The stars, the drama, and the anticipation – all things I have always associated with the movies, particularly Hollywood cinema. Popular demand craves glamour, and that is the essence of the 90s blockbuster. However, over the past few years, when my friends and I have proposed a trip to the cinema, I’ve frequently found only disappointment, usually not finding a single showing to pique my interests, let alone having much knowledge of the current movies out full stop. Sure, occasionally social media hypes a new film that gains more traction, however, even a star-studded cast, as I will discuss, is sometimes not enough, and the magic of the screen I certainly felt as a child has dissipated. A large part of the problem, in my opinion, is a deficit of authenticity and novelty. In an age of sampling, remake, and parody, can “the movies” ever be reinstated?
Put simply, where are the new ideas? Glancing at the top ten highest-grossing movies in North America last year, including Moana 2 and Beetlejuice Beetlejuice, every single one seems to be a sequel. Every single one. The slight exceptions to this list are Twisters, starring Daisy Edgar Jones and Glen Powell, which evokes the 1996 version but follows a different storyline, with a single reference to the original when the characters use a piece of equipment from it. Nevertheless, the premise of a male and female protagonist with romantic implications chasing hurricanes remains. The sole other semi-exception was Wicked, which is based quite strictly on Act 1 of the Broadway musical. Furthermore, of the ten highest-grossing movies of all time, only two stand out as original stories, i.e. not sequels or based on comics: Avatar and Titanic, an iconic couple of star-studded, highly anticipated Hollywood movies. The Marvel Cinematic Universe and Star Wars franchise simultaneously dominate the top 20, with their creators producing endless iterations.
Nonetheless, what is originality? And is it actually permissible to create a brand-new story in the 21st century, or indeed ever? Clergyman Thomas Higginson once said that “originality is simply a pair of fresh eyes.” When I think of a concrete example of a brand-new idea, Mary Shelley’s Frankenstein springs to mind, as at just 17 years of age, she has since been accredited with inventing the science fiction genre. “Inventing”—a word closely tied to this idea of originality. Something brand new. Although, I’m not sure that at this point in time, in relation to the dawn of literature, that new ideas even exist? Perhaps in relation to the ever-updating socio-cultural and political landscape, new inspiration can constantly be found, yet we cannot deny the existence of stock characters, plotlines, and tropes. In 2015, Professor Matthew Jockers at the University of Nebraska used a high-tech computer system to analyze more than 4,000 novels and claimed to find only six possible basic plots any one story may follow.
Moreover, there is an argument to be made for reception-based originality. Perhaps this article is original because you are the one reading it. Have you ever walked out of a cinema arguing with a mate over how good or bad the film you just saw was? Perhaps one of you hated it whilst the other related to a character. This common phenomenon proves the idea that individual interpretation of media creates individual and therefore slightly unique meaning for each person. However, this view is fairly rose-tinted, whilst intriguing, and separate from my agenda. Boiled down, my problem lies with the lack of new stories and, simultaneously, the rise in sequels today. I should say that I do believe an adaptation can be extremely well done, with abundantly creative directorial choices; however, by definition, it cannot be construed as original.
A logical next question to ask is why. Why are movies no longer garnering the same mysterious buzz and dramatics or novel ideas? One of the biggest reasons is simple: risk aversion.
Post-COVID, the film industry has been in survival mode. Studios need to reinstate profits after massive financial setbacks, leading to a reluctance to invest in fresh, untested ideas. Sequels, remakes, and reboots guarantee a built-in audience, ensuring ticket sales and reducing the risk of financial failure. This is also why the biggest films tend to be part of a larger franchise—they are safe bets. But playing it safe also means playing it predictable, and predictability kills the magic of cinema.
Another issue is the increasing capitalization of the arts. Hollywood is a business, and like any business, profit is the bottom line. This is why we see major studios prioritizing familiar IPs over experimental storytelling. Films are being designed less as singular works of art and more as commercial products, filled with brand tie-ins, product placements, and expanded universes that demand audience investment beyond a single movie experience.
I believe the solution to this problem is twofold: we need more people watching movies, and we need more people making movies. If audiences continue to support only safe, big-budget franchise films, studios will keep producing them. If, instead, audiences actively seek out independent and original films, the market will shift to meet that demand.
One example that offers a slight rebuttal to my argument is Barbie. Despite being based on an existing property, its success wasn’t solely because of brand recognition. Instead, Barbie turned movie-going into an event. The marketing campaign encouraged audiences to dress in pink and see it in groups, transforming the experience into a cultural moment. This type of engagement is crucial in rekindling the magic of cinema. Additionally, people were curious: could a Barbiemovie actually be good? That curiosity, paired with strong direction and social commentary, turned it into one of the highest-grossing films of the year.
We need more of this—movies that feel like an experience, not just another instalment in a never-ending franchise. To achieve this, studios need to be willing to take creative risks. And perhaps, as viewers, we need to be willing to step outside our comfort zones, support smaller films, and demand something different. The movies, at their best, have always been about transporting us somewhere new. The question is: will Hollywood ever be brave enough to take us there again?