Getting Remakes Right
Getting Remakes Right

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Movie remakes usually occur out of concern for box office above all else, but some do succeed as films and not just products. What does it mean to get a remake right? I think it all comes down to thorough understanding of the original and its concept... Also, have you guys seen The Predator yet? Movies Mentioned: Scarface (1932), The Mummy (1932), Invasion of The Body Snatchers (1956), True Grit (1969), Invasion Of The Body Snatchers (1978), The Thing (1982), Scarface (1983), The Mummy (1999), Alfie (2004), True Grit (2010), The Thing (2011), Total Recall (2012), Robocop (2014), Ghostbusters (2016), The Mummy (2017), The Predator (2018).

Comments

End Credit Reviews : I love the remake of The Mummy (1999) because it does have the basic story points of the original with Imhotep being cursed, being resurrected, and trying to resurrect his lost love. But it took that idea and expanded upon it by having Imhotep doing more with his powers. It also developed characters a lot more and it did a lot more with it's story. Not to mention that there is a lot of great action scenes and a romance that doesn't feel forced. All of these things is what the 2017 remake got wrong.

Vicente Ortega Rubilar : The Blob, The thing, the fly, horror masterpieces, all of them remakes.

A Internet : You didn't mention the trend for remaking films, when the paint isn't yet dry on the old one, e.g. Spiderman. 3 Spiderman remakes in 15 years? Wtf?

Ryan0413 : I think the best remakes are remakes of movies that weren't insanely successful

Robin Redmond : Who will take care of Lumpy?!

Kevin Hawkins : 1978 Invasion of the Body Snatchers is a masterpiece

Max O'Byrne : I knew there was a reason I was up at 3am

INERT : Remake, reboot, retelling, re, re...reeeeeeeeeeeeeeee!

raven lord : I think Jackson's Middle Earth adaptions show both sides of this. LOTR was a masterpiece. The Hobbit was a cash grab.

ShipMonster : Honestly though, the solution to all of these bad remakes is : more shaky cam. As of now I can still understand some of what's going on in modern movies.

Ricardo Cantoral : I think it's unfair to say that De Palma's Scarface doesn't bring anything new. The De Palma film was something of a political essay. Montana was chasing the American dream and his "say goodnight to the bad guy" speech was a summary of the film's message; Tony is no more villainous than those who run the country. Regarding my favorite remake, I would say Werner Herzog's Nosferatu is just as brilliant as the original Murnau film. Herzog adds his own voice by emphasizing the tragedy of Dracula and he makes the argument that his existence is not some force of evil but a force of nature.

Word Unheard : Not one mention of David Croneberg's The Fly? For shame! I forgive both you and lava lamp, but The Fly had damn well have an upcoming episode, or I'll sit here and type, while doing nothing.

Flyqueen : And I thought you would talk about "The Fly" and it's remake when i saw goldblum in the thumbnail :,)

Juan Pablo Munoz : Maybe if Hollywood stopped trying to remake successful movies and instead remade previous failures they might find better luck. There are plenty of movies with great concepts and horrible execution

Paul Hardy : Stories can be re-told and still feel completely original if they're told from a different point of view.

78deathface : 11:37 R.I.P. Miguel Ferrer

GravestoneXD : Five years ago it seemed like we were getting direct remakes once a month. Now most of those spots have been replaced with soft reboots-sequels

Hamish Downie : It’s not a movie, but the 2000s Battlestar Galactica has got to be one of the greatest remakes

Mahrai Ziller : Odd that you didn’t explore the “Seven Samurai/Magnificent Seven” story. Surely ripe for another angle about how remakes/reboots/reimaginings happen, when even cross-cultural themes are adapted to new audiences. The examples you give are pretty much just separated by time: old films repackaged or reimagined for a new audience. However, the magnificent seven is an example of a film reimagined for a different culture altogether - separated not just by time, but by ancestral culture. I’d have included that, or at least another example of it.

fireflocs : REMAKE BAD MOVIES, NOT GOOD ONES GOOD MOVIES REPRESENT IDEAS THAT ARE SPENT. THEY'RE DONE. THEY'RE OVER. YOU'RE NOT GONNA OUTDO THE ORIGINAL IF THE ORIGINAL WAS REALLY GOOD. BAD MOVIES REPRESENT IDEAS THAT FAILED TO LIVE UP TO THEIR POTENTIAL. THAT'S SOMETHING YOU CAN MAKE AGAIN TO DO IT BETTER THAN BEFORE. IT AIN'T ROCKET SCIENCE, COME ON. Yes, yes, I know there are exceptions. Some are in this very video that you and I both just watched. It's just not a good strategy in an ongoing, general sense to try and outdo things that were already done well.

Davinia : You, my dude, have not seen MTV Cribs. Scarface is plenty celebrated.

D C : Barbwire is a great Casablanca remake. That is how you remake Citizen Kane. Just make a movie that is entertainingly stupid.

battra92 : I think one thing that's inherently flawed in Hollywood thinking (and that of the general audience that eats up and demands remakes and reboots) is the notion that newer is better. This is of course quite a silly assumption to make just as "older is better." The 1907 version of Ben Hur is stagey and dull though historically interesting. The 1925 and 1959 versions are themselves their own movies (though the 59 version does borrow more than a little from the 25 version) and both take the source material seriously and create a good film. The 2016 version has no redeemable qualities and why it was made is a mystery.

He Was Fuzzy Wuzzy : I'm still waiting for the next re-reboot of Predator.

irina1296 : Invasion of the Body Snatchers (1978) is such an underrated masterpiece. I adore this remake.

HerrNilssonTheMonkey : The remake of Invasion of the Body Snatchers is one of my favourite films ever. The canon example of a well done remake that actually improves on the original.

Mark Parkinson : Remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots and remakes and reboots!!!!!!!!!! SO MANY!!!!!

Convicted Escapist : worst remake is the Oldboy remake.

William Butts : Bit disappointed we didn't get a quip about The Thing from Another World (1951). Worth watching. Love me some fast-talking 50s dialog.

seanmcardle : i really enjoy your shtick george

Zsuzsanna Circleedge : Imagine a Remake of "Game of Thrones" - god help us.

Liberals Get the Bullet Too : Casablanca starring two star-crossed Middle Eastern refugees seeking safe passage out of modern-day London during the ravages of WW3.

Brexit Refugee : If only someone could remake a new idea.

fILTHYcASUAL : No mention of parodies? Aren't they a kind of remake/reboot/re-whatever? I love movies like Dracula - Dead and Loving It, Robin Hood - Men in Tights, Spaceballs... actually, all of Mel Brooks' movies, I guess. And Hot Shots!, Shaun of the Dead, Galaxy Quest. I could go on and on. A parody inherently brings something new to the table, namely humor. Though obviously many of them fail to do so well. There's also Epic Movie, Superhero Movie, Meet the Spartans, and so on.

JGM Mackmen : "Add jokes to template after merchandising" Nice!

JonMacFhearghuis : Sometimes it's just updating visuals and script for a modern audience, as with Bodysnatchers. No harm at all in that sort of remake, provided enough time has elapsed.

Dylan Nanayakkara : Great video Georg*, as always, but what about spiritual remakes? Films like "Blow Up", "The Conversation" and "Blow Out", having pretty much identical setups (An obsessive media pro discovers a controversy in his work) but all three explore different realities for their protagonists. All three have similar beats, and similar conclusions. Spiritual remakes. There are countless others like that, that make you question if there really is any originality in the craft, or whether originality is really important. What are your thoughts on those?

Isaac Alonzo : Literally binge watched the entire channel the past couple of weeks, finally catching up a fresh upload the day it was published. Huge fan here... Of the lava lamp.

Joey Mitchell : Dear Mr Schmidt. I’ve been a fan of your videos now for a while. Your take on the movie industry has been thought provoking and I take note of a lot of what you say. I don’t know if you would ever be interested in doing something like this but I would be very interested in hearing how you speculate on upcoming movies. Honestly, seeing the early previews of the upcoming Joker film is what made me think of making this request. Thanks again!

Sean Baugh : The British Professor X is dropping that knowledge. *"NUFF SAID"*

Joseph : The 1978 version of "Invasion of the Body Snatchers" is a pretty fantastic horror-thriller. Also, I also do enjoy for various reasons: Horror of Dracula (1958) The Thing (1982) The Mummy (1999) Alfie (2004) Dawn of the Dead (2004) King Kong (2005) True Grit (2010)

Jerrod Bates : haha this guy is great

Bishop Jones : Hi George, getting in here while there are few comments. Love the channel, keep up the good work

Mantis Toboggan : why did you call jeff bridges steve bannon? that's a cruel thing to say. bannon is an alt right bigot that barely resembles anything human.

Rick and Rygel : I have not seen 'The Predator,' does that mean I win?

Daniel Eyre : I don't really rate de Palma's scarface to be honest. The test of hem I cannot argue with though.

Gloth Sang : cool, notified about some new bearded british egg

Mr Sack : The most amazing notion of a remake coming out and being superior to the original is The Maltese Falcon starring Humphrey Bogart; it was made because the original film was no longer viable to the filmgoing scene due to Hayes Code restrictions, so a lot of subtext and allusion had to be employed, and in essence, is a lot smarter film, making the audience look for what’s going on with the characters under the surface. Also, it’s a technically better film under first-time Director John Huston, so right there you have two reasons. Plus, and here’s the rub that I throw towards people who say all modern Hollywood does is remake classic films, not only was The Maltese Falcon (1941) ONLY ten years removed from the original film, it was the SECOND remake of the film, with Betty Davis’s Satan Met A Lady being released in 1936, again for reasons of “decency”, but it’s near universally agreed that the 1941 film, which propelled Bogart to leading man stardom, is the superior film in all perspective.

Nullified Existentialist : The last time when I was this early, is when I was this early.