Two things happened this past week. A famous and rather notable screenwriter again went on social media to lament the death of original ideas. In the same vein, Batman Versus Superman, Dawn of Justice finally released a full length trailer of the upcoming movie. It would be laudable if we could say both were inclusive toward each other, but in reality they’re not.

No amount of fantastic original content is going to stop Warner Brothers from funding a Batman OR Superman movie, let alone one with both in it. And no amount of comic book and other related IP movies stopped some original IP from getting released in the last couple of years. The numbers, while seemingly alarming at first, simply show a more complete byproduct of the studio system and the risk analyst module they utilize in green-lighting their slate.

As people lament the lack of original properties, they conveniently forget that franchises have gotten progressively better, while the theory of original properties seem a lot better than they actually are. Of original movies that came out in the last few months, during summer movie season, one could include American Ultra, We Are Your Friends, Spy, San Andreas, Train Wreck, Inside Out, and Tomorrowland among original properties. While some, like Spy, are undoubtedly brilliant, most of these other movies are not commercial or critical darlings. The audience had ample time to explore and embrace each one, and hasn’t for a number of reasons, most being that the movies simply were not as good as the premise of the project.

How about we take a look at some of the biggest movies of the year that are sequels, remakes, and reboots; Cinderella, Mad Max: Fury Road, Ant-Man, Mission Impossible: Rogue Nation, Furious Seven, and Jurassic World, along with Pitch Perfect Two and Avengers: Age of Ultron. In most cases, of the projects listed above, they creatively hit their high water, such as Mad Max and Furious Seven which remains one of the most profitable enterprises the studios have seen for the year. With the list above, how many of those movies, even after seeing, do you wish were not made? They were made for the reason that you, as an audience, as a whole, want to see them, and were made well because Hollywood learns that a movie that isn’t good doesn’t have a good multiplier.

Mad Max was named by The National Board of Review as the best movie of the year. Each time one of these franchises makes more money, studios can use that to invest in their Oscar pictures and prestige pictures with the directors we love. Steve Jobs went through the uncanny valley of getting made, and that had some of the biggest stars aligned with it – being deeply profitable allowed Universal to roll the dice on it.  New Line Cinema was able to green light Terrance Malick and David Cronenberg movies because they had extra money from Lord of the Rings.  These are filmmakers that should be making movies.

And the fact of the matter is just because you have an original idea doesn’t mean it should be made. Every movie is a choice and you need to step up and show that strong original IP can exist in the market place. Some of the movies listed above deserve their own franchise follow up because their stories were good, and we want to see where they go. Just don’t forget, buried among those sea of sequels and reboots are some pretty good movies.

About The Author

Creator / Managing Editor

David Postma is the creator, co-managing editor, and writer for Filmtakeout. After receiving an Associates Degree in Journalism from Grand Rapids Community College in 2006, he attended Columbia in Chicago where he graduated in 2010 with a Bachelors in Film. Dave interned at Lionsgate Studios in 2008 where he worked in both the Television department and the New Media department. Dave also runs a production company, Beyond the Horizon, which helped to produce "Weed Road", a hit reality show on the Discovery channel. He currently assists with Global Benefits LLC in financing for commercial, real estate, and entertainment ventures; and he recently became Chief Operating Officer at M6 International where he assists both in financing structures for the company and helping assist overseeing productions of entertainment and commercial projects across the company stratosphere. Dave also sits on the board of directors for Downbeat Collective, a non profit dedicated to creating artistic endeavors to help provide funding to non profit organizations of various need.