Like loss of life and taxes, sequels are an unavoidable reality of recent life. However in contrast to loss of life and taxes, sequels aren’t at all times horrible. Quite the opposite, a few of them are fairly nice! The final 17 years have been so overrun by sequels, reboots, seboots, and requels that individuals have naturally continued to bemoan the movie enterprise’ lack of creativity, however a small handful of those films have leveraged their franchises (and/or their pre-existing fanbases) to create one thing particular.
Whether or not deepening a beloved character (“Spider-Man 2”), deconstructing a sacred saga (“The Final Jedi”), or respiration fiery new life right into a dormant legend (“Mad Max: Fury Highway”), these sequels proved that Hollywood isn’t out of latest concepts, they’re simply hiding them in plain sight.
Listed below are the 22 greatest sequels of the twenty first century.
With editorial contributions from Eric Kohn, Kate Erbland, Jamie Righetti, Michael Nordine, Chris O’Falt, Anne Thompson.
22. “Blade Runner 2049” (2017)
A type of long-promised and oft-teased sequel potentialities that by no means fairly felt actual till it was actually, actually, oh look, Harrison Ford is coming again actual, Denis Villeneuve’s 2017 sci-fi spectacle took audiences again to a future Los Angeles that was one way or the other much more bleak than the one first imagined by Hampton Fancher, David Peoples, and Ridley Scott again in 1982. Whereas Fancher and Peoples’ script constructed within the type of plotline audiences have come to anticipate from such sequels — one thing a couple of child of the unique stars, that outdated chestnut? — Villeneuve and star Ryan Gosling strived to make Gosling’s Okay his personal factor, toiling in a well-known world with new secrets and techniques to unearth.
Aided by Roger Deakins’ beautiful cinematography (as is demanded by the cinephile elite, right here is the place we beg for an Oscar for the person) and manufacturing design that harkens again to the Scott unique whereas firmly pushing ahead, “2049” captured the spirit of the primary whereas additionally very a lot doing its personal factor. That doesn’t occur usually, particularly in the case of a property as revered as the unique movie. Whereas there have been some misfires within the offing — sorry, Jared Leto, however no — bringing again a harried Ford and pairing him with the more and more disillusioned Okay was a grasp stroke, and saving the very best twists for final and forcing these stars to reckon with them in actual time added the type of emotional richness any million-dollar endeavor would like to have. — Kate Erbland
21. “Harry Potter and the Prisoner of Azkaban” (2004)
Simply as with the books, the Harry Potter movies progressively grew darker and darker because the teenage wizard grew older. However earlier than this turned commonplace, there was “Prisoner of Azkaban,” which was reviled by followers on the time for being a darkish departure from the nice and cozy and fuzzy Christopher Columbus movies. To be honest, PoA is a bridge movie, establishing loads of the occasions to come back in later movies, however Alfonso Cuarón imbues the sequel with some really stunning pictures (the Dementors gliding by and frosting over winter berries is very beautiful).
Most significantly, there’s Gary Oldman, his lanky physique thick with grime and Russian jail tattoos, snarling about his 13 years in Azkaban. David Yates’ spectacular run on the collection wouldn’t have been doable with out the groundwork Cuarón laid down and there’s good purpose why PoA is now thought-about one of many collection’ greatest movies. — Jamie Righetti
20. “The Raid 2″ (2014)
When you’ve been being attentive to motion films over the previous decade, you recognize that there’s “The Raid,” after which there’s the whole lot else. Gareth Evan’s Indonesian martial arts film was set completely throughout the confines of an house constructing and had an intense physicality to its incessant battle scenes like nothing else on the market. The followup doesn’t fairly match the claustrophobic depth of the unique, nevertheless it nonetheless raises the bar for action-based storytelling yet again, following a particular forces officer who goes undercover in Jakarta’s felony underworld.
As soon as once more, the punches come laborious and quick from revolutionary instructions. The taking part in subject is expanded: Fights happen ball rooms, eating places, and — in a standout chase sequence that may be the very best of its sort for the reason that silent period — a freeway the place pace and enclosed areas collide by the magic of sensible enhancing methods. Bonus factors for distinctive villains (together with the deaf-mute Hammer Woman and baseball-wielding brother) and excessive stakes that play out like a Jenga tower at all times on the verge of toppling over. However it by no means does. “The Raid” franchise places nearly each motion film made by Hollywood to disgrace. — Eric Kohn
19. “The Journey to Spain” (2017)
As soon as once more, British comedians Rob Brydon and Steve Coogan eat their method by a week-long drive by some repugnantly beautiful European countryside. As soon as once more, their playful (however gently existential) rivalry is expressed by dueling impressions of the extra well-known males who got here earlier than them. And as soon as once more, our two heroes — recast as Don Quixote and Sancho Panza tilting at wind generators — wrestle to reconcile the myths that males write for themselves with the realities that life is definitely prepared to supply them. “The Journey to Spain” isn’t the funniest of the “Journey” triptych, nevertheless it casts the collection’ characters in a harsh new gentle.
After flippantly chiding these gents for 2 films, director Michael Winterbottom lastly takes the knives out and begins to punish them, a call that leads to two late scenes that border on sociopathic and culminates in an unimaginably absurd ending that refuses to let Coogan off the hook. Maybe these lovable clowns can take solace within the scrumptious irony that, for all the impersonations, they’ll be most fondly remembered for taking part in themselves. — David Ehrlich
18. “Hellboy II: The Golden Military” (2008)
If the primary “Hellboy” is a pleasant little appetizer for Mike Mignola’s comedian guide world, the sequel is a full-blown 10-course feast. Nonetheless the very best and most stunning film that Guillermo del Toro has ever made, “Hellboy II: The Golden Military” ups the ante on the unique in a method that superhero franchises now not appear able to doing. Not solely is the motley crew on the Bureau for Paranormal Analysis and Protection lots richer and extra detailed on this installment, however the supernatural world beneath New York Metropolis is completely teeming with unforgettable monsters.
From the savage little tooth fairies that swarm round Hellboy’s group, to the forest god that sprouts alongside the bottom of the Brooklyn Bridge, to the mechanical Golden Military itself, the film is just like the pages of del Toro’s well-known pocket book come to life in dwelling shade. There’s extra depraved creativeness in that market scene alone than there may be in most complete fantasy collection. Yeah, it’s unhappy that del Toro was by no means capable of make a 3rd chapter, however the place the hell may he presumably have gone from right here? — DE
17. “Mission: Inconceivable — III” (2005)
The third (and greatest) installment in Tom Cruise’s seemingly deathless spy franchise could not boast the dizzying highs of “Ghost Protocol” or the operatic charms of “Rogue Nation,” however no different film — on this collection or past — acknowledges the sheer leisure worth of watching Tom Cruise run round for 2 hours. The man is just like the Energizer Bunny, however far more intense, and he does his personal stunts. J.J. Abrams’ debut characteristic is a relentlessly glossy and environment friendly journey, chasing Ethan Hunt across the globe as he tries to outrun the best menace he’s ever confronted: domesticity. Additionally, Philip Seymour Hoffman, whose memorably spiteful villain is an IMAX-sized testomony to the late actor’s expertise. Add in among the most participating motion sequences of the twenty first century and a surprisingly actual emotional undertow and also you’ve bought the uncommon three-quel that tops its earlier two films in each method. — DE
16. “Creed” (2015)
The “Rocky” franchise has been knocked down (and out) so many occasions, nevertheless it’s at all times been laborious to completely depend out the ability of Sylvester Stallone’s star-making boxer with a coronary heart of gold (and fists to match) story. For its first followup in practically a decade, “Creed” took a play straight out of the “yo, right here’s the way you make a very good sequel” guide and ran with it, hiring on a proficient author and director within the type of Ryan Coogler (a Sundance alum who made the leap from indie fare to blockbuster sequel seemingly with no hitch), crafting a narrative round a compelling new star (each actor Michael B. Jordan and the character he performs, younger Adonis Johnson Creed), and nonetheless taking part in loads of respect to the person who made it occur (Sly, after all).
Coogler’s movie does the near-impossible — it pays critical homage to the earlier collection, whereas trying ahead to the long run — leaving everybody happy in its wake. A formidable sports activities story bolstered by one hell of a pedigree and a star flip efficiency from Jordan (who already introduced his skills together with his earlier Coogler collab, “Fruitvale Station”), “Creed” is even higher when thought-about a part of an — admittedly — checkered collection of movies. We will’t wait to see extra. — KE
15. “Spider-Man 2” (2004)
The Spider-Man swinging motion was at all times tailored for Sam Raimi’s exuberant swooping digital camera that distinguished his early low-budget style work. By his second time on the dance ground with Spidey, Raimi’s had perfected this strategy, making use of a pace and agility on par with the character — significantly in the course of the movie’s electrifying set items. Raimi’s grip on the emotional core of the Peter Parker character (Tobey Maguire) is equally agency. Fairly than delving into exposition and backstory, Parker’s wrestle together with his twin lives is baked into this movie’s central battle. The movie’s actual secret weapon, and the place so many superhero movies go incorrect, is with its formidable and multidimensional villain, Dr. Octopus, performed with diabolical deliciousness by Alfred Molina. – Chris O’Falt
14. “Ocean’s Twelve” (2004)
Making sequels is difficult. That’s not a rhetorical assertion, however the underlying premise of “Ocean’s Twelve.” Whereas “Ocean’s Eleven” was technically a remake of a god-awful ‘60s movie, Soderbergh for all intents and functions invented a franchise by which serialized sequels have been at all times going to really feel like much less intelligent retreads – your entire act of even getting the identical band again collectively seems like a betrayal of how “Ocean’s 11” ended, whereas the movie’s plot was extra procedural than fodder for an arcing narrative. However when a bunch of film stars wish to hand around in Europe and have enjoyable making a film collectively, you are likely to determine it out.
Soderbergh’s movies are at all times intrigued by course of, which was excellent for a heist/con artist movie. To contain us within the first movie’s con artistry he completely allotted data. The viewers is saved a step forward when there was a flaw within the plan and bother was lurking, so our constructing tensions may very well be relieved by how flawlessly our heroes improvised their method out of jams. The viewer was the saved a step behind when Soderbergh needed us guessing if a wrinkle was one thing they’d accounted for within the grasp plan, and we’re pressured to guess what’s play performing versus actual as a scene unfolds.
In “Ocean’s 12” that dissemination of knowledge is blurred, nearly as if Soderbergh has much less management and is much less clockwork-like in his execution. You begin questioning, “Did I miss one thing?” Earlier than you begin to notice, “Is he…?” “Am I…?” And then you definitely watch it once more to appreciate, Soderbergh had as soon as once more created one thing deceptively new in his examination of the style and cinema itself. – CO
13. “John Wick: Chapter Two” (2017)
One in every of 2014’s best surprises was “John Wick,” as a result of very similar to his on display screen alter ego, you simply can’t preserve Keanu Reeves down. However it’s additionally simple sufficient for motion sequels to lose the thread of what made them so profitable within the first place in favor of larger weapons and larger explosions. “John Wick 2” manages to construct on what made the primary movie so nice, particularly quick vehicles, a number of weapons and Keanu kicking loads of ass, nevertheless it neatly expands the murderer’s world, giving a small peek behind the luxurious curtains at The Continental. Certain, the badass fights are even higher (the shootout in a corridor of mirrors is beautifully executed), however there’s additionally an superior “Matrix” reunion with Laurence Fishburne, laden with hints of Wick’s shadowy previous because the historical past between the 2 teases itself to the floor. On the finish of the film you recognize Wick is a marked man, much more than even, nevertheless it solely makes you wish to see how he’ll shoot himself out of bother much more. — JR
12. “Skyfall” (2012)
Daniel Craig’s third installment as James Bond explores 007’s inside life, a usually enigmatic chapter in Bond lore. Making use of Dame Judi Dench earlier than her imminent exit from the franchise, “Skyfall” devotes loads of time to Bond’s relationship with M, reveling within the potential of M’s maternal instincts — or Bond’s craving for a mom determine. It’s a weak point simply exploited by the deliciously evil Javier Bardem, who makes Raoul Silva probably the greatest villains since Oddjob. Along with being directed by Sam Mendes, “Skyfall” bought somewhat status bump when its title observe gained an Oscar, proving Adele will be the one Brit Individuals love much more than 007. — Jude Dry
11. “The Final Jedi” (2017)
“The Final Jedi” is the very best Star Wars film since “The Empire Strikes Again,” nevertheless it’s additionally much more than that — it’s as a lot of a brand new hope for the eroding blockbuster tradition of 2017 as “A New Hope” was for the rising blockbuster tradition of 1977. An immensely satisfying expertise that doubles as an pressing name to motion for mega-franchise filmmaking, “The Final Jedi” is the primary installment of the monolithic house opera that’s extra involved with telling a brand new story than it’s with burnishing an historic fantasy.
Taking the reins of probably the most obsessive fandom within the leisure universe (a accountability that might scare most administrators into deference), Rian Johnson mounted a bonafide riot in opposition to an business that’s fueled by nostalgia, grounding his story in a easy concept that was sure to ruffle some feathers and piss off some fanboys: When you actually love one thing, it’s a must to let it go. It’s a notion that different large franchises ought to take to coronary heart in the event that they wish to survive. — DE
10. “Paddington 2” (2018)
The unique “Paddington” by Paul King is a type of uncommon kids’s movies that adults can watch with out ever feeling embarrassed, boasting sensible humor, a heat vocal efficiency from Ben Whishaw, a solid of British performing ringers, a candy message about kindness, and an A-list star (Nicole Kidman) in a killer villain position. The 2018 sequel improves upon the whole lot that got here earlier than not by making significantly extravagant adjustments however by merely doing the whole lot with a bit extra finesse and confidence — and with the A-list star subbed out for an additional, Hugh Grant, having the time of his life as a preening foil to the standard central bear. A jail story that sees Paddington framed for a theft he by no means dedicated, the movie is a briskly paced confection that’s sharp and hilarious one minute and heat and tear-inducing the subsequent. The third within the trilogy, “Paddington in Peru,” is by all reviews a step down — take solace in the truth that perfection merely doesn’t strike twice. —WC
9. “Prime Gun: Maverick” (2022)
No person anticipated “Prime Gun: Maverick” to be nearly as good because it ended up being. However one way or the other, Joseph Kosinski did it, turning the sequel of a cheezy, homoerotic ’80s navy motion film/propaganda recruitment instrument right into a lyrical, elegiac, and shifting story of getting old and redemption. On the middle of all of it is Tom Cruise returning to one among his most iconic roles because the titular renegade aviator, the years not diluting his spirit a lot as making his brashness much more attention-grabbing. A lot of “Maverick” and its plot performs to timeless archetypes — the underdog pilot that Maverick trains, the conceited rival, the stick-in-the-mud supervisor, the lady who bought away — however one way or the other works completely throughout the nearly liminal world Kosinski builds, the place the larger battle at hand issues lower than the sheer adrenaline that comes from retreating. The motion is beautiful, the story is stirring, and Cruise smashes it out of the park in a task that’s as a lot about his legacy as it’s about itself. —WC
8. “Earlier than Midnight” (2013)
The magic alchemy first conjured in 1995 by Linklater and his two stars Hawke and Delpy finds its third iteration in “Earlier than Midnight,” which the three co-writers writers spent ten weeks scripting on location in Greece. This time, our articulate couple is 40ish with four-year-old lady twins. Over the fading days of a halcyon Greek trip, Celine and Jesse hash out the problems of their single relationship, first in a sublimely executed 14-minute uncut automobile shot, subsequent over dinner with buddies (shot with a number of cameras), and at last at a resort lodge, the place they attempt to ignite some romance however wind up having the battle from hell.
The American expat author and his French environmental activist companion clearly love one another, however the points that bother them — a custody battle over his son together with his ex-wife, little one care and housekeeping, intercourse, dueling careers — threaten to topple the connection. The movie by no means drags: the long-take man vs. girl debate is one for the ages, layered with remorse, nervousness, love and intimacy. The film earned the trio their second Oscar nomination for Unique Screenplay. — Anne Thompson
7. “Kill Invoice: Vol. 2” (2004)
Yeah, yeah, Tarantino claims that “Kill Invoice” is definitely a discrete undertaking divided in two. However the details communicate for themselves: “Vol. 2” is stylistically distinct from its predecessor, even because it develops and expands on its themes. Whereas the primary chapter in Tarantino’s bloody revenge saga kicked off the Bride’s quest to avenge her lifeless little one, plucking off one cartoonish baddie after one other, the second continued that journey from a brand new perspective. “Vol. 1” riffed and refashioned the traditions of the samurai and martial arts movies, channeling Tarantino’s penchant for pastiche on a extra exuberant aircraft than ever earlier than. “Vol. 2” brings that very same strategy to Western motifs, because the Bride careens by a surrealist variation on Sergio Leone’s best hits with a badass feminist twist.
From the histrionic music cues to the outrageous stress build-ups that percolate by each scene — not the Bride’s capability to gouge eyeballs, smash a coffin and cease one main villain’s heartbeat with nothing greater than her fingers — “Vol. 2” by no means ceases to be a bracing cinematic kaleidoscope on par and infrequently much more thrilling than the installment that got here earlier than. Collectively, the 2 films type QT’s sensible thesis on the trendy historical past of the motion movie, and the way in which it exists as a synthesis of Japanese and Western traditions. It’s the wildest movie historical past class you’ll ever endure. — EK
6. “The Darkish Knight” (2008)
Welcome to a movie with out guidelines. Launched simply two months after “Iron Man” kicked off a sure cinematic universe, “The Darkish Knight” was a real occasion in a method that few films not set in a galaxy far, distant have been within the near-decade because it introduced again the cape and cowl. It appears a distant reminiscence now, however followers have been massively immune to the thought of Heath Ledger taking part in the Joker when he was first solid; skepticism turned to pleasure the second the primary trailer got here out, and the actor’s tragic, premature loss of life six months earlier than the movie’s launch made for an ideal storm of anticipation that Christopher Nolan greater than delivered on. If “Batman Begins” was a pleasing shock for the way in which it reimagined and reshaped the Batman mythos, then “The Darkish Knight” was long-awaited proof {that a} superhero drama may soar larger than most ever thought doable. — Michael Nordine
5. “World of Tomorrow Episode Two: The Burden of Different Individuals’s Ideas” (2017)
DIY animator Don Hertzfeldt’s “World of Tomorrow” is among the world’s few true excellent issues, an immaculate eruption of concepts contained inside a closed loop of steady delight. The quick solely runs 16 minutes lengthy, however that didn’t cease some critics from naming it as one of many best movies of the twenty first century. Thats a tricky factor to prime, however Hertzfeldt’s follow-up is one way or the other on par with the primary.
If “World of Tomorrow” was a journey outwards to the furthest reaches of thought, “World of Tomorrow Episode Two: The Burden of Different Individuals’s Ideas” is an epic voyage inward, following the cute Emily Prime (Hertzfeldt’s younger niece) and one among her many grownup clones (Julia Pott) as they plummet down the rabbit gap of the human unconscious. A real sequel in each sense of the phrase, this second chapter is larger, longer, and much more sophisticated than the unique. Blisteringly humorous, deeply touching, and endlessly quotable, “Episode Two” will make you higher geared up to dwell life, and extra ready to simply accept loss of life. It would additionally introduce you to the geometric glories of “Triangle Land.” Not unhealthy for 22 minutes. — DE
4. “The Lord of the Rings: The Return of the King” (2003)
A decade and a half later, “The Lord of the Rings” is trying an increasing number of like an anomaly: a high-concept franchise whose billion-dollar box-office dominance got here hand in hand with common essential acclaim and a slew of well-deserved awards. Peter Jackson and his fellowship of collaborators set the bar so excessive with their first two Tolkien diversifications that “Return of the King” may have simply been a sufferer of its predecessors’ success, nevertheless it ended up being the trilogy-concluding entry followers dreamed of. For all its epic grandeur — the Battle of the Black Gate, Eowyn shouting “I’m no man!” as she exhibits the Witch-king what’s what — it’s the concentrate on small moments that makes this such an ideal bookend. Most of our heroes get the completely satisfied ending they deserve after going there and again once more, and so did “The Lord of the Rings” as a complete. — MN
3. “Magic Mike XXL” (2015)
If the unique “Magic Mike” subverted expectations about what a male stripper blockbuster would appear to be, its follow-up delivered the products in additional methods than one. Whereas the primary “Magic Mike” explored the darker aspect of fame, “XXL” blasted the footlights on its baser pleasures, delivering a beefcake buddy comedy to fulfill an array of appetites. Channing Tatum bulges with charisma within the position he was born to play, and Joe Manganiello serves a complementary aspect dish for individuals who desire one thing spicy. Donald Glover makes a welcome addition as a silver-tongued crooner, Andie MacDowell is a Southern cougar, and Jada Pinkett Smith rocks a Fedora like no person’s enterprise. These seemingly disparate characters and storylines all work in tandem to ship an entertaining and satisfying pleasure experience. — JD
2. “Earlier than Sundown” (2004)
Austin-based director Richard Linklater (“Faculty of Rock”) did one thing proper again in 1995 when he first solid American actor Ethan Hawke and French actress Julie Delpy as Jesse and Celine, two strangers who meet on a European practice and luxuriate in a short romantic liaison in Vienna in “Earlier than Dawn.” 9 years later in “Earlier than Sundown,” they meet once more when Celine exhibits up at one among Jesse’s guide readings. They’re in any other case engaged, however the spark is alive as they return to strolling and speaking, ably sustaining scenes throughout prolonged uncut takes.
This time Linklater collaborated together with his actors on the screenplay, which scored an Oscar nomination. Anybody who has been by a relationship of any length will acknowledge the diploma to which the trio dig into the necessities of the male/feminine dynamic. Linklater and his deft comedic actors preserve issues shifting, with loads of laughs and moments of painful recognition. And audiences bought a cliffhanger as we go away Celine and Jesse flirting in her Paris house; will they get again collectively or not? — AT
1. “Mad Max: Fury Highway” (2015)
Whereas making animation movies, George Miller was liberated from sensible constraints and capable of put the digital camera precisely the place he needed it. Then, one way or the other, on the age of 75 he went to the desert to try the identical factor (full with 40 setups per scene), producing a live-action, high-speed, post-apocalyptic chase movie. And he bought a studio to select up the $150 million tab. The movie’s mere existence seems like a miracle. The motion scenes themselves are dense and lightning-fast, however so completely orchestrated they by no means disappoint. Miller additionally doesn’t shrink back from over-the-top prospers like a flame-shooting guitar participant, proving that even a critical motion director can have enjoyable together with his materials.
However beneath all of it, there’s a darkish soul to this movie that feels extra profound with every viewing. A lot has been made about whether or not the movie is certainly a feminist assertion, or an exploitive work, given the preponderance of lovely, captive girls in torn costumes. But from this clear portrayal of subjugation emerges Furiosa (Charlize Theron), Miller’s best character, who takes the movie over from Max and, along with her sneakily not-so-helpless crew of chained girls, goals to save lots of the world from a hellish dystopia created by brutish males. It’s a world that originally feels considerably ironic –a indifferent showcase for Miller’s appreciable motion chops – earlier than transitioning right into a profound quest for survival. Not often within the younger historical past of films has a filmmaker reached quiet this excessive and one way or the other hit his mark. — CO
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