Not all remakes and sequels are considered terrible. “Nosferatu,” releasing in December, is a remake of the 1922 horror film, and it is highly anticipated. 

But some say remakes or sequels are easy cash grabs for film studios. 

Of the 16 most anticipated movies to be released by the end of 2024, 12 are either a remake or a sequel. Of the 43 most anticipated films being released in 2025, 28 are a sequel or a remake, according to Rotten Tomatoes. 

Andy Windels, the theater manager at the Main Cinema, said he would rather watch a movie with an original concept than a remake or a sequel. Personally, Windels is exhausted by all the remakes and sequels.

“For the most part, I don’t think it’s a good thing to just sink more money into,” Windels said. “Not just for the culture, but financially I’m sort of confused why studios keep doing it.”

Legacy sequels, such as “Twisters” and “Top Gun: Maverick,” are an exception, according to Windels. Legacy sequels follow the original movie’s continuity, but they take place further along the timeline with completely different characters. “Beetlejuice Beetlejuice” and “Gladiator II” are recent examples. 

“That type of legacy sequels almost seems more obscure, feels more original, even though it is a franchise thing,” Windels said. 

Windels said he could not name many instances where he felt a sequel made sense. He said a good remake consists of what people liked about the original, updated for a modern movie experience. Otherwise, he is just not as interested. 

“It’s just more content to put on screens,” Windels said. “I think audiences can realize when that’s not interesting to them, and they will not go see it, or they’ll see it and they don’t like it.”

Anna Belden, a University of Minnesota senior and fellow movie-lover, said she likes remakes where the director has a new vision for it, such as “West Side Story” and “Dune.” She added Disney live-action remakes are not good. 

“I don’t like the idea of taking something from the exact same animated format to real people,” Belden said. “I don’t think that’s doing anything different. It’s not interesting. It really just feels like a cash grab.” 

The live-action “Beauty and The Beast” cemented Belden’s dislike for Disney live-action remakes. 

Both Windels and Belden, however, are looking forward to “Nosferatu.” Both agree that the time gap between the original and the remake is long enough to make it interesting. Robert Eggers, the director, has established credibility in having interesting directorial perspectives, Belden said. 

“One positive thing that a remake can have is to remind people about how big the original was, and people get interested in that,” Belden said. 

Reagan Frystak, the director of events for Studio U, said sequels make the most sense when the first movie in a projected film series ends on a cliffhanger. Some movies are better off as single releases, Frystak said. 

“I don’t really understand movies like ‘My Big Fat Greek Wedding,’ where it could have obviously been left at one movie, but they just decide to make two or three or four,” Frystak said. 

To Frystak, qualities of a good remake consist of passion for the film project, acknowledgement of the intellectual property (IP), and fans and filmgoers are kept in mind. 

“People who are involved in films, like the actors and the crew, should have passion and excitement for creating a sequel to a certain series or a remake,” Frystak said. 

Frystak also mentioned people in Hollywood and the entertainment industry are struggling right now, and it is important that writers and actors protect their rights. The writer’s strike is still affecting release dates and film production. 

The Cardinal Times chalks the abundance of sequels and remakes to the audience’s viewing habits and profit. 

Of all 53 movies that have grossed over $1 billion, 38 of them are sequels or remakes. 

From “Joker: Folie à Deux” to “Moana 2,” there are plenty of remakes and sequels to watch this fall and in the coming years.

Windels believes more and more people are getting tired of sequels and remakes. Nonetheless, studios feel more confident in franchise releases over independent releases. 

Windels said nearly all 50 of the Main Cinema’s top box office hits in the last decade have been remakes or sequels. Despite that, “Everything Everywhere All at Once” and “Lady Bird” were strong releases that audiences went out to see for weeks. 

“It does depend,” Windels said. “If it does enough of what fans like, or if it gives them enough of what they haven’t seen before, it strikes some weird balance, and it does well.”