Hollywood’s latest reinvention spree is serving up two deliciously different makeovers that perfectly capture the industry’s current identity crisis. Think of it as Tinseltown’s version of “something old, something new” – except this time, it’s all about where and how we’ll be watching our favorite stories unfold.
Word just dropped that Guy Ritchie’s sliding into the director’s chair for “Road House 2.” Yeah, that “Road House” – the one that had Jake Gyllenhaal trading Patrick Swayze’s signature mullet for MMA moves on Amazon Prime. The pairing makes perfect sense, really. Ritchie and Gyllenhaal have been thick as thieves lately, between “The Covenant” and their upcoming project “In the Grey.”
But here’s where things get interesting.
Unlike its streaming-only predecessor, this sequel’s apparently headed for the big screen – a move that’s bound to raise some eyebrows, especially Doug Liman’s. Remember his spectacular meltdown over Amazon’s streaming-only strategy for the first film? That attempted SXSW boycott lasted about as long as a Hollywood diet.
Meanwhile, over in Vegas (because where else?), “The Wizard of Oz” is getting what might be the most ambitious facelift since movies learned to talk. Starting August 28, Dorothy and company are taking their Yellow Brick Road show to the Sphere – that massive orb that looks like it crash-landed from tomorrow’s version of tomorrow.
Jim Dolan, Sphere Entertainment’s big boss, wrapped the announcement in enough corporate-speak to make a PR team blush: “Our goal for The Sphere Experience is a diverse slate that leverages Sphere’s power as an experiential medium.” Translation? They’re planning to blow our minds.
The creative dream team they’ve assembled isn’t messing around. We’re talking Jennifer Lame (fresh off “Oppenheimer”) and visual effects wizard Ben Grossman (the genius behind “Hugo”). They’re promising to keep Judy Garland’s iconic performance intact while adding enough tech wizardry to make even the Wicked Witch forget about those ruby slippers.
What’s fascinating – and a bit ironic – is how these two projects represent Hollywood’s current split personality. “Road House” crushed it on streaming with nearly 100 million views, proving folks are perfectly happy watching Gyllenhaal bounce baddies from their couches. Yet here comes the sequel, chasing that traditional theatrical glory that Liman wanted so badly for the original.
The “Oz” reimagining suggests something else entirely. Maybe the future isn’t about choosing between streaming and theaters. Perhaps it’s about creating entirely new ways to experience these stories we love so much. It’s as if Hollywood’s pulled a Dorothy, clicking its heels three times and realizing “home” might be somewhere completely different.
With Ritchie’s signature style – think cockney slang meets ballet-with-bruises – “Road House 2” could be more than just another punch-’em-up sequel. Add in screenwriter Will Beall (fresh from “Bad Boys: Ride or Die” and “Beverly Hills Cop: Axel F”), and you’ve got the makings of something that could actually justify its theatrical ambitions.
One thing’s certain – by this time next year, neither Kansas nor the roadhouse will look quite the same. And maybe that’s exactly what Hollywood needs right now: a little magic, a lot of innovation, and the courage to try something different.
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