Soapbox: 9 Canceled Sequels That Would’ve Been Terrible (And 6 That Would’ve Been Great)

Two very different types of tough guy, who nearly starred in two very different types of sequel!

Movie history is filled with examples of high-profile projects that never made it to the big screen – including unmade sequels to your some of your favorite films. Unfortunately, while getting a sequel off the ground for a critically acclaimed outing or blockbuster hit seems like it would be a no-brainer, thanks to the many logistical and political forces at play in Hollywood, that’s not true.

Although this has cost audiences the opportunity to enjoy promising follow-up entries to a number of popular franchises, it’s also spared them from pretty severe disappointment, too. For every brilliantly conceived sequel that fails to materialize, an even greater number are pitched that are at best ill-advised and at worst flat-out unnecessary. Indeed, several of these dubious continuations wouldn’t have merely been destined to fall flat at the box office – they risked damaging the legacy of the beloved movies that came before them.

Still, there’s something inherently fascinating about these unseen films – whether they looked set to be a masterpiece or a trainwreck – that comes from wondering what might have been. With this in mind, we’ve taken stock of the biggest unmade sequels out there, pulling together this list of 9 Canceled Sequels That Would’ve Been Terrible (And 6 That Would’ve Been Great).

The post was written exclusively for Screen Rant – click here to read the full article

Soapbox: 9 Canceled Sequels That Would’ve Been Terrible (And 6 That Would’ve Been Great)

Soapbox: Logan reminds us that great stories are more important than continuity

Logan doesn’t care about much, and that includes continuity

By now, we’ve all had a chance to see Logan, and it’s safe to say that for most fans and critics, the film serves as a great send-off for Hugh Jackman as he hangs up his claws after over decade and a half in the role.

There are several reasons for Logan’s success – including its smaller, more relatable scale and tighter focus on a small cast of characters – but without doubt a key reason why this Wolverine swansong soars is because it stands largely apart from the wider X-Men franchise.

Sure, it has links to earlier films in the series, but it also tends to gloss over (or even flat-out ignore) any aspects of the established canon that don’t fit with the story director James Mangold wants to tell, and in doing so, it reminds us that when it comes to storytelling versus continuity, the former is always more important than the latter.

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Soapbox: Logan reminds us that great stories are more important than continuity

Five Minutes With…Guy Hendrix Dyas (Part 1)

Guy collaborating with director Terry Gilliam on the set of The Brothers Grimm

Ever watched a movie or TV show and thought to yourself: “Damn, this sure looks pretty”?

I’m willing to bet that you have, and the person you should be thanking for those stunning visuals is the production designer (or PD, for short).

PDs look after the overall look of a film or TV show, working alongside the director and producer to choose the settings and develop the style needed to tell the story visually.

Needless to say, they are a major creative force on any production, as the work of this month’s Five Minutes With… Q&A participant, Guy Hendrix Dyas, makes abundantly clear.

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Five Minutes With…Guy Hendrix Dyas (Part 1)

Anatomy Lesson: Superman to the rescue!

Would it be worth almost crashing just to be rescued by Superman? Probably…

Bryan Singer’s Superman Returns turns 10 this month, and over the last decade, it’s managed to build up something of a mixed legacy.

A quasi-sequel to the Superman films of the 70s and 80s starring Christopher Reeve (well, the first two, at any rate), the film received generally good reviews, with critics praising Singer’s heartfelt direction, the fine performances of the cast, and the strong visuals courtesy of cinematographer Newton Thomas Sigel and production designer Guy Hendrix Dyas.

And yet Superman Returns ended up having a polarising effect on audiences. Among the more commonly criticised aspects of the film were its oddly melancholic undercurrent, Lex Luthor’s nonsensical evil scheme and the introduction of a cute kid who – spoiler warning! – effectively transforms Superman into the Deadbeat Dad of Steel.

Fans also took Singer and screenwriters Michael Dougherty and Dan Harris to task for the film’s romantic tone – although this tends to be downplayed by many naysayers these days, now that they’ve been confronted by the dour nihilism of the Man of Steel reboot – and its lack of a proper, superpowered dust-up.

Admittedly, many of the set pieces in Superman Returns do boil down to “Superman encounters heavy object, lifts it”, and the film is hamstrung by the absence of any real physical threat to the Big Blue Boy Scout.

Still, it featured at least one action scene that everyone seemed to agree was pretty damn amazing, which is when the Man of Steel wrangles a failing Boeing 777 in mid-air, a pulse-pounding demonstration of just how difficult this sort of feat would be, even for a guy who can do pretty much anything.

Continue reading “Anatomy Lesson: Superman to the rescue!”

Anatomy Lesson: Superman to the rescue!

Review: X-Men: Apocalypse

When not trying to conquer the world, Apocalypse enjoys taking part in local theatre productions

To say that the timeline of the X-Men film franchise makes no sense is to make an understatement on par with describing the theory of evolution as “pretty complicated”.

Quite frankly, when director Bryan Singer tinkered with the series’ continuity in 2014’s X-Men: Days of Future Past as part of an effort to smooth out any inconsistencies that had cropped up across the previous five movies (not to mention correct several perceived missteps made in X-Men: The Last Stand), he actually made things a lot worse.

A direct offshoot of this is that X-Men: Apocalypse, the latest film featuring Marvel’s Merry Mutants, spins a tale that seems completely at odds with the previous films it’s intended to bridge together – and sadly this isn’t even the major problem for flick that arrives overstuffed with characters and spectacle and light on actual emotional heft.

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Review: X-Men: Apocalypse