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Conclusion

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Abstract

Remakes constitute both an inevitable and significant component of the filmmaking industry. Be it because there will always be an audience for clever (re)tellings of beloved stories or because filmmaking is expensive and studios are risk adverse, remakes across time, across cultures, and across media will continue to constitute much of the popular culture we consume. It is for these reasons that their ongoing analysis remains important. This chapter ends with a scoping of future areas for remake research including darker, scarier, and more violent reproductions.

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Notes

  1. 1.

    Flight of the Phoenix (2004), for example, has been described as a “cheap remake” of the 1965 film (Washington 2004); Wrong Turn (2003) as “a cheap remake of Wes Craven’s not-very-expensive-to-begin-with The Hills Have Eyes (1977)” (Steelman 2003); Not of this Earth (1988) as a “cheap remake” of the 1957 film (Newman 2011, 233); and Immediate Disaster (1954) as “a cheap remake of The Day the Earth Stood Still [1951]” (Brosnan 1979, 108).

  2. 2.

    Mr. Deeds (2002), for example, has been described as a “particularly dumb remake” of Mr. Deeds Goes to Town (1936) (Kerr 2002); Alfie (2004) as a “dumb remake” of Alfie (1966) (“‘Alfie’ remake lacking” 2005); and D.O.A. (1988) as a “dumb remake” of the 1949 film (Janusonis 1988).

  3. 3.

    The Eye (2008), for example, has been described as a “listless remake” of Gin gwai (The Eye) (2002) (Greenblatt 2008); Bangkok Dangerous (2008) as a “listless remake” of the 2000 film (Grimm 2008); and Three for the Show (1955) as a “listless remake” of Too Many Husbands (1940) (Parish and Bowers 1974, 120).

  4. 4.

    Little Miss Marker (1980), for example, has been described as a “mediocre remake” of the 1934 film (Craddock 2006, 1687); Narrow Margin (1990) as a “mediocre remake” of the 1952 film (Newman 1993, 170); and The Cape Town Affair (1967) as a “mediocre remake” of Pickup on South Street (1953) (Castell 1996, 170).

  5. 5.

    CHIPS (2017), for example, has been described as a “ridiculous remake” of the television series (1977–1983) (Rogers 2017); Yours, Mine, and Ours (2005) as a “ridiculous remake” of the 1968 film (Morency 2009, 265); Sydney White (2007) as a “forced, often ridiculous remake” of Snow White and the Seven Dwarfs (1937) (Bain 2007); and The Wicker Man (2006) as a “ridiculous remake” of the 1973 film (Frank 2006).

  6. 6.

    The Rains of Ranchipur (1955), for example, has been described as a “superficial remake” of The Rains Came (1939) (Maltin 2001, 1118); Clash of the Titans (2010) as a “superficial remake” of the 1981 film (“Creature-feature ‘Clash’ is a superficial remake” 2010); and Always (1989) as a “superficial remake” of A Guy Named Joe (1943) (Worley 2005, 127).

  7. 7.

    The House Across the Street (1949), for example, has been described as a “tepid remake” of Hi, Nellie! (1934) (Halliwell 1989, 484); Connie and Carla (2004) as a “tepid remake” of Some Like It Hot (1959) (Hewitt 2004); and Two Men in Town (2014) as a “tepid remake” of Deux hommes dans la ville (Two Men in Town) (1974) (Young 2014).

  8. 8.

    Death at a Funeral (2010), for example, has been described as being a “warmed over” remake of the 2007 film (“‘Death’ warmed over as a remake” 2010); Chappie (2015) as “little more than a warmed-over RoboCop [1987] remake” (Marcus 2015); The Hangover II (2011) as “basically a warmed-over remake of The Hangover [2009]” (Mendelson 2013); and Peter’s Friends (1992) as “The Big Chill [1983] warmed over” (Hinson 1992).

  9. 9.

    Acuna (2013), Roush (2016), and O’Falt (2018).

  10. 10.

    Evangelista (2017). Reviews of Psycho (1998), in fact, ask the same question: see Watson (1999), and Elwood and Mancini (2002).

  11. 11.

    Young (2016).

  12. 12.

    Mee (2017, 200).

  13. 13.

    Johnson (2009, 63).

  14. 14.

    Heller-Nicholas (2010, 92).

  15. 15.

    Harney (2002, 74).

  16. 16.

    “Wizard of Oz beats Star Wars as most influential film of all time, study of 47,000 movies shows” (2018).

  17. 17.

    Rafter (2006, 52).

  18. 18.

    Anderton (2018).

  19. 19.

    Olney (2014, 373).

  20. 20.

    Luksic (2000).

  21. 21.

    Pete (2001).

  22. 22.

    Chess (2008, 87).

  23. 23.

    Axmaker (2004).

  24. 24.

    “Film of Dahl classic on top” (2005).

  25. 25.

    “More ideas reprised” (2006).

  26. 26.

    “Director, stars defend darker remake that leaves pastels back in the ‘80s; Fire & ‘Vice’” (2006) and Rahner (2006).

  27. 27.

    “Miami Vice tops UK film chart on debut weekend” (2006).

  28. 28.

    Horn (2007) and “The Oscars, from Wings to The Shape of Water: The 90 films to win Best Picture” (2018).

  29. 29.

    Bussey (2015).

  30. 30.

    “Movie bits” (2011).

  31. 31.

    Hicks (2011).

  32. 32.

    Bannon (2011) and Oliver (2016, 134).

  33. 33.

    Myers (2016).

  34. 34.

    Smith (2012).

  35. 35.

    “Stephen King’s horror classic gets an unnecessarily gory remake more blood, wasted” (2013).

  36. 36.

    Frank (2013).

  37. 37.

    “Bruce Campbell, Fede Alvarez talk up ‘very scary’ remake of ‘Evil Dead’” (2013).

  38. 38.

    “Man of Steel is solid gold at the box office” (2013).

  39. 39.

    “Angelina Jolie, Elle Fanning talk ‘Maleficent,’ Disney’s darker, scarier remake of ‘Sleeping Beauty’” (2014) and Strauss (2014).

  40. 40.

    Roach (2014).

  41. 41.

    MacInnes (2014).

  42. 42.

    Kermode (2014).

  43. 43.

    Taylor (2016).

  44. 44.

    Syme (2016).

  45. 45.

    Delgado (2017).

  46. 46.

    Krieger (2017).

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  1. School of Social and Political Sciences, University of Melbourne, Melbourne, VIC, Australia

    Lauren Rosewarne

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Rosewarne, L. (2019). Conclusion. In: Sex and Sexuality in Modern Screen Remakes . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-15891-0_4

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