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Posts Tagged ‘franchise films’

Jason Blum Should Helm Universal’s “Classic Monsters” Project

Thursday, June 8th, 2017

When it comes to horror films, Jason Blum is the smartest man in the room right now.

Here’s a link to a great piece by Amy Nicholson in LA Weekly on Jason Blum, the man behind Blumhouse, the most successful and prolific producer of horror films right now working in Hollywood. As she writes, “an average studio movie costs $75 million, plus another $30 million in marketing. That model is: Go big or give up on making a fortune in China. As a result, audiences moan that Hollywood has become too glossy, too bland, too costly, too safe.

There are too many superhero movies and too few of everything else. Midpriced films have vanished, those solid romantic comedies and middlebrow crowd-pleasers that kept adults happy for decades. Blum’s frighteningly successful formula argues that there’s another way to do business: Think small. Hollywood is intrigued, and it has two questions for him: How does he make movies so cheaply? And can other producers — and other genres — do the same?”

Yes, if they want to do so – and Blum will be the first to admit that not every project works out to his advantage. His production of Jem and The Holograms stiffed, but as he put it, with just a five million dollar budget – generous for Blum – “the model is, really, if everything goes wrong, we will [still] recoup.” And then there’s Whiplash, not a horror film at all, but budgeted at about $3 million, which led, of course, to La La Land.

And, of course, the most interesting and successful film, regardless of genre, of 2017: Get Out, a horror film with real social commentary. That was another $5 million film. Some of Blumhouse’s films never make it to a theater; they’re released via VOD and some just wind up hanging out in the vault, never to be released. But that’s just the minority; Blumhouse has many more hits than failures, both critically and commercially, and that makes him a definite outlier in contemporary Hollywood.

Which leads me to my main point here: Universal’s “Dark Universe” series. Frankly, I’m sick of discussing this, since there are so many other much worthier films to address, but it struck me this morning that since Universal clearly doesn’t know what to do with its most valuable intellectual property, why not give Jason a crack at it?

And the irony is – he works for Universal!

In fact, he has a unique deal in place that he can greenlight any film at all as long as the budget is $3 million or less, and then Universal gets a first look. He’s a smart person, who knows about the history of the genre, and the main figures; Val Lewton, Terence Fisher, James Whale, and all the rest. And Blum uses the key strategy of successful low budget production as one of the cornerstones of his philosophy; use one central location for 90% of the film’s narrative, and you don’t waste a lot of travel days, and cut down considerably on expenses.

Come to think of it, Hammer Films used a house/studio at Bray for their most successful films, many of them brilliant Gothic thrillers shot for a mere pittance – like Curse of Frankenstein and Horror of Dracula – so Blum is merely copying, in a sense, a very successful model. Val Lewton, even though he worked for RKO in the 1940s, did the same thing; one set for most of the scenes.

So my thought is this; instead of just doing the “Dark Universe” series of updated action films – like 2017 version of The Mummy, which is raking it in at the box office not because it’s a horror film, but because it’s a Tom Cruise action flick – Universal should initiate a “Classic Monsters Universe,” which reboots all the studio’s major horror figures in an honest and unadulterated fashion, and put Jason Blum in charge.

Keep it simple; one location, unknown actors, perhaps one star (Ethan Hawke loves to work with Blumhouse), and stick faithfully to the source material, making it a genuine horror film which ups the graphic specificity of the material – as Hammer did in the 1950s – without sacrificing the intrinsic integrity of the genre.

It would be great if this series was set off from the other Universal films with it’s own logo at the top; the Universal globe spinning into place, and as it does so, a brief montage of clips from the classic black and white horror films of the 1930s and 40s matted into the center of the screen, alerting audiences to the fact that this will be a return to the values that originally inspired Universal’s classic Gothic thrillers.

The cost – about $5 million a film – would be nothing by Hollywood standards – and Universal could keep the other “Dark Universe” series going at the same time. There’s no reason they have to conflict, since one is really a series of action movies, and the other authentic Gothic horror – and even if everything goes wrong, as Blum notes, “we will recoup.” So something to think about, since franchise films seem to have taken over the mainstream cinema so decisively; why not try something a bit edgier, with little financial risk, and see what happens?

You can read the entire interview here; fascinating stuff.

The Horrifying Future of Movies – Nothing But Franchises

Thursday, December 18th, 2014

Here’s an absolutely brilliant and deeply impassioned piece by author Mark Harris.

Writing in the journal Grantland, Harris sees a future of nothing but utterly predictable franchise films, made by cost accountants and others with no real investment in film as an art form, which it most certainly is. As he writes, in part, “I believe that what studios see when they look at the bumper-to-bumper barricade of a 2015–20 lineup they’ve built is a sense of security — a feeling that they have gotten their ducks in a row. But these lists, with their tremulous certainty that there is safety in numbers, especially when numbers come at the end of a title, represent something else as well: rigidity and fear. If you asked a bunch of executives without a creative bone in their bodies to craft a movie lineup for which the primary goal is to prevent failure, this is exactly what the defensive result would look like. It’s a bulwark that has been constructed using only those tools with which they feel comfortable — spreadsheets, P&L statements, demographic studies, risk-avoidance principles, and a calendar. There is no evident love of movies in this lineup, or even just joy in creative risk. Only a dread of losing.”

You can see the entire article by clicking here, or on the image above; essential reading.

Godzilla (2014) – Extended Trailer

Friday, May 9th, 2014

Here is an extended trailer for the new Godzilla film, which opens Friday May 16, 2014.

The new version of Godzilla, a potential reboot by director Gareth Edwards, has been much anticipated by fans of the series. Hopefully, the film will restore the much-damaged franchise to its original vitality and intensity, just as Christopher Nolan did with the Batman reboots.

I spoke with Duane Dudek of the Milwaukee Journal Sentinel on this film, who wrote that “over the 28-film series from Japan — five more than James Bond — the giant lizard became a pop-culture icon, but the films ‘descended into baroque parody,’ said Wheeler Winston Dixon, professor of film studies at the University of Nebraska.

The worst of them include the 1998 Roland Emmerich Godzilla with Matthew Broderick. The black-and-white original is a still poignant document of Japan 10 years after two atomic bombs were dropped on the country to end World War II. Rural and urban scenes that portray civilian and military life, and even women’s roles, are a glimpse of a country rich in tradition struggling to be modern.

Godzilla, portrayed by an actor in a rubber suit, is considered a neo-dinosaur reanimated after atomic testing, and the original film is a metaphor for Japan’s lingering nuclear trauma [. . .] In an attempt to restore the creature’s dignity, Toho oversaw the making of [this] new Godzilla film and had ‘specific touchstones’ it wanted to include, said Dixon.

Toho is ‘painfully aware this is an incredibly valuable character in their arsenal. They are looking to crack the American market decisively’ with a first-class production and state-of-the-art effects. ‘This is their chance to reclaim and reboot the entire franchise,’ Dixon said.”

We’ll have to wait and see if this works out as planned.

The Hunger Games: Catching Fire – First Trailer

Monday, April 15th, 2013

Liam Hensworth, director Francis Lawrence, and Jennifer Lawrence on the set of Catching Fire (2013).

The Hunger Games: Catching Fire, the second installment in the Hunger Games trilogy, opens this coming November, and for once, I am more interested in the sequel than in the original. The reason: Donald Sutherland is more front and center, and he was the best thing about the first film; as you will see in the trailer, he’s joined by the always excellent Philip Seymour Hoffman, and the effortless manner in which these two superb actors play off each other is a delight to behold. Jennifer Lawrence is back, and just on the evidence presented here, seems much more assured in her role as Katniss Everdeen; Stanley Tucci and Woody Harrelson also return, so the cast is exceptionally strong. But the real difference here is that Francis Lawrence, an expert action director with a real edge of brutality in his visuals, is at the helm, and I think that the results will be much more interesting than the rather bland and uninvolving original, indifferently directed by Gary Ross. In any event, here’s the first trailer; judge for yourself.

Click here, or on the image above, to see the first trailer for the film.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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