Hustle And The Fate of the Mid-Range Movie in 2022

The scope and scale of the Adam Sandler Netflix contract has been a recurring meme at various points through the years since he signed it. Hustle effectively asks what if that contract produced some genuinely solid dramatic material. Taking Sandler’s love of basketball and slotting it into a standard underdog sports narrative is one of those things that seems ridiculously obvious. Sandler is a Philadelphia 76ers basketball scout who is on the brink of retirement after years on the road. His discovery of a raw talent in Spain (Juancho Hernangomez) compels him to make one last push to get the kid into the NBA. They have helped by a cast filled out with several real-life NBA figures playing fictionalised versions of themselves. Que your standard sports movie story. There’s nothing revolutionary here. It’s just a ridiculously solid version of exactly the film one thinks it will be. It helps that the emotional investment and bond between Sandler’s character and his protégé is established quickly and effectively. There are some rough edges but none of the morose personal demons wallows that can impact these stories if they go too far in that direction ( see Gavin O’Connor’s The Way Back.) In other words the perfect candidate for an SVOD subscription release.
This viewer has heard the argument that the film should have been released in cinemas as counterprogramming to Jurassic World: Dominion. There’s no question that in a previous pre-streaming age this would have been the case. This viewer would as the following question. How much would a film like this have been actively made theatrically in a previous life? A well-regarded adult drama that’s not necessarily exceptional or gunning for awards out of the gate faces a distinct argument for its opening to middling or disappointing box office results before finding its true home in the ancillary market and on home video. Some will say this is a perpetually bad thing. To some extent, this viewer might agree. That said the relative streaming success of movies like Hustle shows that there is quality that can migrate streaming effectively. It’s also under no pressure of getting booted out of theatrical release after 10 days thanks to the impending arrival of a generic blockbuster. If this is the film landscape of 2022. Along with certain streamers accepting wider theatrical windows for some of their releases, there’s still plenty of good mid-range mainstream material releasing weekly. It’s just unemployed the scope of platforms than in previous generations.

McEnroe. (2022) Review.

As a huge tennis fan, It should be obvious that this viewer was inclined to check out this new documentary covering the career of John McEnroe. Even if McEnroe’s achievements and his cult of personality feel like they have been thoroughly covered across various projects in both drama and documentary. What surprised this onlooker was that the new firm had a relatively wide theatrical release and was even playing in some multiplex venues. Granted it will be gone from most of those after a week. Even if The subject is still one of the most well-known figures in tennis on paper the new piece looks like something one might see appear at a film festival before appearing as a reliable schedule filler in between the action on various live sports channels. This may be its fate in the US. The opening logos do confirm that it’s a co-production with Showtime. That said after watching it’s not hard to imagine why the UK arm of Universal along with documentary specialists Dogwoof thought this might play well to a broad audience. It’s the kind of efficient, engaging and effective career walkthrough That benefits hugely from the fact that McEnroe himself is an engrossing presence regardless of your thoughts on his sport. The most intriguing and admirable yet odd element of the film is its framing device. Occasionally the constructed career narrative and talking head interviews with all the figures One would expect to see Will cut to a reoccurring framing device. Contemporary McEnroe walks around the streets of modern New York City throughout a single night as if he is in some variety of Neo-Noir project. These might not work for every viewer but give the proceeding a commendable big screen-worthy element. This enables McEnroe as a fully formed piece to differentiate itself From the standard formula for this style of sports retrospective to a certain extent.

The full package is supremely watchable but nothing particularly new even for casual tennis fans. It’s like watching someone do a mid-tier episode of “Tennis Relived” on themselves. Notably, without The Tennis Podcast’s occasionally frustrating ability inorganically insert a “how do we make this about inequality?” angle Even in the stories and careers where that is less relevant. In other words, McEnroe is the exact sort of mainstream adjacent documentary that exhibiters love to put in front of a mainstream audience of both casual and established fans of the subject matter. This is perfectly fine. Ultimately there is a level of comfort in watching a story one knows be solidly told through the medium of documentary. Rather this than filmmakers trying to push the boat out and bungling the execution of a topic that could have been fascinating.
McEnroe is a solid documentary that doesn’t break any new ground in terms of covering a very well-established career within the sport. That said the piece is the kind of efficient and engaging career walkthrough that has the potential to play to a wider audience. It’s somewhat wild to this fan that three tennis feature films have appeared in various places over the last 18 months. Netflix cameras have been following both professional tours this season. One also has continuing escapades and modern stories of players like Nick Kyrios, Bernard Tomic and Benoit Paire. These careers read at times like the script from a pre-constructed reality TV show. There will be plenty more tennis adjacent media in the pipeline. Even outside of the traditional pre and post-Wimbledon bubble.

The Princess. Quick Review.

Really. More Princess Diana media. Even as someone who was all of three years old at the time of her death Princess Diana is this sort of easy audience adjacent narrative that certain viewers and filmmakers will always have an avert fascination with. Ever since Actress Emma Coren deservedly won a lot of acclaim for her portrayal of young Diana in Netflix’s The Crown it seems like Diana-centric projects have gone into production overdrive. Even more so than usual. The one-dimensional emotion porn of Pablo Lorraine’s awards/festival pandering Spencer. The ludicrously over the top, too camp to not be destined for a cult status notoriety of Diana: The Musical. Everything in between. Well here’s another one.

The Princess is an attempt to construct the Diana tale utilising only existing archive footage. Something along the lines of the stunning 2019 Apollo 11 documentary all the work of British documentarian Asif Kapadia. Except in those cases, the presentation did offer what felt like a spectator’s view on the subject matter. The Princess Diana chronicle has been so thoroughly picked clean that The Princess as a piece of work is not necessarily as effective when judged on this standard. That is not to say it does not have some merit in its own right. The documentary offers a snappy and efficient whistle-stop tour of events that feels a little more emotionally well-rounded than other decidedly-dour takes on the same story. This is especially true when looking at the material showcasing Diana’s impact on the lowest most everyday life-like section of society That said if one is familiar with this style of archive piece there is nothing new here. Granted it is better than all the recent Diana media that isn’t The Crown It probably has a future destined as a school and museum piece.This is perfectly fine in some ways.

Students deserve something with some level of stylistic or content-based merit that’s not going to make them automatically hit the snooze button. That said unless one is an easy sell for interpretations of the Diana tale or is a specific find of this type of archive-focused documentary (as with this viewer) there are easily available stronger examples available on streaming and physical media. Well, it might be objectively better than some of the higher profile Diana projects of recent times The Princess delivers the sort of final product that doesn’t enable it to establish a true identity to establish appeal beyond those predisposed to be interested in the subject matter.

Man VS Bee. Netflix. Review.

Projects like this seem like the kind of thing that it would be easy to take Netflix to task for. The product that causes an avalanche of snarky quote tweets that say certain things with the hope of going viral. Then you have the critics who might have watched the series but we’ll give it one star by birthright. The mere sight of that gurning facial expression Rowan Atkinson does when in character gives them a fight or flight reaction. Then they write a quick over-the-top headline relating to how this project is so without merit it is a reason to cancel your Netflix subscription. There’s one thing neither of the camps will admit Even in his older age Rowan Atkinson still has an audience. After watching Man VS Bee he still has a talent for effective and engaging slapstick construction.
What story is that that the premise doesn’t already imply sees Atkinson play a hopeless house sitter starting his new job looking after a rich smart home for two decidedly posh holidaymakers. Everything looks like it’s going to be fine until the titular Bee comes on the scene and causes Atkinson to get into a variety of slapstick shenanigans trying to kill his winged enemy. Many will hate this on concept and performances alone but Atkinson knows his family audience. Solid all-ages slapstick traverses language and cultural barriers. Thus the opening episode lays out the geography of the house very plainly along with showcasing just how many gleefully over-the-top delightfully dangerous set pieces our central character is going to get into. Watching these play out over 9 short-form episodes is a good time for those who don’t dismiss or think they are above this variety of simple but effective physical humour. After decades in the industry mining, his slapstick persona with similar material Atkinson comes across like an old pro at this stuff. One could say the narrative somewhat defeats its purposes with the winged aggressor being a CG creation. That doesn’t matter The best physical comedy relies on a level of cartoon logic regardless of content. The pratfalls and set pieces are more than effective enough to please an audience that would give a project like this a chance. It’s Effectively Jackass swapping out the exposed male genitalia for a variety of property damage.
The 10-minute episode may be a talking point for some. Watching through this season this viewer did not doubt in his mind that had this been released in 2020 it would have appeared on failed short form streamer Quibi. With each episode effectively being one set piece It’s very much up to the viewer how they decide to watch it. Binge. Singular or a couple of episodes at a time. Atkinson will always be doing something reckless in pursuit of his winged adversary regardless of viewing method. Given the format, the ending feels decidedly rushed. There’s a huge plot reveal that effectively gets brushed past as the final episode barrels towards a conclusion. If this had been a longer series that revelation deserves decidedly more development. That said the whole thing mostly comes across as efficient and effective.
complete package
Man VS Bee is a 90 minutes short-form season of slapstick Rowan Atkinson doing exactly what slapstick Rowan Atkinson does. Does that sound appealing? While you might like this. Does the mere thought of it cause viewers to break out in hives? This is probably best avoided. That said Atkinson and his creative team’s gift for slapstick construction and knowing what an audience expects of him is still present and correct. The audience for who this project is for will likely have a solid time with it and that is perfectly fine. Those that see investments like this as the death of all quality streaming content need not apply.

Lightyear. More Interesting For What It Isn’t.  

As a confessed die-hard Pixar fan on paper, it was great to finally see them back in cinemas. The joy of seeing that little bouncing lamp on the screen was designed to bring this viewer a pang of joy like few other media-related events in 2022. One just wishes it had been with a distinctly more interesting product. No getting around this. Well, Lightyear may not be as bad as some people will tell you it’s a distinctly more interesting film to discuss or misrepresent conceptually than watch. On paper, this being the in-universe feature film that was the inspiration for the toy line that eventually led to Andy being enamoured with Buzz Lightyear sounds just weird enough to be intriguing. In practice what Pixar has done here is make an incredibly straightforward space adventure with a new character that channels some of the same essence and catchphrases of his toy equivalent. Chris Evans’s voice work lacks the distinctly believable yet cartoonish approach that makes Tim Allen’s performance so iconic. If anything in a strange way the film fundamentally misunderstands what the appeal of the original Buzz Lightyear is. The deliberately gibberish mythology that the toy has been programmed to believe simply feeds into his delusions of grandeur. It’s what makes Tom Hanks’s delivery of “YOU ARE A TOY” as the hero’s drive towards Pizza Planet in the original so iconic. Thus making a film based on mythology that’s incoherently generic by design as part of the original humour has a ceiling in terms of final results. It’s hard not to feel that Lightyear definitively hits that ceiling. It’s not to say the new film doesn’t have merit. Pixar continues to creatively one-up themselves in terms of just how gorgeous their animation can feel from a presentation perspective. It’s truly stunning stuff that deserves the biggest screen humanly possible. The 3D transfer here is very solid. Offering strong depth and effective pop-out that these days can only be achieved in a theatrical presentation.

The full like a PG-rated interstellar crossed with the Netflix revival of Lost in Space. As a viewer who watched all three seasons of the latter, there’s something to be said for this kind of reliably solid family genre fare. That’s said when you have a product that is on some level trying to convince the audience of reasons for its existence simply being a solid three-star film will not cut it in this day and age. Especially given that we are dealing with Pixar here and there are the last three demonstrably better films to streaming. This author’s fandom for Pixar and Marvel means he will likely have a Disney Plus subscription for however long the service lasts. Projects like Lightyear would be a perfect fit for streaming. The fact the film has delivered relatively poor box office returns compared to expectations suggests that the pioneers of computer animation may or may not be confined to streaming for the time being. This is a sad state of affairs for a company that was originally ( and still is in some ways) the trendsetter for mainstream computer animation. Some viewers’ knowledge of the medium is largely based on Whatever was the last Pixar film that happened to be released. Much is Pixar has the roar aesthetic ability to make even a lower-tier project like this perfectly serviceable on its terms it’s broadly unremarkable.

Lightyear is that rare case where the memes and internet discourse and confusion around the premise or more interesting and engaging than the film itself. Mobius wishes its online presence could be anything like this engaging. Nevertheless in an age in which Pixar is still capable of achieving greatness Lightyear being their first theatrical release in three years doesn’t feel right. Needless to say, the three Pixar films before this sands theatrical release run circles around this lower tier ( but far from terrible) effort.

Stranger Things. Season 4. Volume 2. Running Up That Endgame Hill. (FULL SPOILERS)

Spoiler warning. Given a large amount of this piece relates to the ending and set-up for the final season this should go without saying The best course of action if readers have not seen the final two episodes to turn away now. Otherwise, you could fall under Vecnas curse.
Let’s get this over with. Having already written over 1000 words on the first seven episodes of the season this fan of the show was super excited to dive into the finale when it was released over the weekend. How was it?
Mostly very satisfying. Two episodes totalling 3 ½ hours without credits is something of a daunting prospect. The developments here don’t fix the problems this season has been faced with thanks to its share scope. Joyce and Hopper in Russia do gain some much-needed momentum in the aftermath of the Demagorgen breakout. Even with the Entirely unnecessary hail-mary of the characters realizing, they need to re-infiltrate the prison having already escaped. Argyle is still around and develops a plot function in the finale. There’s no real explanation for what Brenner has been doing between his first demise and re-introduction or why he’s even back in the first place. The show seems entirely hesitant to kill major characters at this point. All of these can be argued as some level of nit-pick to a major problem. However, that doesn’t matter. When the character moments are this effective and the creative team have enhanced their ability to deliver the best blockbuster entertainment possible from the comfort of viewers’ sofa. The 50-minute second act within the daunting 2-hour 13-minute finale should be held up as a gold standard in terms of how to pay off emotional investments in journeys effectively Breathlessly packed with more impactful crescendoes that you can shake several Demadogs at This is mainstream entertainment at its absolute best. An immense amount of payoff to what has been building throughout the seasons made since season one blew up and changed the standards of what we think of as cinematic TV forever. Any true fan who has developed an affinity for the show’s characters and world-building throughout its run should leave the finale with a certain level of satisfaction.
The bleaker tone of the epilogue and the sense there might be something even darker on the horizon works in terms of providing an appropriately effective end to a much darker season. This viewer would be lying if after a 13-hour journey to get here the soft cliffhanger feels like a prologue to the main show’s endgame. This was in the season’s marketing from day one but This watcher can’t help but think that setting up and ending in that relies so heavily on next season after a 778-minute runtime to get to this point feels like a potentially dicey choice. There’s no reason to suspect The Duffer Brothers won’t stick the landing. Especially with Vecna being this series’ best villain yet and the earthquake bringing The Upside Down into the real world. We will just have to wait and see.
The finale of Stranger Things 4 was a mostly very effective end to a strong season for a show that has always been so much more than what it appears on the surface. Elements of the series formula are present and correct but when they are executed this well it’s hard to complain. A terrifically executed culmination of what has been building throughout the follow-up seasons released since the initial and instant cultural impact first entry. The ending also sets the table nicely for a final season where the show’s best antagonist will eventually come back to a Hawkins that feels post-apocalyptic. This doesn’t make for as of an effectively rounded-off ending as the previous seasons when taking Season 4 in isolation. Especially after the 13-hour journey to reach its conclusion. It’s all over to The Duffer Brothers now. Also, myriad Netflix executives will be desperate to green light all manner of sequels and spinoffs.

Projects Like “Men” Bring With Them The Worst Type of Online Film Discourse

Alex Garland at his best is one of the most engaging and propulsive genre screenwriters out there. His ability to combine this with enough metaphorical and interpretive elements to please the analysis over emotional response viewer might be his secret weapon. His slightly ponderous FX mini-series Devs was something of a step back. On paper, Garland’s third feature as director is still an exciting prospect. Jessie Buckley plays a woman on an idealistic journey to a British countryside village. When she gets there she finds herself in an entirely male-populated area. All the characters demonstrate traits of toxic masculinity and are all portrayed by the same actor ( Rory Kinnear.) Cue attempted metaphors.
No beating around the Bush. Men gets a few creativity points for somewhat wild swings within the third act. That said this viewer despises the piece otherwise Imagine throwing most of Garland’s creative credentials out the window. Instead, replace his directorial vision with a hollowed-out husk whose only knowledge of modern genre filmmaking relates to furiously worshipping at the altar of Ari Aster for the thousandth time. They then decamp to Reddit and deliver their interpretation of the various meanings and messages to an audience of increasingly out-of-touch neckbeards. They then wait for the latest Film Festival flavour of the month to come down the pipe to appeal to an audience of no one outside their specific bubble. A selection of Garland’s previous work also cultivated this audience but there was a level of organicness in terms of weaving this within the text of the narrative. how they gained an audience. Now Garland and his creative team know exactly how to tailor their work to this audience. These watchers would not know what any degree of populism in filmmaking look like if it slapped them in the face like a wet fish.

Trapped in this excruciatingly pretentious endurance test are two commendable performances from Jessie Buckley and Rory Kinnear. They are at least trying to sell a script that has nothing to say and takes a long time to say it over a decidedly overstretched 100 minutes. Bezel so the question of whether it’s a good idea to trap an up-and-coming British Oscar nominee in a film fundamentally meant to be an examination of the male gaze that yet was assembled by a creative team with mostly Y chromosomes. This is a thornier issue and a different discussion.
There may be some level of mildly grotesque spectacle in the film’s climax There are admittedly flashes of what makes Alex Garland such an effective genre writer. That said one also has to factor in that given how the narrative has played up until this point it also is indicative of the most boring way possible this story could have reached its conclusion. The juxtaposition of these two factors makes the third act generally nowhere near as strong as it should be. Given this is the only element of the film worth recommending if one is not willing to put in the time to attempt to evaluate the ridiculously overwrought and pretentiously ponderous metaphors this fact is very disappointing.
The limited merit in the third act may prevent Men from being a true worst of the year contender along with The Bubble and Deep Water. That said it doesn’t prevent it from being the singularly most disappointing film of 2022 thus far. A naked and calculated play for an audience that has no genuine grasp on what general viewers would want to see outside of their specific bubble. A piece that will directly alienate anyone that does not want to earnestly engage with its half-hearted attempts at “deeper” meaning. The two central performers might be trying hard to sell it to the audience but even they can’t effectively elevator the film beyond the realm of thinking it’s much smarter than it is. Unless one belongs to the type of online film communities that benefit most from a feature like Men do not waste any time with it or indulge in any of its eyewatering self-indulgence

Spiderhead. Quick Review

Top Gun: Maverick has been sitting on the shelf for so long that the director Joseph Kosinski the meantime has made this Netflix thriller starring Chris Hemsworth and Miles Teller. They played a doctor and one of the patients at a medical facility using convicts as Guinea pigs for a series of drug trials at the remote island penitentiary of the title Throw in a screenplay by dead Deadpool writers Rhett Reese and Paul Wernick and one might think this is Netflix’s latest attempt to astroturf its way on the world of blockbuster film making. Except it’s not. With the limited mostly interior-focused locations, Spiderhead has the feel of one of those COVID lockdown-induced bottle thrillers that just happens to have a couple of big names attached. On paper, this seems like an interesting change of pace for Kosinski whose filmography thus fun revels so completely in the big screen experience. Unfortunately, this suggests that Spidered is more interesting or has any grasp on what it wants to do or say. All the themes one might expect from this sort of base-level morality-focused narrative are discussed but without any major conviction. There are also moments where proceedings invest in broad shock humour that have Reese and Wernick touches all over them. This is a piece that on some level wants to be propulsive and engaging but is somewhat let down by its inbuilt limitation. Above all else, the entire package is not a lot more than a middling episode of The Twilight Zone or Black Mirror. There’s enough intrigue set up in the opening act that the majority of viewers will want to see the film through to a conclusion. That said much as Spiderhead is far from the worst thing ever it is symptomatic of the kind of star-driven middling genre fare that Netflix has become synonymous with over the past several years. The kind of project designed to squat at the top of Netflix charts for a week and then be distinctly forgotten will exist in a couple of years with Netflix currently going through an attempted course correction remains to be seen. For the time being in terms of new releases, Netflix subscribers can only watch what has been put in front of them. Perpetual mediocrity This will have alienated millions of viewers outside of those like this reviewer who has decided to write this piece and slap his Desired rating at the bottom of its conclusion. Despite the star power here there’s nothing to explicitly recommend or any suggestion that Kosinski and his team just put out one of the most jaw-dropping cinematic experiences of recent memory. In contrast, viewers will forget Spiderhead exists minutes after the credits roll.

Good Luck To You Leo Grande. Very Quick Review

An ageing , sexually restrained and widowed former secondary school teacher (Emma Thompson) hires a free-spirited sex worker (Daryl McCormack) in this stagey but pleasant romantic comedy. The piece doesn’t offer much beyond watching the two central characters meet in the same hotel room on four occasions ( hence the somewhat theatrical feel to proceedings.) That said the core strengths still site shines through. Thankfully they are absolutely the kind of things viewers will be looking for in this kind of limited location project. The two central characters have a sharp, engaging and funny rapport party that’s very entertaining to watch play out. It helps that both central performances remain excellent throughout. The script also approaches themes of body positivity and normalisation within sex work as well as the number of thorny questions inherent within the premise with a level of respect, tact and honesty. If the full package has a flaw however it’s that the narrative ultimately does not have that much progression across its running time. This is one of the sorts of films where just reading the synopsis or watching the trailer gives you a pretty exact idea of every theme and narrative beat that is going to hit. Despite the consistently amusing dialogue and incredibly strong performances, the full feature does nothing to dissuade these thoughts. This viewer was left with the impression the proceedings would have been much more impactful as a short film. Even at a relatively brisk 97 minutes things feel stretched and lacking the impact they should at times. A textbook example of a film is mostly solid in its current form but feels like some reworking could be a ½ step away from true greatness. In its current form, the film is solid and most definitely worth viewers’ time That said Good Luck To You Leo Grande is a prime example of seeing the possibility for a truly transcendent piece in a final film as solid but not as good as it should be. With a shorter more focused rum time this could have been something exceptional.

Jurassic World: Dominion. Disappointed Fan Review.

Ever since this viewer first, saw it as part of a 2011 UK cinema re-release the original Jurassic Park has been in his top five favourite films. The ground-breaking effects may be starting to look like a product of their time but the sheer scale and construction of the set-piece sequences still have the power to create cinematic wonder all these years later. The original sequels have their moments and one really funny meme (Alan) This fan hot take on the franchise might be that when taken overall the soft reboot of the Jurassic World movies might have resulted in a better set of sequels than the original offerings before the release of Domain as the supposed final entry. Solid B movies that offer an engaging slice of Dino spectacle without indulging in talking Raptors. Dominion sees the return of director Colin Trevorrow after The Book of Henry should have euthanized his career multiple times over. Not to mention the return of the original trio of main characters from the classic original. . Following on from Fallen Kingdoms cliff-hanger that dinosaurs were now out in the wild. The pretty overwhelming negative reception wasn’t an immediate turn-off. Fallen Kingdom debuted to a majority negative reception and that film has its moments. Thus this viewer put on his 3D glasses and entered the cinema with a relatively open mind. How was the film?
Mostly very disappointing. Granted not as bad as some people will tell you or even at the worst in Colin Trevorrow’s filmography ( he did make one of the worst and most baffling films of all time.) Yet the newest entry’s critical failure is assuming there has been enough mythology set up in the preceding five films to pull off this kind of era spanning the closing chapter with a modicum of effectiveness. The opening 90 minutes are flat-out terrible. Indulging in overly pleased with itself yet basic worldbuilding installed by Fallen Kingdom and the return of various Jurassic World characters who were always a little bit thin in the development department. Things get a little bit better once the World cast and the original crew are united within the same location but bafflingly they’re still kept apart for a portion of the runtime. As with all the films in this series, it does deliver some solid Dino-based blockbuster spectacle. At this point, though after sitting through 90 minutes of gibberingly overwritten nonsense the payoff might be worth it in isolation but certainly not as a conclusion to a six-film decade-spanning multiple trilogy franchise. Yes, it’s not as bad as The Book of Henry ( very few things are.) However, the fact Colin Trevorrow continues to have a career in Hollywood after his last two films is a little bit mystifying. It will be interesting to see if the creative disappointments here will be his final chance.
From the perspective of someone who will go to bat for the first two films in its trilogy Jurassic World: Dominion is not as bad as you might have heard. That doesn’t make it particularly good either. It spends a solid 2/3 of its running time misunderstanding the fundamental appeal and spectacle of the series across both its trilogies. Audiences don’t go to a Jurassic Park film expecting some incredibly basic yet endlessly overwritten mythology. They want to see a B movie involving Dinosaurs stomping on things and causing general destruction. Dominion does deliver the latter after taking far too long to finally get there. It’s far too late to save the film from being anything other than a mediocre disappointment. Especially as the supposed conclusion to the series as a whole. It’s hard not to think the franchises are too lucrative not to be back in some form. Whatever form that takes the original that started it all will always be a masterpiece. The sequels are entirely optional.