Pixar Supporting Characters Who Deserve Their Own Movie

In the house of Pixar, character is key. For over 25 years, the most reliable studio in animation has dazzled and devastated audiences with its profound understanding of character-driven storytelling. No one would care about these talking toys, blue-collar monsters, or middle-aged superheroes if they weren't full of motivation, depth, and thematic growth. We don't love Buzz Lightyear because he looks cool and has a famous catchphrase; we love him because he dwells in existential misery before learning to accept his identity as a child's plaything, teaching all of us that it's okay if it takes a while to discover who you truly are. But the... The post Pixar Supporting Characters Who Deserve Their Own Movie appeared first on /Film.

Pixar Supporting Characters Who Deserve Their Own Movie

In the house of Pixar, character is key. For over 25 years, the most reliable studio in animation has dazzled and devastated audiences with its profound understanding of character-driven storytelling. No one would care about these talking toys, blue-collar monsters, or middle-aged superheroes if they weren't full of motivation, depth, and thematic growth. We don't love Buzz Lightyear because he looks cool and has a famous catchphrase; we love him because he dwells in existential misery before learning to accept his identity as a child's plaything, teaching all of us that it's okay if it takes a while to discover who you truly are.

But the leads aren't the only compelling parts of a Pixar joint. Each one of the studio's imaginative films is bursting with memorable and lovable characters, some of whom are so well-developed that they could easily take the spotlight and carry a story all of their own. Whether they're old favorites or forgotten players, all of the following Pixar characters have protagonist potential.


Despite her plasticine origins, Jessie is one of the most authentically human characters on Pixar's roster. Behind her fiery spirit and her signature "YAY-haw!" lies a lot of trauma, including a crippling fear of abandonment and a bad case of claustrophobia. After years of brilliant characterization (and a starring role in the 2013 TV special "Toy Story of Terror!"), Jessie has proven that she has enough depth and room for growth to substantiate a feature-length adventure. But it won't be easy; turning Jessie's post-traumatic stress into a bog-standard character arc would be incredibly childish and more than a little insensitive.

Instead, Pixar could take a more nuanced (and controversial) route by re-introducing Emily, the girl who originally abandoned the lovable cowgirl. Jessie would bear witness to a much different Emily than the little girl she loved so much. Rather than "getting over" her trauma, Jessie would learn a much more painful lesson: Even though the person who once left her behind returns, her baggage doesn't just magically disappear. Jessie would come to understand that the version of the loved ones we keep in our memories no longer exist, and may never again - it's that special "Toy Story" flavor of utter emotional devastation.

Derek Knight

"Monsters University" took audiences back in time to the titular academy and, in depicting the rivalry-turned-friendship between Mike and Sully, recontextualized scaring children as not simply an occupation but an art form. The craft has enough social and educational clout to merit a prestigious and highly competitive college program. What Pixar may not have intended, however, is how the college prequel put a "freshman 15" on the original film's ending. The events of "Monsters, Inc." resulted in a complete upheaval of the "Monsters" world. Scaring as a source of renewable energy was out, and making kids laugh was in -- but what does that mean for a world in which frightening children was so revered?

Enter Derek Knight, an esteemed professor at Monster University's scare program and one of the many monsters that "Monsters, Inc." rendered unnecessary overnight. In his own show, Professor Knight could navigate a changed Monstropolis, grappling with an enemy that strikes fear into the hearts of even the most terrifying employees at Monsters, Inc.: obsolescence. Knight's journey for a renewed purpose would fit nicely with Pixar's existential themes and could provide a thoughtful meditation on the toxic tendencies behind cultural traditions. Besides, who'd ever object to a feature-length Alfred Molina performance?


Fittingly enough, one of Pixar's more underappreciated qualities is what goes unsaid in each of its films. Pete Docter and the gang don't just know what to say, but also what not to say, and as fun as fan theories can be (in moderation), we ultimately don't need to know why toys come to life or how the monsters are able to travel to the human world through closet doors. But what if prioritizing character over lore was part of a person's journey? A question feverishly debated among fans of "The Incredibles" is the indescribable power within Jack-Jack Parr, the youngest member of the super-family. He's teleported, duplicated himself, transformed into metal and monsters, and more. What kind of super is this kid, anyway?

A Jack-Jack film might take place many years after the previous two -- even as a teenager, no one can figure out the youngest Incredible's abilities. But instead of creating a character arc that would lead to a definitive answer, Jack's journey could instead meditate on the lack of one. Sometimes, the qualities and quirks that define a person can't be neatly categorized or pigeon-holed, and even though Jack feels pressured to define himself as a member of a world-renowned team, he must learn that he doesn't need to fully understand himself to accept who he is.

The T-Rex Family

It ain't easy being "The Good Dinosaur." Pixar's take on one of the most popular nerdy fixations ranks among the most disliked films in its catalog, thanks to a lightweight story and a distracting lack of originality. Even so, there is still fun to be had at Clawtooth Mountain. Aside from a few minor subplots, Pixar has never told a story about a father and his daughter. The T-Rex family that Arlo meets on his journey -- old man Butch and his daughter Ramsey, specifically -- provides a solid framework by which the studio could change that.

In our proposed feature, a dino from Butch's past ambushes the Longhorn ranch and mortally wounds Nash, sending a grieving Butch on a quest for revenge. Ramsey, shaken by her father's callousness, catches up to him and is quickly introduced to the parts of her father's life never told around a campfire. One of the biggest indicators of adulthood is being able to acknowledge that your parents had lives, history, and baggage long before they had children. Ramsey could face that rocky reality, while Butch would have to realize that opening up to his daughter is the only way he can keep his family together.

Gill And The Tank Gang

There are few Pixar characters done dirtier than Gill and "Tank Gang." Though Gill and his crew were supposed to be a prominent part of "Finding Dory," their subplot was cut and they were delegated to a paltry post-credits gag. Their absence was sorely felt throughout the movie. Justice must be served -- it's time for Pixar to answer Bloat's recurring question: "Now what?"

After escaping captivity (again) and reaching the ocean floor, Gill and the tank gang might travel the seas in search of a new home. It's a simple scenario, but the Pixar-style twist is that it doesn't end happily. As the fish cruise through the ocean, each member finds a place where they could prosper as individuals, but reject them to stay with the group in hopes that maybe, just maybe, they'll find a home that pleases everybody. Gill would ultimately realize that, as much as he loves his group of misfits, sometimes the right thing to do as a leader is to disband and say goodbye.

Sarge And Fillmore

A defining coming-of-age moment in the 21st century is realizing that most (but not all) Pixar stories are told with opposing pairs. Woody and Buzz. Marlin and Dory. Joy and Sadness. When heads butt, conflict comes naturally, breeding believable character development. One of Pixar's more obvious pairings is Lightning McQueen and Mater from 2006's "Cars"; one's a hotshot hotrod from the racing circuit, the other's a humble blue-collar worker in the boonies. 

Among the many faces Lightning meets in Radiator Springs, two gas-guzzling layabouts stand out: Sarge, a short-tempered jeep war veteran, and Fillmore, a free-loving '60s Volkswagen Type 2 who listens to Jimi Hendrix. Together, they embody the political divide of America in the late '60s, representing those who went to war in Vietnam and those who opposed it.

Though they were never integral to the movies that feature them, the counterculture and countermeasure cars have been known to clash over petty affairs. Pairing these two and giving them a shared goal would result in an enjoyable cross-country adventure, heavy on transparent political metaphor (another "Cars" staple). With their playful banter and bickering, Sarge and Fillmore could explore new parts of their wacky world and bring the essence of Emeryville's finest to the forefront.


Lucius Best has always felt like the odd man out in the "Incredibles" series, a super man in blue surrounded by a family in red. In fact, it's arguable his most obvious function in the franchise is to remind audiences that Bob, Helen, Violet, Dash, and Jack-Jack aren't the only superheroes around. Though that's extremely limiting for one of Pixar's only Black characters, Frozone could also serve as an anchor to introduce the wider super community.

Frozone's tale might be a step back in time, taking place days before the passing of the Superhero Relocation Act outlawed supers. With their life's work on the line, Lucius and the greater community of supers attempt to do as much good as they can while they still retain legal standing, ensuring their absence is felt as little as possible. If the original "Incredibles" is "Watchmen" for kids, Frozone's film would be closer to a youth-oriented "The Big Short" -- what would you do if you knew your world was days away from falling apart? Frozone's tale would be about leaving a life behind while also serving as a spectacular showcase for the dozens of supers once adored by the public, including Gazerbeam, Dynaguy, and the Thrilling Three.

The Jerry Council

Pixar wasn't playing around when it finally decided to stop dancing around death in 2020. "Soul" didn't simply kill off main character Joe Gardner within the first 30 minutes of the movie, it brought him to a fully-realized (and deeply secular) version of Purgatory. Joe was introduced to the guardians of this pastel paradise, abstract beings of light who take on humanoid features and warm voices to interact with young souls on their way to Earth, as well as influential souls headed to the "Great Beyond." They all go by the same name: Jerry.

Pixar is frighteningly good at crafting rich, textured worlds, and the Great Before from "Soul" is no exception. A movie outlining its creation would be wholly unnecessary. What would make more sense would be a story exploring the motivations behind these ethereal escorts, either as a prequel set in a Great Beginning or a sequel featuring a whole new batch of characters. Why do the Jerrys choose to believe in humanity? Were they ambivalent in the past? If so, what changed their minds? The Jerrys' belief in people could be both challenged and reinforced in this abstract spinoff.


Between a scrapped sequel and a so-so streaming series, Disney has done its damndest to create the next chapter of 2001's "Monsters, Inc.," Pixar's first truly subversive work. By contrast, the animation studio was more successful in turning the clock backward with an excellent prequel, "Monsters University." What these productions all have in common is, ironically, a missing ingredient: the heart and soul of the original film, Boo. Though her guardians are the lovable faces of the franchise, Boo was the unassuming agent of chaos that brought Monstropolis to its knees -- like an adorable Steve Rogers, her very presence brought out the corruption buried beneath the monsters' world. 

But bringing Boo back for her own film wouldn't work if the goal was simply a walk down memory lane. Taking place decades after the fall of Henry J. Waternoose III, Boo's grand return to Monsters, Incorporated could depict her as a new mother, forced to venture back through the closet door after her toddler goes missing. With fresh adult eyes, Boo would finally come to understand the world she changed so many years before. But Boo wouldn't just accept the monstrous circumstances; after all, making children laugh to harvest energy doesn't necessarily change the professional relationship between monsters and children. Is the world of "Monsters, Inc." truly as symbiotic as it seems? The first adult human to discover Monstropolis would likely have some heated words for her "Kitty."

Bo Peep

Pixar's toybox is absolutely bursting with well-developed characters, but none have grown and changed as profoundly as Bo Peep from "Toy Story." Once merely a passive voice of reason (and Woody's girlfriend), little Bo stood on the sidelines during the first two films before taking a sabbatical for round three. Though she was sorely missed during the toys' move to Bonnie's room (and the many mini-adventures that came after), the "Toy Story" icon made a big comeback in 2019's "Toy Story 4" as a hero to the lost and abandoned playthings of her RV park domain.

Bo's role as a fiery do-gooder felt like a calculated move on Pixar's part to pitch audiences on a new action hero, and though she may not have taken off as her own character after the film's mega-success, she still made enough of an impression to earn her own animated short, "Lamp Life," which chronicled the life and times of the lady light's journey across the world. Charming as it was, the short frustratingly filled in the gaps that could've been saved for a feature-length vehicle, relegating her growth to cute gags instead of real character development. With nowhere to go but forward, Bo's adventures on her own would be a refreshing deviation from such a storied franchise.

Read this next: Upcoming Pixar Movies To Keep On Your Radar

The post Pixar Supporting Characters Who Deserve Their Own Movie appeared first on /Film.

Source : Slash Film More   

What's Your Reaction?


Next Article

12 Awesome Sci-Fi Movies That Never Got Sequels

Many of the greatest science fiction franchises of all-time have benefitted from multiple cinematic installments that help expand their mythologies. Not every sequel to "Star Wars," "Star Trek," and "Alien" is great, but few would argue that their legacies are isolated to just one film. Occasionally, a sequel is even better than the original; recent films like "Mad Max: Fury Road" and "Blade Runner 2049" surpassed expectations and became classics in their own right. But not every sci-fi series gets that opportunity. Negative critical reaction, poor financial performance, and a lack of creative interest can stop a burgeoning franchise in its track. Not every awesome sci-fi... The post 12 awesome sci-fi movies that never got sequels appeared first on /Film.

12 Awesome Sci-Fi Movies That Never Got Sequels

Many of the greatest science fiction franchises of all-time have benefitted from multiple cinematic installments that help expand their mythologies. Not every sequel to "Star Wars," "Star Trek," and "Alien" is great, but few would argue that their legacies are isolated to just one film. Occasionally, a sequel is even better than the original; recent films like "Mad Max: Fury Road" and "Blade Runner 2049" surpassed expectations and became classics in their own right.

But not every sci-fi series gets that opportunity. Negative critical reaction, poor financial performance, and a lack of creative interest can stop a burgeoning franchise in its track. Not every awesome sci-fi film requires a sequel, either; classics like "2001: A Space Odyssey" or "Donnie Darko" don't leave room for expansion, and inspired disappointing follow-ups. 

However, many sci-fi films have sequel potential, but never got one. Some were immediately hailed as classics. Others gained a following over time. Either way, the time has passed; these franchises will likely never happen, although the demand is certainly there if the stars happen to align.


Denis Villenueve's take on "Dune" is easily among the most anticipated films of 2021, but it won't be the first time a brilliant auteur adapted Frank Herbert's complex sci-fi novel for the screen. After cult director Alejandro Jodorowsky planned an ambitious version that fell apart (detailed in the 2014 documentary "Jodorowsky's Dune"), David Lynch experienced similar difficulties bringing the first "Dune" to life. Lynch was not given final cut, and the film failed to earn back its budget following harsh reviews -- Roger Ebert claimed it was the worst movie of the year.

However, time has been much kinder, and like much of Lynch's work, "Dune" has been the subject of critical reappreciation. Lynch's meticulous world building and the movie's idiosyncratic characters were a novelty among the colorful, crowd-pleasing sci-fi epics of the early '80s, and the score from rock band Toto is brilliant. "Dune" also contained the film debut of frequent Lynch collaborator Kyle MacLachlan, who added naïveté to the role of Paul Atreides, a duke's son thrust into violent political chaos following the expansion of the evil Spacing Guild.

Lynch's plans to adapt Herbert's second Dune book, "Dune Messiah," were dropped after the movie's poor reception. A sequel could have allowed one of the greatest directors of all time to return to sci-fi blockbusters, a genre he hasn't touched since. Giving Lynch more creative control would've made a sequel rise to even greater heights, and it's a shame that it never came to fruition.


Tom Cruise has starred in many of the best-known science fiction films of the 21st century, including "Minority Report," "Edge of Tomorrow," "Vanilla Sky," and "War of the Worlds," but his 2013 post-apocalyptic mystery "Oblivion" is frequently forgotten. Directed by "Tron: Legacy" filmmaker Joseph Kosinski, who adapted his own graphic novel, "Oblivion" is a thoughtful, imaginative exploration of memory and loneliness that deserves more attention.

Cruise stars as Jack Harper, a technician who operates a remote base on the ruins of Earth after an alien race ravaged the planet six decades prior. Harper's only companion is his communications officer Vika Olsen (Andrea Riseborough), whose affection for Harper masks some sinister intentions. Harper becomes aware of the real reason why humanity retreated from the planet when he's captured by a criminal syndicate led by the former soldier Malcom Beech (Morgan Freeman), who informs him that a secret society of scavengers remains on Earth.

Kosinski is an underrated director who creates stunning visuals, and "Oblivion" has an intriguing story that's on par with the groundbreaking production design and visual effects. It boasts a sensitive, restrained performance from Cruise, and while the film's conclusion wraps up the story neatly, "Oblivion" contains an entire universe that could've easily been explored in future installments.


"Upgrade" was one of the most pleasant surprises in recent memory, a cyberpunk action-thriller that manages to blend horror (director Leigh Whannell cut his teeth writing and starring in "Saw"), suspense, dark comedy, philosophy, and a revenge fantasy into a unique and completely enjoyable experience. While its universe is not dissimilar to the ones in films like "Blade Runner," "Death Wish," or "Robocop," "Upgrade" tells a completely original story, making it a breath of fresh air at a time when so many sci-fi films are based on existing material.

In a future overrun by an over-reliance on technology, mechanic Grey Trace (Logan Marshall-Green) prefers old-fashioned craftsmanship. However, when his wife Asha (Melanie Vallejo) is killed by a gang of ruthless criminals and he's beaten and left immobilized, Trace undergoes cybernetic surgery in order to stay alive. As a result, his actions are now guided by the AI program STEM (Simon Maiden). Trace learns that STEM has the ability to boost his body's abilities, turning the crippled man into a ruthless assassin. The two consciousnesses share the same body as they work together to track down the killers who murdered Asha.

Combining satire with pulpy action, "Upgrade" is a complete blast. Its ambiguous ending is brilliant, and while Whannell has stated that the film is meant to standalone, producer Jason Blum has been developing a spinoff television series.

The Black Hole

Disney's first PG-rated movie is completely unlike the family-friendly adventure films the studio was known for making. "The Black Hole" is a meditative, experimental space epic closer in style to "2001: A Space Odyssey" than "Freaky Friday," containing themes about mankind's search for a god-like figure. With innovative visual effects that still look good today, "The Black Hole" is a gorgeous slow burn that features a great score from composer John Barry.

"The Black Hole" follows the crew of the interstellar spacecraft USS Palomino, led by Captain Dan Holland (Robert Forster), as the astronauts find a black hole that contains a gate to a vessel lost 20 years prior. It's a discovery with big, personal stakes: The crew's science officer, Dr. Kate McCrae (Yvette Mimieux), lost her father on the doomed craft. But not everything is as it seems, and as the Palomino crew investigates the old ship, the mysteries begin to pile up.

"The Black Hole" may have received a mixed reception upon release, but over time it's become appreciated as a fascinating philosophical odyssey disguised as a Disney family adventure. Its influence is still felt today; Christopher Nolan calls it as a childhood favorite that "boasts one of the most unexpectedly weird climaxes in cinema history." Unfortunately, a sequel never came to be, and plans to mount a remake were halted when once again "The Black Hole" proved to be too dark.

John Carter

Following the runaway success of "Pirates of the Caribbean," which resurrected the pirate movie, Disney tried to revitalize other genres that had fallen by the wayside. Its attempts to create another action-adventure franchise included the video game adaptation "Prince of Persia: The Sands of Time," the techy sci-fi sequel "Tron: Legacy," and the revisionist western "The Lone Ranger," but its strongest was the pulpy sci-fi epic "John Carter."

Based on Edgar Rice Burroughs' classic Barsoom novels, which first appeared in 1912, "John Carter" follows a Civil War veteran (Taylor Kitsch) who is whisked away to Mars and forced to compete in gladiatorial combat against representatives of competing alien nations. Directed by frequent Pixar creator Andrew Stanton, the man behind "Finding Nemo" and "Wall-E," it's an immersive visual action spectacle.

"John Carter" was in development hell for decades, resulting in one of the most expensive films ever made -- and, subsequently, one of the biggest box office bombs of all time. Stanton lamented that the poor showing at the box office scuttled the planned series, as the underrated film left plenty of room to adapt other classic John Carter storylines.


"Chronicle" is one of the best found-footage movies ever made, successfully reinventing the superhero origin story through creative filmmaking techniques. It's a surprisingly touching coming-of-age story about outsiders who discover their identities through superpowers, and it's the rare superhero movie that has equal empathy for both its heroes and villains.

After discovering a crashed object in a field, teenagers Andrew (Dane DeHaan), Steve (Michael B. Jordan), and Matt (Alex Russell) develop enhanced abilities and begin tracking their growth on camera. At first, the teens use their new powers to pull pranks and become popular in school, but Andrew's troubled home life leads him down a darker path. DeHaan's fantastic performance depicts complex mental health issues in intimate detail. 

It would be interesting to more of this world, and although a sequel was announced, director Josh Trank is not interested in returning. Still, no matter who ends up leading the project -- if it even happens -- another found footage superhero story in the "Chronicle" universe has a lot of potential.

Valerian And The City Of A Thousand Planets

In 1997, writer-director Luc Besson made an idiosyncratic space opera that's developed a cult fanbase with "The Fifth Element." 20 years later, he did the exact same thing with "Valerian and the City of a Thousand Planets." Besson's hyperkinetic style and cartoonish visuals may not be for everyone, but for those who appreciate his unique voice, this adaptation of the Pierre Christin's science fiction comics "Valérian and Laureline" is one of the most imaginative space epics in recent memory.

"Valerian and the City of a Thousand Planets" establishes a future in which alien races from across the universe coexist peacefully thanks to the establishment of Alpha, a traveling galactic metroplex that's home to a governing body of representatives from different planets. Alpha is also the home of a vast international marketplace, but the symbol of unity is threatened by sinister terrorists. Special operatives Valerian (Dane DeHaan) and Laureline (Cara Delivigne) are called in to investigate the threat.

As per usual for Besson, "Valerian and the City of a Thousand Planets" drew a mixed critical reception, and the sizable $180 million dollar movie only drew in $220 million worldwide. Unfortunately, that likely doomed the likelihood of a potential franchise, but Besson indicates that the avid fan reception could lead to his planned sequels.


For fans who were disappointed by the disastrously cheesy Sylvester Stallone film "Judge Dredd," "Dredd" was a welcome revival of the titular character. This 2012 reboot was much truer to the character who has graced the pages of "2000 AD" since 1977, and provided a gory, morally-nuanced action spectacle reminiscent of '80s classics like "Robocop." Its inventive use of 3D and its commentary on police procedures make "Dredd" a unique entry in the modern comic book movie canon.

Karl Urban inhabits the title role as the masked judge, jury, and executioner who dispenses justice in the futuristic dystopian metroplex Mega-City One. Tasked with training the next Judge, the psychic Anderson (Olivia Thirlby), Dredd is forced to bring his new partner on a mission to stop an insane criminal warlord named Mama (Lena Heady). Mama's criminal syndicate has overrun an entire skyscraper, and begins testing experimental drugs with deadly side effects.

"Dredd" draws from the rich comic book source material, so there's a wealth of potential storylines from the character's history that could be used for sequels. "Dredd" was unfortunately a financial disappointment, but Karl Urban has indicated that its growing cult status may open the room for a television spinoff. While a series would be exciting, the immersive visuals of "Dredd" make a cinematic follow up a more compelling option.

Sky Captain And The World Of Tomorrow

Although many recent sci-fi films utilize nostalgia for the films of the '80s, "Sky Captain and the World of Tomorrow" digs much further back into science fiction history. The dieselpunk action spectacle homages pre-World War II pulp, space adventure, and monster stories from '30s, including nods to various films, cartoons, serials, radio dramas, and Golden Age comic books.

In 1939, during the early Nazi campaigns in Europe, the flying ace Joseph Sullivan (Jude Law) commands a private squad of dogfighters and combats villains both human and technological as his alter ego, Sky Captain. Through a message from his former flame Polly Perkins (Gwyneth Paltrow), a reporter for the New York Chronicle, Sky Captain learns of a plot to create a technological weapon, forcing the pair of disgruntled lovers to reunite in a quest to save the world from a fascist monstrosity.

"Sky Captain and the World of Tomorrow" was a box office disappointment, earning only $58 million off of a budget of $70 million, but it was also one of the first movies shot entirely in front of a green screen. In the years since, Hollywood has become much better at making movies that way, and the rising cult appreciation for "Sky Captain and the World of Tomorrow" suggests that a potential audience has only grown since its initial release.

Galaxy Quest

"Galaxy Quest" isn't just a treat for avid "Star Trek" fans. It contains one of the best depictions of fan culture in cinema. Often, films showing devotees of a geeky franchise resort to dismissive stereotypes, but "Galaxy Quest" treats fandom with sensitivity, delving deep into the nuanced relationship viewers have with the stars of their favorite series. In a time where fandom is often characterized as toxic, "Galaxy Quest" is refreshingly positive.

"Galaxy Quest" follows actors Jason Nesmith (Tim Allen), Gwen DeMarco (Sigourney Weaver), Alexander Dane (Alan Rickman), Fred Kwan (Tony Schalhoub), and Tommy Webber (Daryl Mitchell), the stars of a canceled television series who frequently appear together at fan conventions. However, these squabbling, temperamental actors are forced to show true heroism when they discover that many elements of their show have been brought to life by real aliens, and must work together when the villainous warlord Mathesar (Enrico Colantoni) targets Earth.

Given all the changes fandom, media, and "Star Trek" itself have seen since the release of "Galaxy Quest," a sequel would have plenty of material to explore. Although Allen suggests that a script was ready before Rickman's passing and rumors about a television series continue to persist, nothing's come of it yet. This beloved sci-fi comedy classic deserves another installment.


"Serenity" came as a welcome conclusion to the acclaimed sci-fi series "Firefly," which, despite its loyal fan base, was famously cancelled by Fox in 2002. Creator Joss Whedon folded many of his concepts for later seasons into "Serenity," a feature film that continued the story. Despite the deaths of some beloved characters, "Serenity" is a satisfying end to a series many thought they would never return to.

"Serenity" was intended to be the first of a trilogy that would continue the adventures of Captain Malcom Reynolds (Nathan Fillion), but plans were scrapped after the film bombed financially. The audience has only grown as new fans have discovered the series over the years, and while spin-off novels, comics, and role-playing games have emerged, the space western universe has the potential to continue with more cinematic installments.

"Serenity" leaves the door open for more storylines, as the totalitarian government body known as the Alliance continues to be a threat. Many of the key storylines addressed in the film, including psychic fugitives similar to the crew's River Tam (Summer Glau), could be incorporated. Showrunner Tim Minear has hinted that there's studio interest in a revival, and uniting the original cast could satisfy its ever-growing fanbase.

Southland Tales

Following the success of Richard Kelly's first film, "Donnie Darko," the sci-fi satire "Southland Tales" debuted to one of the most disastrous premieres in the history of the Cannes Film Festival. Still in need of additional visual effects work, "Southland Tales" was significantly cut as a result and didn't hit theaters for another year. Over time, however, the film's audience has grown, and it's now appreciated as a timely, hallucinatory vision of American culture.

Set in an alternate vision of 2005, "Southland Tales" follows an ensemble of eccentric characters tied to the entertainment industry, the military-industrial machine, and political parties. Adult film star Krysta Now (Sarah Michelle Gellar) tricks amnesiac action star Boxer Santaros (Dwayne Johnson) into joining a resistance movement that plots to disrupt the totalitarian Republican Party, which controls a surveillance network and censors the media. Meanwhile, Santaros' wife, Madeline Frost (Mandy Moore), searches for him as her mother Nana (Miranda Richardson) brainwashes veterans of the War on Terror. This satirical vision of current cultural anxieties became prophetic in the years following its toxic first screening.

While promoting the Blu-Ray release, Kelly indicated that he still has plans for an ambitious prequel that would use a hybrid of live-action and animation. While part of the story was adapted into a prequel comic book and released in 2007, Kelly has dedicated time to developing this universe, and could tell more stories from his unique point of view. This underrated film deserves a sequel.

Read this next: The 14 Most Important Sci-Fi Directors Of The Last 50 Years

The post 12 awesome sci-fi movies that never got sequels appeared first on /Film.

Source : Slash Film More   

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.