and had to turn it off. That style of humor is so outdated imo. Tom Green’s comedy is just being awkward and repeating the same thing(s) over and over.
I’m glad you still enjoyed it though. I know it’s highly regarded as a cult classic. I just couldn’t stand it myself. I’m in my 40s btw, so I grew up during the Tom Green era of popularity.
Maybe spinoff would work better. Using the worldbuilding and asking what happened next. I was told once that The Lives of Others (Das Leben der Anderen), 2006 is set in the same universe and the same country, but this might be head canon, donno
Sharknado 6. I know they said that was the end, but have they really explored all of this idea’s potential? If Fast and the Furious can put a car in space, there should be a shark in space for it to jump over.