One of the most consistent trends for franchises is the disappointing sequel to the first film. Of course, there are film franchises where each successive film is better than its predecessor, but this is considerably rarer. However, a less consistent trend is for the worst movie sequels of all time to be followed by better third films that allow franchises to recover. Some of these terrible sequels surprisingly don't kill their franchises, buoyed by a better follow-up that revitalized people's faith and interest in the series.
Film franchises that bounce back after a disappointing sequel often show a pattern in creative choices. The disappointing sequel often doesn't meet the standards of the original because the creators are trying to recapture the magic of the original film by treating the first film like a blueprint. The third film on which the future of the franchise depends is often where people take the biggest risks, allowing for refreshing perspectives and an improved take on the tropes of the original films. If the risk is not worth it, the franchise may end, but more of the same does not guarantee survival.
10
Mission: Impossible
Mission: Impossible III (2006) After Mission: Impossible 2 (2000)
John Woo is rightfully revered as one of the greatest action filmmakers in cinematic history, but his unique style didn't fit with the Mission: Impossible franchise. Although the second film was still a commercial success, it is the only film in the franchise that was not critically acclaimed. The slow-motion effects, martial arts, and explosions are not appropriate for Ethan Hunt's spy stories. All Mission: Impossible The film has unbelievable action scenes, but they are more about parkour than combat. Mission: Impossible 2 is simply wrong.
The late Philip Seymour Hoffman was the last person you would expect to see in an action blockbuster, but his character in Mission: Impossible 3 provides the franchise with one of its most despicable villains. The threequel is considered the best in the franchise, and set the new tone Mission: Impossible then ran it for each following film. It features a villain who doesn't hold back, a balance between parkour acrobatics and choreographed fights, and also presents personal risks for Ethan, all of which recur in all of the franchise's films.
9
The Exorcist
The Exorcist III (1990) After Exorcist II: The Heretic (1977)
Exorcist II: The Heretic deviated from its predecessor, despite featuring a recurring performance by Linda Blair. Every experimental choice seems to have been made to create a film worse than the original. Surrealism does not fit into the subject and, as a continuation of The Exorcista classic horror film that still holds up today, it's more than a little disappointing. The moments of horrific possession feel instead like examples of physical comedy; although it works as an absurd film, the franchise needed a big upcoming film to revitalize it.
The Exorcist III is exactly that – a refreshing return to the classic source material. However, rather than focusing on the Antichrist, the film offers commentary on the nature of faith itself and the fallibility of religious institutions. The jumpscares are meticulously constructed to instill fear in viewers, even after multiple repetitions, and Brad Dourif's performance is the icing on the cake. The fact Exorcist III uses atmospheric techniques and dialogue to scare the audience long before the first jumpscare makes it an example of heightened horror, which is a surprising return from Exorcist II: The Heretic.
8
Die Hard
Die Hard with a Revenge (1995) After Die Hard 2 (1990)
THE Die Hard the franchise is one of the best examples of the previously discussed trend in film sequels. Die Hard 2 desperately trying to recreate Die Hardand it doesn't, just to Die with strength and revenge and then adopt an entirely new structure and save the franchise. Die Hard 2 it simply changes locations, has much less emotionally engaging dialogue, and doesn't have the same sense of urgency as Die Hard. Die with strength and revenge throws away the script and the formula.
The trio reinvents John McClane's personality, placing him in New York and providing him with a wider range of settings. Samuel L. Jackson as McClane's sidekick adds a touch of police energy to the film, which works wonders. As an action comedy, it revived the franchise after the boring affair that was Die Hard 2. Unfortunately, despite Die with strength and revenge being arguably the best in the franchise, the franchise never recovered in quality, and the following two films are even worse than Die Hard 2.
7
Daniel Craig-was James Bond
Skyfall (2012) After Quantum Of Solace (2008)
Royal Casino it would always be a very difficult film to follow because nothing could live up to the standards set by the presence and performances of Daniel Craig and Mads Mikkelsen, elevated by a melancholy interpretation of the iconic spy that reimagines him far from the pulp of the classic James Bond era. However, no one could have predicted that the sequel would be as disappointing as Quantum of Solace was. With bizarre editing choices that detract from the visual grandeur, it ends up flatter than it deserves.
There will always be a debate about which is the best James Bond film among Fall from the sky and Royal Casinobut the fact that the latter was good enough to compete with Daniel Craig's first James Bond film demonstrates how well the franchise bounced back afterwards. Quantum of Solace. Fluid cinematography, a charismatic villain in Javier Bardem, and the suave, brooding action man Bond in the throes of an identity crisis all make Fall from the sky a fun and emotionally impactful action thriller.
6
MCU Iron Man
Iron Man 3 (2013) After Iron Man 2 (2010)
While it is memorable for the introduction of Black Widow and for featuring one of the most comically insufferable antagonists in Sam Rockwell's Justin Hammer, Iron Man 2 it lacks the entertainment value of the original film that started the MCU. Tony Stark's rampant misogyny and frustrating personality regression make it feel like a test of patience. Rockwell's character is supposed to be insufferable and his commitment to his work is a joy to watch, but Tony is supposed to be charismatic. Instead, he is also, unintentionally, insufferable.
About that, Iron Man 3 is easily one of the most underrated films in the MCU. While viewers have been understandably frustrated by the Mandarin's strange personality, he is the definition of an over-the-top villain – a literal pawn with no real stakes in the game. But what truly elevates Iron Man 3 to levels far above its predecessor is Tony's emotional journey. His relationships and attempt to reconcile his loneliness make him a better person, and the climactic scene perfectly bids farewell to the solo franchise for Robert Downey Jr.'s most iconic role.
5
Star Wars Prequel Trilogy
Revenge of the Sith (2005) After Attack of the Clones (2002)
Although it is one of the most unpopular opinions about the Star Wars prequels, Jar Jar Binks simply isn't around long enough in Star Wars: The Phantom Menace to ruin the film, as many viewers like to claim. Then, as a sequence, Attack of the Clones It's a total disappointment. As an over-the-top, almost satirical romantic comedy set in outer space, it's a fun film, but the main plot itself is weakly paced. With 20 boring minutes of exposition followed by action-packed fight scenes, Attack of the Clones is consistently inconsistent.
On the other hand, Revenge of the Sith It's the best prequel movie. While pacing issues continue, which make the build-up to the climactic fights feel rushed, Anakin's psyche and engaging action sequences make up for it. The original trilogy is exceptionally enjoyable for conveying fundamental truths about humanity and meaningful messages about what it means to be a hero. With Revenge of the Sithsocial commentary returns to Star Wars through biting satire. Plus, there's the memorable soundtrack, choreography, and visual effects of the final fight, with the highly memorable “Elevated ground” line.
4
MCU Thor
Thor: Ragnarok (2017) After Thor: The Dark World 92013)
One of the worst films in the MCU, Thor: The Dark World it's too boring to provide a real cinematic experience. The poor writing choices create a script that cannot be saved by Tom Hiddleston's entertaining performance as Loki, arguably the only good thing about the film. The creative choices that were made Thor: The Dark World they all contradict each other. Asgard's visual design uses classic high-contrast color grading, but employs modern CGI, using warmer tones for all scenes, providing a smooth one-dimensional appearance to the settings.
While Thor: Ragnarok has its problems, it is still an imaginative sequel that embraces the silly and enigmatic side of Thor as a character and as a franchise. Taika Waititi's interpretation of the world is over-the-top, using jokes and vibrant color palettes that put the comic book back into comic book movies. Thor himself is distraught and this leads to unexpected mischief. Plus, a roster of hilarious supporting characters join him, making the film impossible not to like. The franchise has bounced back just as well as Thor after losing Asgard.
3
Fast and Furious
Tokyo Drift (2006) After 2 Fast 2 Furious (2003)
2 Fast 2 Furious is perhaps the wildest entry in the Fast and Furious franchise before Fast and Furious 6. It is particularly jarring because of the tonal shift of Fast and Furious. Although the first film is a more grounded racing film mixed with a mystery thriller, 2 Fast 2 Furious is a high-octane car stunt thriller with no respect for the laws of physics. It features a memorable stunt – a car flying into a boat – and also features Roman Pierce. Unfortunately, it's too chaotic to be a good entry in the franchise.
Tokyo Drift It is considered by some to be the best film in the entire series. Without the original characters and set in a different location, it changes the narration style and stunts to provide a refreshing perspective. There are no crime bosses or world-ending criminal organizations, and people have very personal motivations for doing stunts in their cars that, although bordering on the unbelievable, still seem viable. Furthermore, Tokyo Drift features the best character in the franchise, Han, because like every other character in the film, he is cunning and mysterious, but well developed.
2
A Nightmare on Elm Street
Dream Warriors (1987) After Freddy's Revenge (1985)
A Nightmare on Elm Street 2: Freddy's Revenge It's a misunderstood sequence as it is often misconstrued as homophobic when it instead portrays the inner turmoil surrounding sexual awakening as a source of horror and fear in queer people. However, sexual politics aside, it's still a bad sequel to one of the greatest horror films ever made, featuring unconvincing acting, bad dialogue, bizarre scene selection, confusing editing, and a barrage of scenes the film could do without. Even its status as the franchise's canonical film is complicated.
A Nightmare on Elm Street 3: Dream Warriors, on the other hand, it's a more complete horror fantasy, almost as good as the original. The compelling characterization makes all the potential victims sympathetic, as they feel like real-life people struggling with their mental health issues. The use of practical effects to form a physical metaphor for mental health allows Dream Warriors intelligently tell a story about the stigma surrounding therapy in the world.
1
The MCU Avengers
Infinity War (2018) After Age of Ultron (2015)
Avengers: Age of Ultron it's a confusing affair, one that features confusing character dynamics, kills off one of the new characters it introduces, and wastes a potentially compelling villain. The unnecessarily quick cuts in each scene and the constant switching between camera angles and perspectives for fight sequences make it difficult to immerse yourself in the film. The romance between Hulk and Black Widow is misguided, to say the least, and every moment of character development is rushed in favor of the next action set piece.
On the other hand, Avengers: Infinity War It is without a doubt the best Avengers film. Not only does it successfully balance the amount of time and relevance given to each of the many characters, but it also uses character designs to move the plot forward. Personal motivations make the fight scenes more engaging and add to the magic of the elaborate, well-choreographed, and patiently edited fights. Most importantly, it introduces real stakes for the superheroes and creates the best possible setup for Avengers: Endgame making the villain win for the first time in the MCU.