The film industry seems to be stuck in a time loop, with a never-ending cycle of reboots, sequels, and remakes. It\u2019s like watching your favourite movie over and over again, with the magic diminishing each time. The originality, the fresh ideas and the thrill of seeing something new are fading away. And while there\u2019s nothing wrong with a bit of a throwback, the constant bombardment of recycled stories begs the question: is original cinema disappearing?<\/p>\n\n\n\n
Nostalgia is big business. Just take a look at Ghostbusters: Afterlife, The Matrix Resurrections, or even the Disney princesses (Snow White being the latest disappointing drop<\/a>), all films banking on a hefty dose of sentimentality and fan service. But does the love for the old stuff still translate into quality? Or is it just a crutch for an industry too scared to take risks?<\/p>\n\n\n\n Unsurprisingly, one of the main reasons we see so many regurgitated stories is because of the financial gamble that filmmakers are required to take when creating and releasing something new. Dr Caitriona Noonan, a reader in media and communications at Cardiff University, says: \u201cThe industry is very risky, and so it looks for ways in which it\u00a0can minimise that risk.\u00a0 One of the ways they do it is by going towards things that are tried and tested, that possibly come with an audience already.\u201d<\/p>\n\n\n\n Remember when a film like The Lion King came out in 1994 and felt like pure magic? Fast forward to the 2019 remake, and while the animation was top-notch, the soul of the original seemed to be lost. It made you wonder, did we need it? The same can be said for the endless Fast & Furious movies, each one more outlandish than the last, but somehow still drawing in millions of eyes.<\/p>\n\n\n\n \u201cI think some of this is the industry responding to audiences wanting nostalgia,\u201d says Noonan. \u201cThink about the success of things like Barbie or Ghostbusters; people remember that content from their youth. It\u2019s also about introducing it to a new generation.\u201d<\/p>\n\n\n\n Does the love for the old stuff still translate into quality? Or is it just a crutch for an industry too scared to take risks?<\/p>\n<\/blockquote>\n\n\n\n So, are studios making reboots and sequels because they\u2019re creatively bankrupt, or is it simply because they make bank? Spoiler alert: it\u2019s probably a mix of both.<\/p>\n\n\n\n A quick glance at The Avengers franchise or Star Wars: The Force Awakens shows that sequels and reboots guarantee a built-in audience and massive earnings, with Star Wars VIII: The Last Jedi taking $220 million in its opening weekend. So why risk investing in original stories when you can pump out another Spider-Man movie and watch the cash roll in?<\/p>\n\n\n\n Caitriona points out, \u201cYou kind of know what you\u2019re getting with these things. You know what to expect when you watch a Ghostbusters movie \u2013 you\u2019re not going to be shocked. It\u2019s comforting in that way.\u201d<\/p>\n\n\n\n So, where does that leave us? Stuck between re-living the past and hoping for something new. If we stop feeding the cycle of reboots and sequels, maybe the industry will have no choice but to turn its attention back to what made cinema great in the first place: original, bold storytelling.<\/p>\n\n\n\n So instead of getting sucked into more of the same this weekend, DITCH recommends these five cinematic bangers:<\/p>\n\n\n\n Apocalypse Now<\/strong> 94% on Rotten Tomatoes<\/a> <\/p>\n","protected":false},"excerpt":{"rendered":" Regurgitated narratives are being favoured over films that push creative boundaries and offer audiences something new \u2014 and it all comes down to money<\/p>\n","protected":false},"author":1202,"featured_media":1310,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4],"tags":[95,71,131,132],"coauthors":[92],"class_list":["post-1289","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-breakdown","tag-cinema","tag-film","tag-original","tag-storytelling"],"_links":{"self":[{"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/posts\/1289","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/users\/1202"}],"replies":[{"embeddable":true,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/comments?post=1289"}],"version-history":[{"count":9,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/posts\/1289\/revisions"}],"predecessor-version":[{"id":1379,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/posts\/1289\/revisions\/1379"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/media\/1310"}],"wp:attachment":[{"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/media?parent=1289"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/categories?post=1289"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/tags?post=1289"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/cardiffjournalism.co.uk\/ditch\/wp-json\/wp\/v2\/coauthors?post=1289"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Money moves<\/strong><\/h3>\n\n\n\n
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Risk rolling<\/strong><\/h3>\n\n\n\n
Cinema Paradiso<\/strong> 96% on Rotten Tomatoes<\/a>
Garden State<\/strong> 88% on Rotten Tomatoes<\/a>
Parasite<\/strong> 95% on Rotten Tomatoes<\/a>
The Breakfast Club<\/strong> 92% on Rotten Tomatoes<\/a>
<\/p>\n\n\n\n