Whether they come after, before, or between their predecessors, these films have their own indelible legacies. Presenting the 101 best sequels of all time
Sequels Week Rises. Illustration: Greg Kletsel You loved the movie and you want more. The studio loves money, and they want more too. That’s how sequels come into existence — and this year we’re being bombarded by them, with new Sonic the Hedgehog and Fantastic Beasts installments already in theaters, and Top Gun 2, Hocus Pocus 2, another Jurassic World, another Downton Abbey, more Minions, more Thor, even more Marvel and D.C., and Avatar 2, among others, still to come.
The upside of an Abbott and Costello film at this late stage of their partnership is that they’ve worn into the rhythms of their banter like they share one mind. The downside is that, by the mid-50s, their ’30s-vaudeville-style routines were beginning to gather dust and grow a little creaky — fitting for a mummy movie. Here, they weren’t acting against Chaney or Karloff but rather their studio stunt double Eddie Parker. Not to mention the Orientalism of it all.
The real Musashi was never quite as heroic as Inagaki made him out to be in his films. Nor is he always that heroic; he’s quick to dispose of or conveniently reattach himself to the women in his life without much care for their feelings. Nonetheless, the films made a myth thanks to their indelible, crowd-pleasing bona fides, and it led to more roles for Mifune, like the very different ronin he played in Yojimbo and its own noteworthy sequel, Sanjurō. —E.V.B.Paddington 2 Photo: TCD/Prod.
Ebert panned Valley of the Dolls upon its release, calling it “dirty, not because it has lots of sex in it, but because it firmly believes that sex is dirty.” And so he made a film in love with its own dirtiness like a pig in shit. Where Valley was a movie that felt as if it was on its titular barbiturates — gauzy and meandering — Beyond is on uppers, with Meyer’s mile-a-minute manic editing serving Ebert’s quippy, satirical dialogue.
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