A remake has exactly one obligation. That’s to have a reason. Not a better budget, not newer technology and not a wider audience, but something the original couldn’t do or didn’t want to.
Everything at the top of this list has one. Herzog changed the emotional tone instead of the plot. Schrader made explicit what Tourneur suggested and the comparison teaches you something about both. Everything at the bottom repeated the story with better photography.
Remakes put me on guard from the day they’re announced. Most exist because somebody owns a title and a spreadsheet says people remember it, and I can feel that calculation in every frame. So I really enjoy the films at the top of this page, where a director looked at an old picture and found something in it nobody had said out loud yet.
Ties are broken by the year of the original.
1. All Quiet on the Western Front (1930, 1979, 2022)
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"Three adaptations of the book the Nazis burned, and the 1930 one is still definitive."
The All Quiet entry covers ninety years of adaptation and the earliest is still the best. Remarque published in 1929, it sold over a million copies in a year, and the Nazis burned it and stripped him of citizenship. Milestone’s 1930 film trusts the book completely including its ending. Milestone made it with sound arriving mid-production, and nobody has ever bettered the sequence in the shell hole with the dying French soldier. The 1979 television version is respectful and inessential. The 2022 German production is visually extraordinary, won four Academy Awards, and invents an armistice negotiation subplot the novel doesn’t contain because a modern production wanted a countdown. Ratings across the three are 10, 7 and 7.
The 1930 All Quiet is the version I’d keep if I could keep only one. Milestone trusted Remarque all the way to the last shot, and that shell hole scene is as hard to sit through now as anything made since. The invented countdown in the 2022 version is the wrong call. Somebody decided a slow wait for death wasn’t dramatic enough, and Remarque knew better.
Remarque sold over a million copies in a year and the Nazis burned the book and stripped him of citizenship.
Milestone made the 1930 film with sound arriving mid-production, and nobody has ever bettered the shell hole sequence.
The 2022 German version invents an armistice negotiation the novel doesn’t contain, because a modern production wanted a countdown.
2. Dracula (1931 / 1992 / 2000 / 2014), Contrast Review
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"Four Draculas across eighty years, and each one tells you what its decade was frightened of."
The Dracula entry is here because a property remade this often becomes a measuring instrument. The story is constant, so every difference is a statement about the era that produced it.
Browning’s 1931 Lugosi version establishes the image and is afraid of foreignness and of sexuality it can’t name. Coppola’s 1992 film is explicitly about blood-borne disease and desire, made at the height of the AIDS crisis. The 2000 version is about celebrity and distribution. The 2014 origin story is about building a franchise.
Read in sequence they form a record of what studios believed audiences wanted from identical material at four separate moments. That’s more informative than any one of them. Browning’s 1931 Lugosi version establishes the image and is afraid of foreignness and of a sexuality it can’t name.
Coppola’s 1992 film is explicitly about blood-borne disease and desire, made at the height of the AIDS crisis.
The 2000 version is about celebrity and distribution and the 2014 origin story is about building a franchise.
3. Robin Hood (1938 / 1973 / 1991 / 2010), Contrast Review
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"Four adaptations, and the 1938 one solved it so completely that nobody has improved on it."
The Robin Hood entry shows a pattern instead of a single failure. The 1938 Warner production is canonical and each later version adds something the original deliberately lacked.
Curtiz and Keighley shot in early three-strip Technicolor with Flynn, Rathbone and a Korngold score, and the defining quality is confidence. Nobody in it is conflicted, the film doesn’t apologize for the adventure, and it assumes the audience wants what it hands them. The 1973 Disney version adds animals, the 1991 adds grit and an American accent, and the 2010 adds a psychological backstory and a political structure before the legend even begins. Each addition is an attempt to justify the story to an audience that didn’t require justifying. Rathbone was an accomplished fencer and the 1938 duel is staged largely in shadow thrown on a wall.
Korngold wrote the score as though for an opera and established what a Hollywood adventure score would sound like for fifty years. The 1991 adds grit and the 2010 adds a political structure before the legend begins, and each is answering an objection nobody raised.
4. Dumbo (1941 / 2019), Contrast Review
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"Sixty-four minutes in 1941, and the remake proves that was the right length."
Dumbo is first because the pair makes the clearest argument on this page. The 1941 original runs sixty-four minutes, was made cheaply on a shoestring to recover the losses from Pinocchio and Fantasia, and has almost no plot at all.
That brevity is the achievement. There’s no villain with a scheme, no quest and no third-act reversal, and the film’s most famous sequence is a hallucination that’s nothing to do with the story. It’s a mood held for an hour.
Burton’s 2019 version adds a human family, a corporate antagonist, a motivation and a rescue plot, and every addition drains the thing that made the original work. It runs almost twice as long to say considerably less. That’s the entire lesson.
Dumbo is my favorite argument on this whole page. A cheap sixty-four-minute cartoon beats a remake twice its length at the one thing that matters, and the Pink Elephants sequence is stranger than anything Burton put on screen. Every scene he added covers up something that was already working, and the extra hour felt like a punishment to me. The 1941 film runs sixty-four minutes because the studio needed a cheap picture to recover the losses from Pinocchio and Fantasia.
The Pink Elephants sequence has nothing to do with the story and is four minutes of pure abstraction in a children’s film. Its 2019 counterpart adds a human family, a corporate antagonist and a rescue plot, running almost twice as long to say considerably less.
5. Cat People (1942 / 1982), Contrast Review
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"One film suggests and one film shows, and the pair is the best lesson in horror available."
Cat People is here because the two versions are a controlled experiment. Same story, opposite method, and the results are unambiguous. Tourneur had no budget for a convincing panther in 1942 and built the horror entirely from sound and shadow. The walk along the park wall, where the footsteps stop and a bus brake hisses, gave the industry its term for a false scare and is still taught.
Schrader’s 1982 version has the money and shows everything, including the transformations in full. It’s a more explicit film, a more sexually serious one, and a considerably less frightening one, and having both is more useful than having either. Tourneur had no budget for a convincing panther in 1942 and built the horror entirely from sound and shadow.
The walk along the park wall gave the industry its term for a false scare and is still taught.
Schrader’s 1982 version has the money and shows everything. That produces a more explicit film and a less frightening one.
6. The Jungle Book (1967 / 2016), Contrast Review
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"A film built on voice casting, remade as a film built on rendering."
The Jungle Book pair identifies exactly what a remake can and can’t reproduce. The 1967 animated feature is structured as a series of encounters to accommodate its voices. Phil Harris and George Sanders are performances first and characters second, and the film revolves around them.
Favreau’s 2016 version is a real technical achievement. The jungle is photoreal, the animals are convincing, and the entire thing was shot in a Los Angeles warehouse.
It reproduces the plot and can’t reproduce the reason anybody liked the original, because the reason was a handful of performers being allowed to do whatever they wanted for four minutes at a time.
I prefer four minutes of Phil Harris doing whatever he felt like to any amount of photoreal fur. Favreau’s team did impressive work in that warehouse and I respect it. I still miss the voices, and no amount of rendering was ever going to bring them back. Its voices organize the 1967 film, with Phil Harris and George Sanders performing first and characterizing second.
Walt died during production and had rejected the first, darker treatment entirely, instructing the team not to read Kipling.
Favreau’s 2016 jungle is photoreal and was built in a Los Angeles warehouse. That’s a real achievement attached to nothing new.
7. Cleopatra (1934 / 1945 / 1963 / 1999 / 2023), Contrast Review
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"Five Cleopatras, and the 1963 one nearly destroyed a studio."
The Cleopatra entry spans ninety years and five productions, and the 1963 version is the famous one for reasons that have almost nothing to do with what is on screen.
It cost around forty-four million dollars. That was more than any film had ever cost, nearly bankrupted Twentieth Century Fox, and required the studio to sell its backlot. The production history, including a change of director, a change of country and the Taylor and Burton affair, is more interesting than the four hours it produced.
DeMille’s 1934 version is the better film and nobody watches it. That’s the pattern this entry exists to show.
At a cost of around forty-four million, the 1963 version nearly bankrupted Fox and required the studio to sell its backlot.
The production changed director and country mid-shoot, and the Taylor and Burton affair generated more coverage than the film.
DeMille’s 1934 version is the better film and nobody watches it. That’s the pattern the entry exists to show.
8. The Day the Earth Stood Still (1951 and 2008)
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"A warning about nuclear weapons, remade as a warning about the environment, and only one works."
This pair shows the limits of substituting a subject. Wise’s 1951 film has a visitor who’s more reasonable than the people receiving him, delivering an ultimatum about nuclear weapons instead of executing a threat. The power came from the audience fearing the thing being warned about. In 1951 the threat was immediate, specific and recent, and the film didn’t have to argue for it. Structurally the 2008 version is an exact copy that swaps in environmental collapse. That’s a real danger and a different kind of one. It’s diffuse, contested and slow, and an ultimatum about it doesn’t carry the same charge, so the film has a shape with nothing inside it. The 1951 film’s power came from an audience fearing the thing being warned about. That required no argument in 1951.
What the 2008 version swaps in is environmental collapse, which is diffuse, contested and slow, and an ultimatum about it carries no charge.
Wise’s original has a visitor more reasonable than the people receiving him, which the remake replaces with a visitor who’s simply correct.
9. War of the Worlds (1953 & 2005)
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"Two invasions, and each is about the war its country had just had or was having."
The War of the Worlds pair is the clearest demonstration on this page that changing the point of view is enough. Same source, same invasion, same outcome, and two completely different films. The 1953 Pal production is a Cold War picture about coordinated national defense. The military are protagonists, scientists are consulted, and the structure is institutional response to a threat. Spielberg’s 2005 version is a post-September-11 film about a father running with his children and knowing nothing. No general appears, no explanation is offered, and the audience learns only what a man in a crowd would learn. The shift from institutional to domestic is the entire difference.
The 1953 Pal production is a Cold War picture about coordinated national defense, with the military as protagonists.
Spielberg’s 2005 version is a post-September-11 film about a father running with his children and knowing nothing. No general appears in the remake and the audience learns only what a man in a crowd would learn.
10. Bedazzled (1967 / 2000), Contrast Review
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"Cook and Moore made a theological comedy, and the remake made a romantic one."
The Bedazzled pair shows a kind of loss. Donen’s 1967 original has Peter Cook as a bored suburban devil granting a short-order cook seven wishes, and a technicality the wish failed to specify subverts every one of them.
The joke is theological and administrative. Cook’s Satan is petty, tired of the work, and collects souls the way a man collects stamps he stopped enjoying years ago. The argument is that hell is a job and that damnation is a contract dispute.
Come 2000, the remake keeps the wish structure, makes the devil attractive and the protagonist sympathetic, and resolves it romantically. Everything transferred except the thing the film was about. That’s the pattern this page keeps documenting. Peter Cook’s bored devil is my favorite Satan on film, a weary functionary who treats souls like paperwork he’s stopped caring about. The 2000 remake kept the wishes and threw away the joke, and turning damnation into a romance is the kind of note only a studio would give.
Cook’s Satan is petty, bored of the work, and collects souls the way a man collects stamps he stopped enjoying. A technicality the wish failed to specify subverts each wish. That makes the joke theological and administrative.
The wish structure survives in the 2000 version, which resolves it romantically, transferring everything except the argument.
11. The Taking of Pelham 123 (1974 and 2009)
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"A procedural about municipal competence, remade as a film about two men shouting."
The Pelham pair is about scale in the wrong direction. Sargent’s 1974 version is about the transit authority as an organization, with Walter Matthau as a tired functionary who’s good at his job and would rather be elsewhere.
The tension comes from a system being tested. Dispatchers, the mayor’s office, the transit police and the money all have to move, and the film is interested in whether a city can physically deliver a million dollars in an hour. Scott’s 2009 remake converts it into a personal duel between Washington and Travolta, with backstories, moral symmetry and shouting. It’s a bigger film about a smaller subject.
The 1974 original is about municipal competence and whether a city can physically deliver a million dollars in an hour.
Walter Matthau plays a tired transit functionary who’s good at his job and would rather be elsewhere.
The color-coded names were borrowed wholesale by Tarantino for Reservoir Dogs, which he’s acknowledged.
12. Nosferatu the Vampyre (1979)
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"Herzog remade Murnau and stands beside him without embarrassment."
Nosferatu the Vampyre is the best single remake on this page and the reason is that Herzog changed nothing structural. The plot is Murnau’s, the shots frequently reference Murnau’s, and the intention was explicitly to honor and not to improve.
What he altered is the emotion. Kinski plays Dracula as exhausted and not predatory, a creature tired of its own continuation who envies the dead, and the performance is closer to grief than to threat. Back in 1922, the film implied that reading and never stated it. That means Herzog found a new work inside an existing one without inventing anything.
Kinski’s lonely, worn-out Count moves me more than any vampire has a right to. Herzog found grief inside Murnau’s film without adding a scene, and I wish every executive planning a remake had to study how he did it. My reservation is the pace, which tries even my patience in stretches, though that’s a small price for a remake with a reason.
Herzog changed nothing structural, using Murnau’s plot and frequently his shots, intending to honor and not improve. Kinski plays Dracula as exhausted, not predatory, a creature tired of its own continuation who envies the dead.
The 1922 film implies that reading and never states it.
13. Invasion of the Body Snatchers (1956, 1978, 1993, 2007)
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"Four versions, and each decade decided the pods meant something different."
The Body Snatchers entry is the best example on this page of a premise flexible enough to hold whatever an audience brings. Siegel’s 1956 film has been read as anti-communist and as anti-McCarthy with equal confidence. That tells you the film doesn’t specify.
Kaufman’s 1978 version is the best of the four and has the superior ending. Moving it to San Francisco and to a culture of therapy and self-actualisation makes the conformity ambient and not imposed, and the final shot is the bleakest in the sequence.
The 1993 and 2007 attempts add stars and a military base and a virus respectively, and neither finds a new anxiety to attach the premise to. That’s the only thing that makes a version of this worth making. People have read the 1956 original as anti-communist and as anti-McCarthy with equal confidence. That tells you it doesn’t specify.
Kaufman’s 1978 version moves it to San Francisco during a culture of therapy. That makes the conformity ambient and not imposed. The 1993 and 2007 attempts add a military base and a virus and neither finds a new anxiety to attach the premise to.
14. The Blob (1958 and 1988)
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"A hundred and ten thousand dollar original, and a remake that improved on it."
The Blob is the clearest case on this page of a remake being plainly better. Yeaworth’s 1958 film made roughly four million against a hundred and ten thousand dollar budget and is among the most profitable independent films of its decade, and it’s slow, cheap and coy.
Chuck Russell’s 1988 version, co-written with Frank Darabont, uses the premise properly. The creature dissolves people on screen in practical effects that still hold up, and the film kills characters the original would have protected, including the apparent lead in the first act.
The Blob is the rare remake that’s flat-out better than its original, and it’s better because it has guts the 1958 film never had. The 1988 version kills the apparent lead in the first act, and after that I stopped trusting it to protect anybody. My reservation is that the people outside the goo are thinner than the effects around them.
It also gives the thing an origin that adds and not subtracts, and it failed commercially while the original had been a phenomenon.
On a hundred and ten thousand dollar budget, the 1958 original made roughly four million and is slow, cheap and coy. Chuck Russell’s 1988 version, co-written with Darabont, dissolves people on screen in practical effects that still hold up. It kills the apparent lead in the first act and failed commercially where the original had been a phenomenon.
15. Overboard (1987 and 2018)
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"A morally indefensible premise that works because the leads were a real couple, and does not work when they are not."
The Overboard pair is the sharpest illustration on this page of what happens when you defuse a premise to make it acceptable. The 1987 film has a carpenter convince an amnesiac heiress that she’s his wife and put her to work raising his four sons.
It’s indefensible and it’s charming, almost entirely because Russell and Hawn were together in life and the audience knew it. The performances carry a premise the script can’t.
A working single mother deceives a wealthy man in the 2018 version, which reverses the genders. That removes the power imbalance and with it the only thing giving the story any charge. What’s left is a pleasant film about nothing.
In the 1987 film, a carpenter convinces an amnesiac heiress that she’s his wife and puts her to work raising his four sons.
It’s indefensible and charming, almost entirely because Russell and Hawn were together in life and the audience knew it.
Gender reversal defines the 2018 version. That removes the power imbalance and with it the only thing giving the story any charge.
16. Let Me In (2010)
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"An American remake of a beloved foreign film that justifies its own existence."
Let Me In arrived two years after Let the Right One In to considerable hostility and is one of the few American remakes of a recent foreign film that deserves its place. Reeves kept the events and changed the emphasis. The New Mexico setting, the snow, and Reagan-era radio broadcasts about evil underneath give it a colder and more American bleakness. The significant change is interpretive. The Swedish film leaves the relationship between the child vampire and the older man ambiguous; the remake states plainly that he was once the boy and frames the whole arrangement as grooming. That’s the reading the source supports and was too careful to commit to.
Reeves kept the events and changed the emphasis, with New Mexico snow and Reagan-era broadcasts about evil.
The Swedish film leaves the relationship ambiguous; the remake states plainly that the man was once the boy and frames it as grooming. That’s the reading the source supports and was too careful to commit to. That’s why the remake justifies itself.
17. Total Recall (2012)
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"A remake that removes the ambiguity the original was built on."
Total Recall is a competent action film that discarded the only interesting thing about its source. Verhoeven’s 1990 version never resolves whether Quaid is on Mars or strapped to a chair at Rekall, and every element of it supports both readings at the same time.
By 2012 the remake keeps the implanted-memory premise and drops Mars, the mutants and the ambiguity, resolving the question in the first act so the rest can be a chase. What remains is well made. Wiseman’s production design is good and the film has nothing to be about, because the doubt was the subject instead of a complication.
The 2012 Total Recall looks great and I enjoyed it as a chase. What irks me is how fast it throws away the one question that made Verhoeven’s version worth arguing about, and it gives me nothing to chew on afterward. The Colony and the Federation are two vertically stacked cities connected by a tunnel through the planet’s core. Wiseman shoots the chases well and the production design is good throughout. Dropping the ambiguity removes the only thing the 1990 version had that nothing else did.
18. Nosferatu (2024)
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"The third great screen Nosferatu, and Eggers had wanted to make it his whole career."
Nosferatu is the third version of this story to be worth having, which no other property on this page can claim. Eggers had been circling it since a high school production and brought the same obsessive period research that produced The Witch and The Lighthouse. It’s the most beautiful and uncompromising vampire film in years, lit considerably by available sources, with dialogue reconstructed toward period usage and a Count who’s explicitly a corpse instead of an aristocrat.
It’s also slow, grim and demanding, and it asks the audience to meet it on terms it doesn’t negotiate. That’s why the reception split.
Eggers had been circling it since a high school production and brought the same period research that produced The Witch and The Lighthouse. It’s lit considerably by available sources, with dialogue reconstructed toward period usage and a Count who’s explicitly a corpse.
It’s slow, grim and demanding and asks the audience to meet it on terms it doesn’t negotiate. That’s why the reception split.
19. The Raven (1935 / 1963 / 2012), Contrast Review
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"Three films sharing a title and almost nothing else."
The Raven entry is here as the limiting case. These three films aren’t remakes of each other in any meaningful sense; they share a title borrowed from a poem and nothing else. The 1935 Universal version has Lugosi as a surgeon obsessed with Poe and Karloff as a criminal he disfigures. The 1963 Corman film is a comedy with Price, Karloff and a young Jack Nicholson about duelling magicians. The 2012 has Cusack as Poe himself investigating murders based on his own stories.
A title is the weakest thing a property can carry forward, and that studios will carry it anyway because it’s the part that’s legally owned. The 1935 Universal version has Lugosi as a surgeon obsessed with Poe and Karloff as a criminal he disfigures.
The 1963 Corman film is a comedy with Price, Karloff and a young Jack Nicholson about duelling magicians.
The 2012 has Cusack as Poe himself investigating murders based on his own stories, and the three share only a borrowed title.
20. Poseidon Adventure (2006)
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"A disaster film remade with better water and no characters."
The Poseidon remakes show that the effects were never the point. The 1972 original works because the survivors argue about whether to climb up or wait for rescue. That gives a physical situation a moral structure and a real disagreement.
Gene Hackman’s minister is arguing a theological position about self-reliance and losing people for it, and the film’s tension is whether he’s right and not whether the water rises. Both 2006 versions keep the capsizing and drop the argument. The water is better, the ship is better, and what’s left is an effects sequence with people moving through it.
What makes the 1972 original work is that the survivors argue about whether to climb up or wait. That gives a physical situation a moral structure.
Hackman’s minister is arguing a theological position about self-reliance and losing people for it, and the tension is whether he’s right.
Both 2006 versions keep the capsizing and drop the argument, leaving an effects sequence with people moving through it.
21. Death Wish (2018)
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"A remake that removes the ambivalence and keeps the shooting."
Death Wish took the one film in its genre built on real moral uncertainty and resolved it. Roth directs Willis in the Paul Kersey role and makes him a trauma surgeon instead of an architect.
That change should have been an improvement. A man who repairs gunshot wounds by day and creates them at night is a real contradiction, and the film raises it in a few lines and does nothing else with it.
Uncertainty about its own protagonist was why people were still arguing about the 1974 original forty years later. This version isn’t uncertain about anything.
Death Wish 2018 leaves me torn. Willis is watchable, and a surgeon who patches bullet holes by day and makes them at night is the best idea anyone has brought to that story. Then Roth waves it past in a few lines and settles for a revenge picture that’s sure of itself, and the 1974 original is still the one worth arguing about.
Making Kersey a trauma surgeon should have been an improvement, since repairing gunshot wounds by day and creating them at night is a real contradiction. The film raises it in a few lines and does nothing else with it. When it came out in 1974, the original was uncertain about its own protagonist. That’s why people were still arguing about it forty years later.
22. Oldboy (2013)
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"Spike Lee remaking Park Chan-wook, and the ending was never going to survive an American release."
Oldboy is the clearest case on this page of a remake taking a plot it couldn’t commit to. Brolin plays a man imprisoned for twenty years and released to discover why, and the film reproduces the 2003 Korean structure closely. The original’s conclusion is the entire film. Everything preceding it exists to make that revelation land, and the Korean version is willing to follow it all the way down and leave the protagonist there. The American version softens it. That removes its own reason to exist. Lee disowned the final cut, having lost around thirty-five minutes, and the film performed poorly and divided what reviews it got. The original’s conclusion is the entire film and everything before it’s scaffolding for that revelation.
Lee disowned the final cut having lost around thirty-five minutes, and the corridor fight is restaged across two levels.
Softening the ending leaves an hour and a half of setup for something that no longer arrives.
23. He’s All That (2021)
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"A remake of a film that was itself a loose Pygmalion, with the genders swapped and nothing else."
He’s All That’s the third pass at Pygmalion in this lineage and the thinnest. She’s All That in 1999 was already a loose teen version of Shaw; this reverses its genders and casts a social media personality in the lead. The reversal is the entire concept and the film has no second idea. Nothing about the material is reconsidered, the class element that was the point of Pygmalion is absent, and the bet structure survives without the observation it originally carried.
Rachael Leigh Cook appears as the protagonist’s mother. That’s the film acknowledging its own source more meaningfully than anything in the script does.
She’s All That in 1999 was already a loose teen Pygmalion, and this reverses its genders and casts a social media personality. Nothing about the material is reconsidered and the class element that was the point of Pygmalion is absent. Rachael Leigh Cook appears as the protagonist’s mother. That acknowledges the source more meaningfully than anything in the script.
24. Every Disney Live Action Remake (2010-Present)
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"A studio strip-mining its own back catalogue, and the 3 rates the program, not any one film."
This entry rates a strategy instead of a picture. That’s why it sits where it does. Alice in Wonderland took a billion dollars in 2010 and established the arrangement: take a title with forty years of affection attached, remake it photographically, and sell it to an audience that already knows the songs.
Several are competently made and one or two are good. The Jungle Book is a technical achievement and Cinderella is a real film. The collective effect is a company converting its own history into a release schedule, and the program has now produced enough entries that the pattern is more visible than any individual result. The 3 is for the run.
The Disney program is cynical, a company treating its own best work as inventory. I like Cinderella and the craft on The Jungle Book, and it’s still a poor way to treat films people have loved for generations. Every photoreal copy pushes the original a little further out of the conversation.
Alice in Wonderland took a billion dollars in 2010 and established the arrangement for everything that followed. Several are competently made and one or two are good, with The Jungle Book a technical achievement and Cinderella a real film. The collective effect is a company converting its own history into a release schedule, and the 3 rates the program.
25. The Hustle (2019)
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"Dirty Rotten Scoundrels with the genders swapped, which was also a remake."
The Hustle is the third version of the same con. Bedtime Story in 1964, Dirty Rotten Scoundrels in 1988, and this in 2019, and each has been broader than the one before.
The material requires the audience to believe both grifters are competent, because the pleasure is watching two skilled people work against each other. Broadness destroys that, since an obviously foolish con artist can’t generate suspense about whether the con works. Anne Hathaway is committed and the film keeps undercutting her, and the 1988 version is available and better. Bedtime Story in 1964, Dirty Rotten Scoundrels in 1988 and this in 2019, each broader than the one before.
The material requires the audience to believe both grifters are competent, and broadness destroys that. Anne Hathaway is committed and the film keeps undercutting her, and the 1988 version is available and better.
26. Mulan (2020)
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"The songs removed, the dragon removed, and the chi added."
Mulan makes the single most damaging change on this page. The 1998 film is about a young woman with no particular aptitude who becomes capable through training. That’s why the training montage is the center of it. Her 2020 incarnation has innate chi, which she’s always possessed and has been suppressing. She’s not becoming capable, she’s being permitted to reveal capability, and that removes the entire argument of the original.
Mulan 2020 makes the change on this page I find hardest to forgive. The 1998 girl won her place through training, which is the point of a story like hers, and the remake handed her a power she was born with. That tells every kid watching that you’re either special or you aren’t, and I find it a rotten lesson to put in a family film.
The songs and Mushu are gone as well, which was defensible, and the film was also caught by the Xinjiang filming credits controversy. That overshadowed whatever reception it might otherwise have had.
A young woman with no particular aptitude becomes capable through training in the 1998 film. She gets innate chi in the 2020 version, chi she’s always possessed and has been suppressing. That removes the argument entirely.
Mushu and the songs are gone as well, and the Xinjiang filming credits controversy caught the film.
27. Snow White (2025)
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"A film that arrives exhausted, defending itself in every scene."
Snow White is the bottom of this page and the reason is instructive and not merely a failure of quality. Every decision in it appears to have been made in answer to an objection raised during production and not in service of anything. The filmmakers reconceived the dwarfs, then reconceived them again, and removed the prince and partially restored him. The songs are split between the 1937 originals and new material, and the casting became a public argument before a frame was released.
What that produces is a film continuously justifying itself and never doing anything. An audience can feel the difference between a work that wants something and a work that’s avoiding complaints, and this is the clearest available example of the second. The filmmakers reconceived the dwarfs, then reconceived them again, and removed the prince and partially restored him. The casting became a public argument before release.
Some songs are 1937 originals and some are new material. That means the film has two tones and commits to neither.
What that produces is a picture continuously justifying itself and never doing anything.
What separates the top of this list from the bottom is whether anybody on the production knew why they were there. Herzog knew exactly why he was going back to Murnau, and Chuck Russell knew what the 1958 Blob was too timid to do. The people behind Snow White spent years answering complaints and never settled what the film was for, and the result plays like a feature-length apology.
