Universal, it seems ,has not, as previously reported, killed off their DARK UNIVERSE franchise idea. According to Screenrant (https://screenrant.com/dark-universe-monster-movies/ ) producer Holly Goline is still connected to the concept.
Holly Goline had begun as an assistant to actress /director/producer Angelina Jolie ,has worked on films in various capacities until becoming a producer on IN THE LAND OF MILK & HONEY (Sony,2011 ).
So, like the classic monsters of old, there seems to be a spark left in the idea of reviving the collective creatures.
The thing is-should they?? I mean ,are they actually horror films anymore?
The change began with Universal‘s THE MUMMY (1999). Director /writer Stephen Sommers had come to audiences and critical attention with his film DEEP RISING (Hollywood/Disney,1998). That film began as a high seas action adventure story ,with hijackers out to rob a luxury liner, only to end up fighting for their lives against an unleashed monster.
A well written well directed story,with a great cast led by Treat Williams, Famke Janssen, and Kevin J. O’Connor,superb set pieces as well as scares and laughs galore, the film failed to make back it’s estimated $45,000 budget (U.S. box office $11,000) but it did well on home video and cable television .
It was enough to impress Universal so that they hired him to remake THE MUMMY for a new audience. Columbia Pictures had shown in 1992 that an A budget and all star cast could give prestige and financial rewards with their version of BRAM STOKER’S DRACULA . Though uneven in tone (along with some miscasting and overacting ),the movie was a stylish treat that had both scares and a romance that worked in combination . The film made double its production cost in the United States alone, which made Hollywood take notice.
Columbia tried to have lightening strike twice and revive another classic creature with style , and two years later unleashed MARY SHELLEY’S FRANKENSTEIN . Once again an all star cast was gathered to retell the famous tale, but to this day critics and fans are divided upon this production, and the movie only made back half of it’s production budget for it’s American release . It eventually made a profit overseas and with the home video market .
Universal was undeterred ,and realizing that they had their own original creations that were known and marketable, they decided it was time to make their own monster epic.
With a high budget ( $80 million) , THE MUMMY film clicked with both audiences and critics alike , and made $155,247,825 in the U.S. alone upon its original release, and was a strong seller on video .
But it was the beginning of the slide away from being a pure horror film.
The film had a few jump scares but it was more along the line of a thrill ride , Indiana Jones style. The wonderful pairing of Brendan Fraser and Rachel Weisz gave us a couple we could cheer on as they went through some exciting adventures set during 1925 (three years after Tutankhamen’s grave was discovered,starting the mania in Egyptian artifacts). Add to that a wonderful supporting cast including John Hannah and Kevin J O’Connor as comic companions , Odeth Fehr as Ardeth Bay and Arnold Vosloo as the immortal Imhotep (Bay and Imhotep are the names used by Karloff in the Universal 1932 THE MUMMY ),and one had a real crowd pleaser.
It resulted in THE MUMMY RETURNS (2001),an animated series that ran for 26 episodes between 2001 & 2003 , THE SCORPION KING(2002) (the last two films truly launching the movie career of Dwayne “The Rock” Johnson,with THE SCORPION KING being a standalone prequel set in the distant past ) and finally THE MUMMY: TOMB OF THE DRAGON EMPEROR (2008).
Each film moved further and further away from horror into more fantasy tinged adventure stories.
Looking at low budget films from the 70s,80s and 90s, I think that the original HALLOWEEN(Compass,1978) and FRIDAY THE 13TH (Paramount ,1980) were a better template for what a mummy movie could have been. Both figured silent figures who appear invincible and once they decide that you are their target they will not stop until they have killed you, usually in some horrible fashion. Like the slower moving Mummy of the Universal classics , MIchael Myers and Jason both strode purposefully ,never running , to overtake their victims , What these films lacked in gloss they more than made up for in suspense and scares ,something that the Mummy series lost more and more as the series went on.
Stephen Sommers only directed the first two Mummy films (though keeping his hand involved in all of them),prepping instead for an even bigger film . Sommers formed his own production company in 2004 with plans of making an Homeric retelling of the beloved villains.
The result was VAN HELSING (Universal,2004) ,a loud bloated everything but the kitchen sink major misfire. With a more than generous $160 million production budget (as well as an initially big publicity push ) ,the film was critical disaster, and made only $120 million domestically, luckily for the studio making a profit thanks to overseas box office ( worldwide cume : $300,257,475 ), which was also the start of studios looking for overseas markets to make their movies get out of the red.
The film seemed determined to start at 11 (to reference THIS IS SPINAL TAP,Embassy 1984 https://www.youtube.com/watch?v=4xgx4k83zzc ) and build in shrieking volume. Almost everyone screams their lines (with poor Shuler Hensley ,who had worked with star Hugh Jackman on Broadway in OKLAHOMA!,being the one directed the most to bellow everything https://www.youtube.com/watch?v=Rev5Z6Dg91A ). The story is a ghoulish goulash has Gabriel Van Helsing (Hugh Jackman ) as a bounty hunter of monsters for the Roman Catholic church.
He takes on a CGI Mr Hyde and then high tales it to Transylvania ,meets up with fellow monster hunter Anna Valerious (Kate Beckinsdale) and goes after the Frankenstein Monster, the insane Igor (Sommers‘ talisman ,actor Kevin J. O’Connor ),a werewolf who is Anna’s brother (Will Kemp) and Dracula (Richard Roxburgh, who was more frightening in his more semi -comic role for MOULIN ROUGE (Fox,2001))and his undead brides want to hatch a cavern-full of gigantic Alien -like eggs , which are in fact vampires awaiting to be born(Vampires lay eggs??) .
Universal was so sure that they had another hit series on their hands , they kept the sets built in Prague for the film up, which meant they had to keep paying for the land rental use while they remained. Upon the movie’s release, however, they decided that a sequel didn’t seem like a financially sound idea. They also scrapped a planned Transylvania land for the Universal Studios Theme Parks ,as well as a planned Transylvania tv series.
The film failed to work as either an adventure or a horror film, but became a CGI riddled massive video game that seemed to be designed by a ten year old with A.D.D .(a charge which ,to be fair , now seems to describe the majority of theatrical releases lately).
Ten years later, Universal wanted to re- reboot their monsters into the summer blockbuster market . DRACULA UNTOLD (Universal, 2014) was the result. The film basically goes back to the Vlade Tepes legend ,though instead of a annointed sociopathic Prince with a fetish for driving stakes up the hindquarters of his enemies (which included practically everyone), he is transformed into a fierce warrior,loving husband,father and nobleman (Luke Evans )who makes a deal with The Master Vampire (Charles Dance ) for his aid in getting his son back from the Turks who have abducted the boy and about a thousand other youngsters. What he gets ,however, slowly transforms him .
The film is indeed epic in it’s look and design, and handsomely mounted .There is also some very clever sound design and editing which gives the audience a bit of a jump once and awhile. However, as it was planned for a summer market, the film was PG-13 rated, and the scares toned down for a larger target family audience. Done on a $70 million budget , the film only made $56,280,355 domestic , $160,843,925 internationally for a final worldwide tally of $217,124,280 . The film also underwent some reshoots when Universal felt that this film needed to be tied into its just announced idea of their Dark Universe plans.
The Dark Universe franchise was to be Universal‘s answer to the many superhero films whose main power was siphoning the cash out of a willing public . Not having a superhero of their own (did they forget about DARKMAN (1990)?),they looked to the properties which they did have ,and rather than reviving Francis The Talking Mule (which would literally be beating a long dead horse) they turned instead to their creature creations . https://www.youtube.com/watch?v=lfxLdBDr1ww
There had been some talk of Dracula turning up in a future Dark Universe film only to have executives change their mind again, wanting the Dracula in the series to be different from the one portrayed in DRACULA UNTOLD .Talk about too many mad doctors spoiling the creations!
The “official” first release for the Universal Dark Universe turned out to be –THE MUMMY (2017)! A re-boot of the reboot (a re-reboot?)of the character again.
The MUMMY 2017 vs THE MUMMY 1999 -sand bites!
With a $125 million budget (and an advertising budget said to be at least equal to that),THE MUMMY was slammed by critics and fans, taking in only $80,227,895 domestically, but being saved by countries where Tom Cruise still opens strong ,taking in a final total $409,231,607 . The film is considered to have been a failure,due to various costs attached to the project, with as much as a $95 million dollar final loss .
So, Universal decided it was time to quickly kill the DARK UNIVERSE. Alex Kurtzman and Chris Morgan, who were in charge , left to pursue other projects. By November, 2017 , the idea was considered dead. Only, as I stated in the beginning,rumors of it’s demise have been greatly exaggerated.
Is it possible to do a proper horror film on a big budget ? The answer is yes. The thing is to convince fans to come out and see them.
A perfect example is the 2010 THE WOLFMAN . https://www.youtube.com/watch?v=ZabAU7ySbmE . That movie was a glossy remake of the 1941 classic . So why didn’t fans like it? A common complaint was that they had seen the story before (but if it had varied from the original ,fans would be crying it varied so much it should not be called THE WOLFMAN ). That the story wasn’t strong ( a bit of tightening perhaps could have been used, but it followed the template fairly closely ). That it wasnt gory enough, that it used CGI,etc. Even professional viewers seem to contradict their own opinion . The Huffington Post review said it had cardboard characters, and yet just a few lines down : “the film spends an obscene amount of time on a twisted father/son dynamic, and not enough time with actual werewolf terror.” So which is it?
The film certainly looked lavish ,and the make up by the great Rick Baker and Dave Elsey won a Best Make-up Oscar.
So where did it go wrong? Benicio de Toro, an avowed fan of the original ,was cast in the lead in 2006 . Andrew Kevin Walker,who wrote Tim Burton‘s love letter to Hammer style horror ,SLEEPY HOLLOW (Fox,1999) ,did the screenplay.
Rick Baker , of course, adhered as much as possible to the classic Jack Pierce creation.
Director Mark Romanek was attached to the film on February 8, 2007. Romanek directed powerful music videos like Johnny Cash’s “Hurt “ video in 2003 as well as the disturbing thriller ONE HOUR PHOTO (Fox Searchlight 2002). The budget was set at a reasonable (for such a big production) $85 million. After working on the project for a year, Romanek left the project ,using the “creative differences” comment.
Several directors were interviewed including Brett Ratner (no!) ,Martin Campbell (MASK OF ZORRO, Columbia,1998),James Mangold (the stylish 3:1O TO YUMA remake, Lionsgate, 2007),Joe Johnston (the sadly neglected THE ROCKETEER ,Disney,1991),Frank Darabont (great choice ,a screenwriter of classic horror remakes,as well as directing some of the best Stephen King cinematic adaptations) and Bill Condon ( another superlative choice . A longtime classic horror fan, he made the James Whale biopic GODS & MONSTERS (Lionsgate ,1998) .
Almost a year to the date that Romanek had first signed on, Joe Johnston took over to direct on February 3,2008. Work on the film continued while Johnston brought screenwriter David Self .This was not a good sign to horror fans ,as Self wrote the awful adaptation of THE HAUNTING (Dreamworks,1999) . Still , changing directors early on and bringing in new writers is not unusual.
Not the 1999 THE HAUNTING ! Gahhh!
A month later, filming began in England from March to June ,2008 . Having had only 3 weeks to develop the film,Johnston decided that CGI would help patch over any cracks in the project. Rick Baker expressed his disappointment to that fact, and the increasing use of CGI was the main reason the make up effects ace decided to retire in 2015.
The studio began to meddle around with the film ,trying to make a classic period piece and make it a more action packed movie. Composer Danny Elfman had written his score and left to work on other projects ,and other composers were brought in to bridge the gaps due to retakes and studio demanded edits. The movie ended up losing nearly a half hour of footage ,mostly character scenes. The Blue Ray restores some of these scenes, and it indeed improves the film.
The tinkering went on longer and longer, so the opening date moved from late 2008 to several dates in 2009, only to finally open in February 2010.
The original 1941 was a modest $170,000 budgeted film that ran 70 minutes. The newer version ran 102 minutes (though the director’s cut on BLU RAY runs 119 minutes ). The 2010 version final budget (before advertising costs , ended up totaling $150 million. Mixed reviews and poor word of mouth had the film fail to recoup even it’s production budget ,taking in only $139 million world wide.
However, I think this film needs to be re-evaluated. It is a much better film than it’s original reviews led one to believe. It was also a decent remake of the classic film, and it had one thing that several of the other remakes have had, some decent scares. With the idea of the DARK UNIVERSE project, this film was considered a stand alone one-off.
Look also at Del Toro’s beautiful ghost story CRIMSON PEAK (Universal, 2015),not part of the Dark Universe . A feast for the eye with lavish costumes and set designs ,and some actual scares, the film only grossed about $74 million worldwide on a $55 million budget . Why did this film not do better? It was a visual feast for the eye, but it failed to find the audience it deserved. Is it horror fans really now just want more gore and less style?? INSIDIOUS 3(Blumhouse/Focus), released the same year, made over ten times it’s production cost ($11 million).
Perhaps the people now in charge of nursing Universal‘s DARK UNIVERSE concept will reconsider what made the originals classics and will consider reducing the slam bam action and return to horror. The original plans were that the “Universe” would be linked by Prodigium, a secret society dedicated to hunting supernatural threats, run by none other than Doctor Henry Jekyll (Russell Crowe). https://www.youtube.com/watch?v=TCowxWN2c_Q I am sure that concept is now deader than a vampire staked in sunlight while lying in holy water as rose thorns are floating through it atop a garlic garnish.
Projects that were cancelled due to the failure of THE MUMMY were
THE INVISIBLE MAN to star Johnny Depp.
The cancelling of Bill Condon‘s BRIDE OF FRANKENSTEIN project was perhaps the biggest disappointment of the announced remake.
THE WOLFMAN .
a VAN HELSING reboot –Tom Cruise was once announced for the role, but I guess he decided upon THE MUMMY instead).
THE PHANTOM OF THE OPERA
THE HUNCHBACK OF NOTRE DAME
THE CREATURE FROM THE BLACK LAGOON – this poor creature has been bandied about for decades, with names like John Landis and Guillermo del Toro attached at different times. Guillermo del Toro got tired of waiting and made his own version ,called THE SHAPE OF WATER ( Fox Searchlight,2017). One should note that this wonderful film ,even with Oscar wins, only took in $194,742,801 worldwide,with almost $64 million coming from the U.S.
Perhaps Universal should study that film,as well as on films like GET OUT (Blumhouse/Universal,2017) and figure on moderate budget films that deliver on the scares.
I think they could also learn from the old Hammer Studio model of designing films to make use of sets ,etc ,while developing their own stock company of stars .
-Kevin G Shinnick