The only thing studios love more than a hit movie is a hit series of movies. But attempts to make sequel-friendly films often backfire. Joe Griffinlooks at why franchises flop.
CONSIDER the contrast between the return of Indiana Jones next week in the fourth film of a hugely successful franchise, and current release Doomsday, which seems to assume that it is the first in a series of many movies.
A film conceived as the first in a series, but which never goes beyond one movie, is a special category of flop - one that thinks it's a golden goose. It's identifiable by its open ending ( Doomsday)or its proud prediction of further adventures ( Tango & Cash), or the fact that it's an adaptation of a series of successful books ( Shooter). Yet inevitably, it doesn't work as a standalone film.
The only franchise films that really work are self-contained stories that establish strong characters without hinting too strongly at sequels, such as Raiders of the Lost Arkand the first Pirates of the Caribbean. Both made the audience feel like they had been dropped into the middle of the life of Jack Sparrow or Indiana Jones, but each had a beginning, middle and end.
Sometimes, movie number one works well, but the studio never gets around to the sequel due to copyright issues ( Who Framed Roger Rabbit), for reasons of artistic integrity (Kevin Costner refused to make sequels to The Bodyguardand Dances with Wolves) or because a film, though successful, didn't earn a strong enough position in pop-culture history ( Unbreakable).
In general, though, studios love franchises and will try to build them onto every successful film, even if it's quite unsuitable for a sequel. If you don't believe me, just watch the follow-ups to Greaseand Babe.
Why can't they just leave it to the audience to decide if a sequel should be made?
STILL WAITING ON THAT SEQUEL
Doomsday (2008)paid homage to/ripped off, among others, Alien, Escape from New Yorkand Mad Max. It finished with the proud establishment of a new action heroine, and an open ending. Did the makers not realise what a mess the preceding film was?
Sahara (2006)was a poor man's Indiana Jones telling the story of treasure-hunter Dirk Pitt (Matthew McConaughey). It was intended to be the first in a series of adaptations of Clive Cussler novels, but then the film flopped and Cussler sued the film-makers for what they did to his character.
Shooter (2007)Bob Lee Swagger is the hero of a series of popular novels by Stephen Hunter. Like Jason Bourne, Swagger is an anti-hero fighting an establishment that betrayed him. The film, with Mark Wahlberg, cast him as an assassin turned vengeful fugitive and hinted at an ongoing conspiracy and further swaggering. But unlike Bourne, Swagger left audiences indifferent.
Tango & Cash (1989)"Why don't you two admit that you make a great team?" asked Kiki (Teri Hatcher) of uptight Tango (Sylvester Stallone) and the chilled-out Cash (Kurt Russell). The final shot featured the pair performing a triumphant high-five - the beginning of a beautiful franchise? Er, no.
The Golden Compass (2007)Packed to the rafters with exposition and new characters, The Golden Compasswas the first in a proposed series of adaptations of Phillip Pullman's His Dark Materialsseries. Poor box-office means a sequel is now unlikely.
DID WE REALLY NEED A SEQUEL?
Babe: Pig in the City (1998)Babe was an unexpected hit and instant classic. Babe: Pig in the Citywas not only a blatant cash-in, but also one of the most needlessly dark kids' movies of recent years.
Grease 2 (1982)Undeterred by the sequel-unfriendly ending of Grease, the makers of Grease 2opted for a whole new story without John Travolta, Olivia Newton-John or even catchy songs.
Analyze That (2002) Analyze Thiswas an inoffensive gangster comedy. However, one wonders how much more the film-makers could expect to milk from the premise.
Carrie 2: The Rage (1999)Taking place a full generation after Brian De Palma's 1977 classic, this was more of a retread than a follow-on.
Return to Oz (1985)A contender for the most delayed sequel of all time, Return to Oz dialled down the life lessons, timeless songs and pretty cinematography of the original, and dialled up the gothic dread.
