Predator is a great movie. The writing is fluid and memorable. The acting is layered in machismo, but earnest during necessary poignancy. Even if you’re not a fan of sci-fi, it’s hard to argue the impact of the special effects. There’s catchphrases galore. “I ain’t got time to bleed.” “Get to the choppa!” Also, it’s rated R, so it’s accessible on an adult level. Yes, Predator is a fun-filled, rock-em-sock-em action bonanza.
Another noteworthy component: no one has attempted to re-boot it into an impotent, degraded Hollywood vehicle for consumer extortion. Yes, there are sequels and spin-offs, but that’s not really new in the film world. Still, given the major film studios are either unable or unwilling to do anything other than cull new movies from well-known source material, it’s surprising, if not refreshing, to see at least one gem escape tarnish.
About one month after Predator‘s release in theaters, audiences were treated to another sci-fi action treat. Orion Pictures released RoboCop to commercial success and widespread critical acclaim in the summer of 1987.
Content notwithstanding, there’s a big difference between these two films. That difference is any reference to RoboCop today has to be prefaced with “the original,” to discern it from the soulless bag of garbage MGM and Sony remade in 2014.
Now if you maintain a rather nihilistic view of the current Hollywood trend to “re-image” every story ever told then you will likely brush off the barrage of limp blockbusters churned out every summer. What’s unfortunate is that while the common moviegoer is force fed cinematic gentrification, “classics” like Predator and RoboCop – yes, the original – are gradually fading from the cultural radar screen.
It’s unfortunate that assisting Hollywood in it’s dissolution of novel film making is a generation that seems to be inherently opposed to anything remotely antique. Its position on media seems to echo technology; if it’s not the latest and greatest then it must be outdated and unworthy of attention. This is a disservice to not only modern audiences but dedicated film fans who would love to see the next Predator or RoboCop, and not just some hollow copy of the original. But Hollywood’s priority is butts in seats, and if mediocrity is what people want…
On December 25, 2015, Quentin Tarantino’s highly anticipated The H8ful Eight came out in theaters, but only a select few retrofitted with 70mm film projectors. As arguably cinema’s purist advocate, Tarantino shot his latest movie in 70mm film. At this point virtually every studio the world over has switched to the cheaper, faster digital format. And if you feel the pictures have lost grandeur over the last ten years, you’re not crazy. That’s what digitizing everything does. Like the studios, most movie theaters have switched to digital projection, so even if you can’t see the movie as Tarantino intended it is still available as a worldwide release.
Regardless of the quality, The H8ful Eight embodies posterity if nothing else. People should appreciate that which came before, and understand that newer is not always better. In fact rarely is it better. The only instance that comes to mind is Christopher Nolan’s Dark Knight trilogy. And even then these films only slightly edge out Tim Burton’s Batman and Batman Returns.
And let’s be clear as to quell any notions of absent-mindedness: Mad Max: Fury Road is at best on par with Mad Max Beyond Thunderdome – it is not as good as Mad Max 2. And Star Wars: The Force Awakens just plain sucks.
What audiences (and to some degree artists themselves) seem to forget is that certain media milestones exist in a vacuum. No matter how hard you try it is impossible to recreate the circumstances that lead to brilliance. Franchises like Batman and Superman can be constantly updated as they have deeply ingrained themselves into our social fabric. We’re talking like 80- years-spread-over-multiple-media-outlets deep! Even if George Lucas himself returned to helm the latest Star Wars entry it still wouldn’t live up to expectations. He’s a different director than he was almost 40 years ago. Case in point: George Miller returning to the Mad Max series. And while Fury Road was not a bad movie, it lacked a certain recklessness the originals had – in all fairness, so did Mad Max Beyond Thunderdome.
Despite this staunch stance, however, let it be stated for the record that the occasional remake isn’t a bad thing. Remakes are nothing new in the movie and T.V. world (how come musicians never try to remake albums? does anyone remember what an “album” is?). But there is a big difference in paying homage to something and blatantly ripping it off for money’s sake. David Cronenberg’s version of The Fly and John Carpenter’s The Thing are great examples of remakes that are superior to the originals. What did they do that was so different? For starters several years had passed since the originals were at the forefront of anyone’s mind. But most importantly these directors put new spins on the source material. The fact is these remakes would have been great even if no one had ever heard of the originals. No one was trying to cash in on a recognizable name.
Could someone remake Predator? Possibly. You’d need the right cast (who can replace Schwarzenegger in anything?), a solid R rating so it isn’t dumbed-down for mass appeal, and a director eager to put his or her own angle on what is a rather simple story. Then you might have something. But here’s a thought: why bother? Predator is easy enough to find on DVD or Amazon. It’s not that old. It holds up. There’s no need for an update.
And if it really is that you have run out of ideas, Hollywood, drop a line here at Retrobacktive because guess what? I don’t just write blogs.