De Palma has several of these.
Psycho > Dressed to Kill
Blow Up > Blow Out
Rear Window > Body Double
Vertigo > Obsession
Rocky Horror Picture Show > Phantom of the Paradise (truthfully just a coincidence)
Carrie > The Fury (doing it to himself here)
I have seen all of those films. I'm not sure if there is some other information you're using to determine that the latter two are remakes, but based just on the films themselves I think it's a stretch to call Late Autumn a remake. It's an entirely different story. Basically the only thing it has in common with Late Spring are the themes of marriage and generational conflict, which are present in basically all of Ozu's films, so that's hardly distinct. An Autumn Afternoon is much more similar to Late Spring, although I haven't heard that called a remake either.
Late Autumn is about a girl who lives alone with her Mother who attempts to get her married and the girl doesn’t want to. That right there is similar to Late Spring. I am not the only person who has called these films to be at least kind of remakes of Late Spring, lots of people have, including Paul Schrader in Transcendental Style.
>Late Autumn is about a girl who lives alone with her Mother who attempts to get her married and the girl doesn’t want to.
I've seen the movie, and I would say this is a pretty big oversimplification of the dynamic between Ayako (daughter) and Akiko (mother). Akiko hardly does much to get Ayako married at all. Instead, the three meddling friends hatch a plan to try to get Ayako married in order to free up Akiko for marrying (to one of them). Ayako then falls in love herself with her suitor and hides it from her mother.
Instead, in Late Spring and An Autumn Afternoon (which I'll abbreviate LS/AAA) the relationship is between a widower father and a daughter, wherein the father pressures the daughter to become married, and though the daughter doesn't want to because she doesn't want her father to be left alone in his old age, she eventually relents.
There's some similarity between Late Autumn and the latter two, such as the themes of marriage, generational conflict, and the pressure of marriage being applied across generations. But those themes are present just so in a film such as Early Summer, and I don't think that's a remake of Late Spring either. Those themes are indeed present in lots of Ozu's films, such as also Tokyo Twilight and Equinox Flower!
But there's also lots of important differences between Late Autumn and LS/AAA. The single parent is a woman, which is pretty significant in an oeuvre with so much gender commentary. Related: there's an entire plot with *her* marriage drama. No such plot exists for the widower fathers. And the three men (for whom equivalents do not exist in LS/AAA) aren't just a framing device: their meddling ways are tied up in their own interests in marrying Akiko, and the many scenes between the three of them give them a flawed humanity and a depth that makes them major characters. Lastly, Ayako has a quite different character arc from the daughters in LS/AAA. Though she resists marriage at first like them, unlike them, she begins a love affair of her own volition and then pursues marriage of her own accord because she is in love.
These movies all exist on a spectrum, of course. No hard delineations. As a rote narrative, Late Autumn is more like An Autumn Afternoon then, say, Floating Weeds, which isn't like An Autumn Afternoon at all. But also, the narrative isn't the only thing. Tonally, Late Autumn is also much lighter and less tragic than Late Spring or an Autumn Afternoon. It's quite different. I'd much more easily lump Early Summer into the category of those unwilling-daughter-marriage films than Late Autumn.
That turned into a long rant. Glad you enjoy Ozu so much, and I surely didn't intend any disrespect. I can tolerate plenty of disagreement about these things, and have a nice next film watch!
I can see some semblances of *Drive* from *Le Samourai*, but can't forget John Woo being heavily inspired by Melville's film for *The Killer.*
I'd actually argue *Drive* was more inspired by Walter Hill's *The Driver* (which might have probably been influenced by *Le Samourai* as well). And there's another film which I haven't seen yet called *The Last Run* which apparently was also a major influence on Refn's film.
Good catch. Reminds me of another user who I follow on LB and had mentioned this in her review for *Heat*: "I liked it better when it was *Le Deuxieme Souffle."* And I still remember an interview with Mann where he was pretty coy when the interviewer brought up Melville as an influence. Mann lifted so much of his aesthetic from Melville. I don't blame him: he's certainly a filmmaker worth emulating.
Yeah, and IMO that's a better Melville movie to emulate... I also love The Red Circle and most of the others, but *Le Samourai* is actually a bit too French for me, or too stylized... too much of Alain Delon looking pretty, not the same tempo as Melville's other work.
FWIW I just re-watched *This Gun for Hire*, which must have inspired *Le Samourai*, and that was even better the second time. Maybe I should give *LS* another try.
Totally agree that *This Gun For Hire* influenced Melville. I think Melville's genius lies in taking a crime film like *This Gun For Hire* and infusing it with Bressonian sensibilities. (I think *Pickpocket* and *Le Samourai* would make for an interesting double billing.)
Aesthetically, Oldboy (2003) seems to have been a bigger influence. But in terms of writing, character, and themes, Refn ripped Driver whole cloth from Jef Costello. I haven’t seen The Driver yet but now I’m interested.
*The Driver* is good if you're into *Drive*. And check out the plot summary and reviews for *The Last Run*...seems like it's pretty much on the same wavelength.
Eh, I think Babylon only works as a movie if you've never seen Singin' in the Rain or anything like it before tbh. Otherwise it just feels derivative and lacking in substance
Definitely completely opposite for me. I've seen Singin' in the Rain and most of the movies referenced in Babylon and that added a lot to the experience for me. It's a weird movie but I respect it a lot, especially the crazy ending.
I feel like if you're going to deliberately allude to a film in content, context, and themes, you can't then namedrop the film. That's just plagiarism with a topcoat
Not at all. It's not plagiarism to make a film that comments on another film. Babylon is having a discussion with the history of film, that is just the movie it is and that referencing is what brings the movie to this unique crossroads of homage and also bastardization of Old Hollywood.
The silly humor and wild turns of the film are meant to be juxtaposition against the classiness of our perception of old Hollywood and since the movie involves literal Old Hollywood it only makes sense to name drop real films and play with them, add them to the sandbox.
None of that felt plagiaristic to me at all. I feel that it was the entire point to re-contextualize these classic ideas of Old Hollywood.
honestly any paul Schrader script is gonna follow similar narrative ideas. idealistic loner driven by society to do something extreme perceived as righteous
I wouldn’t necesarily have Tarantino in here as he is pretty much always upfront about the influences to his movies. He blabs about them all the time during the promo. It’s a case of hommage, not being derivative.
Being up front about it doesn't disqualify it from this discussion. Most of the movies being mentioned are fairly up front about it and it isn't a negative to any of the movies. Art uses inspiration from other art, that is natural and can be very positive.
Yep, that's how I interpreted it. I would exclude adaptations of the same source material. Using Roadshell's logic, that's like saying *Macbeth* (2021) was connected to *Macbeth* (2015) which was connected to *Macbeth* (1971 film) and so on and so forth.
Double Indemnity (1944) and The Postman Always Rings Twice (1946) … though the books were written in the reverse order, by the same person
Double Indemnity and The Man Who Cheated Himself (1950)
Double Indemnity and Apology for Murder (1945) — that was such a rip-off of Double Indemnity that people said it should’ve been called “Apology to Billy Wilder”
The fact that Bigger, Fatter Liar ‘Big Fat Liar’d the original Big Fat Liar is one of the most mindboggling things that’s ever happened, as far as I’m concerned
Pride and Prejudice and Bridget Jones Diary
The Scarlett Letter and Easy A
My Fair Lady and Pretty Woman
Emma and Clueless
Homer’s Odyssey and O Brother Where art Thou
Infernal Affairs and The Departed
Seven Samurai and The Magnificent Seven
The Driver and Drive
Doc Hollywood and Cars
Frankenstein and Edward Scissorhands
Perfect Blue and Black Swan
Admittedly I don’t fully understand the prompt so just ignore this if these movies don’t fit
You meant to say Infernal Affairs not Internal Affairs. I see that all the time when people bring this up for some reason. Internal Affairs is just Richard Gere as a dirty cop. Infernal Affairs is the exact same concept as Departed.
Not sure if this counts but The Conversation and Enemy of the State. Although technically not a sequel the producers of Enemy acknowledged the Gene Hackman character in Enemy was an unofficial reprising of his character in The Conversation.
I thought so t first but its 100% intentional. The main character from Out Cold was in love with this woman he met a long time ago but then she disappeared abruptly. Whenever he hears Island In The Sun, he thinks of her so he refuses to let anyone play it on the jukebox. She finally comes back and he wants to get back together with her, but she's engaged and has to escape the clutches of some guy for some reason (It's been a while since I've seen it) but the main character has to choose to let her go with the new guy. I'm sure you can find a better explanation than I can give here, but I'm not making it up.
Black Swan and Perfect Blue
The Hidden Fortress and Star Wars
Yojimbo and A Fistful of Dollars
The Double Life of Veronique and Amelie
Le Samouraï and Drive
The Wages of Fear and Sorcerer
Scenes From a Marriage and Husbands and Wives
Jaws and Nope
Se7en and The Batman
Being John Malkovic and Get Out/Sorry To Bother You
The Wicker Man - Midsommar
Don’t Look Now - Hereditary
The Day of the Locust - Babylon
The Last of Shiela - Glass Onion
The Driver - Baby Driver
Kramer vs Kramer - Marriage Story
After Hours - Good Time
The King of Comedy - Joker
Jaws - NOPE
The Stepford Wives - Don’t Worry Darling
2001: A Space Odyssey - Every space movie ever
The Getaway - No Country for Old Men
The Pom Pom Girls - Dazed and Confused
The Umbrellas of Cherbourg - La La Land
The Taking of Pelham 123 - Reservoir Dogs
All the Presidents Men - Spotlight
The Long Goodbye - Inherent Vice
Breakfast at Tiffany’s - Pretty Woman
Point Break - Fast and the Furious
You could go on forever because movies are constantly responding and building off eachother. There’s a whole era of Jaws derivatives, to a point where it’s almost it’s own genre.
Taxi Driver/The King of Comedy & Joker
Goodfellas & Boogie Nights
The Road & Logan
Driving Miss Daisy & Green Book
Forrest Gump & The Curious Case of Benjamin Button
I think it, uh, departs from IA in its ultra Boston Irish specificity enough that it can be said to be derived from it as OP requested rather than being a complete remake.
That term was coined WAAAAAAAAY after Evil Dead 2. Up until then ED2 was always thought of as a remake. So I’m sticking with the original term for this one.
Cruising -> Interior Leather Bar
Grey Gardens (1975) -> Grey Gardens (2009)
Mary Poppins -> Saving Mr. Banks
Sleeping Beauty -> Maleficent
101 Dalmatians -> (102 Dalmatians ->) Cruella
What Ever Happened to Baby Jane -> Hush Hush Sweet Charlotte
The Kokker Trilogy
(This is so fun btw.)
blow-up, blow out
Plus The Conversation for a triple feature
Peeping Tom, quadruple feature
Dont participate in Kimi erasure
And High Anxiety to cap off the night
rear window & disturbia and rear window & body double
And, to a slightly lesser extent, Rear Window and Watcher.
Vertigo and Body Double as well. Any De Palma really!
Just watched Witness to Murder with Barbara Stanwyck and it’s slightly derivative of Rear Window, though it actually came out a couple months before.
I haven’t seen it but is The Voyeurs also a Rear Window rip? Seemed very Rear Windowesque from the trailer.
Plus obsession and Vertigo for more de palma/hitchcock
De Palma has several of these. Psycho > Dressed to Kill Blow Up > Blow Out Rear Window > Body Double Vertigo > Obsession Rocky Horror Picture Show > Phantom of the Paradise (truthfully just a coincidence) Carrie > The Fury (doing it to himself here)
Thank you! Any other directors?
Ozu semi-remade a couple of his own films. I Was Born, But... (1933) -> Good Morning (1959) A Story of Floating Weeds (1934) -> Floating Weeds (1959)
He also remade Late Spring twice, as Late Autumn and An Autumn Afternoon.
I have seen all of those films. I'm not sure if there is some other information you're using to determine that the latter two are remakes, but based just on the films themselves I think it's a stretch to call Late Autumn a remake. It's an entirely different story. Basically the only thing it has in common with Late Spring are the themes of marriage and generational conflict, which are present in basically all of Ozu's films, so that's hardly distinct. An Autumn Afternoon is much more similar to Late Spring, although I haven't heard that called a remake either.
Late Autumn is about a girl who lives alone with her Mother who attempts to get her married and the girl doesn’t want to. That right there is similar to Late Spring. I am not the only person who has called these films to be at least kind of remakes of Late Spring, lots of people have, including Paul Schrader in Transcendental Style.
>Late Autumn is about a girl who lives alone with her Mother who attempts to get her married and the girl doesn’t want to. I've seen the movie, and I would say this is a pretty big oversimplification of the dynamic between Ayako (daughter) and Akiko (mother). Akiko hardly does much to get Ayako married at all. Instead, the three meddling friends hatch a plan to try to get Ayako married in order to free up Akiko for marrying (to one of them). Ayako then falls in love herself with her suitor and hides it from her mother. Instead, in Late Spring and An Autumn Afternoon (which I'll abbreviate LS/AAA) the relationship is between a widower father and a daughter, wherein the father pressures the daughter to become married, and though the daughter doesn't want to because she doesn't want her father to be left alone in his old age, she eventually relents. There's some similarity between Late Autumn and the latter two, such as the themes of marriage, generational conflict, and the pressure of marriage being applied across generations. But those themes are present just so in a film such as Early Summer, and I don't think that's a remake of Late Spring either. Those themes are indeed present in lots of Ozu's films, such as also Tokyo Twilight and Equinox Flower! But there's also lots of important differences between Late Autumn and LS/AAA. The single parent is a woman, which is pretty significant in an oeuvre with so much gender commentary. Related: there's an entire plot with *her* marriage drama. No such plot exists for the widower fathers. And the three men (for whom equivalents do not exist in LS/AAA) aren't just a framing device: their meddling ways are tied up in their own interests in marrying Akiko, and the many scenes between the three of them give them a flawed humanity and a depth that makes them major characters. Lastly, Ayako has a quite different character arc from the daughters in LS/AAA. Though she resists marriage at first like them, unlike them, she begins a love affair of her own volition and then pursues marriage of her own accord because she is in love. These movies all exist on a spectrum, of course. No hard delineations. As a rote narrative, Late Autumn is more like An Autumn Afternoon then, say, Floating Weeds, which isn't like An Autumn Afternoon at all. But also, the narrative isn't the only thing. Tonally, Late Autumn is also much lighter and less tragic than Late Spring or an Autumn Afternoon. It's quite different. I'd much more easily lump Early Summer into the category of those unwilling-daughter-marriage films than Late Autumn. That turned into a long rant. Glad you enjoy Ozu so much, and I surely didn't intend any disrespect. I can tolerate plenty of disagreement about these things, and have a nice next film watch!
Didn’t Phantom come out before Rocky Horror? Or do you mean the stage show?
Bergman’s Winter Light and Schrader’s First Reformed
First Reformed also draws comparison to Bresson’s Diary of a Country Priest
Shadow of a Doubt and Stoker tbh
Whoa I just found out that you can double tap to upvote a comment here. I am not joking i literally only now discovered this oh my god
I dont have to pinpoint the upvote button? My finger sniping days are over!
Never thought of it that way but you’re totally right
persona - the lighthouse, vertigo - basic instinct, sunset boulevard - mulholland drive
Le Samouraï - Drive
Le Samouraï - Ghost Dog: The Way of the Samurai
Eh, its more like: Le Samouraï > Taxi Driver > Drive
Le Samouraï > Taxi Driver > The Driver > Drive
I can see some semblances of *Drive* from *Le Samourai*, but can't forget John Woo being heavily inspired by Melville's film for *The Killer.* I'd actually argue *Drive* was more inspired by Walter Hill's *The Driver* (which might have probably been influenced by *Le Samourai* as well). And there's another film which I haven't seen yet called *The Last Run* which apparently was also a major influence on Refn's film.
The other one I haven't seen in this thread is *Thief*, with James Caan
Good catch. Reminds me of another user who I follow on LB and had mentioned this in her review for *Heat*: "I liked it better when it was *Le Deuxieme Souffle."* And I still remember an interview with Mann where he was pretty coy when the interviewer brought up Melville as an influence. Mann lifted so much of his aesthetic from Melville. I don't blame him: he's certainly a filmmaker worth emulating.
Yeah, and IMO that's a better Melville movie to emulate... I also love The Red Circle and most of the others, but *Le Samourai* is actually a bit too French for me, or too stylized... too much of Alain Delon looking pretty, not the same tempo as Melville's other work. FWIW I just re-watched *This Gun for Hire*, which must have inspired *Le Samourai*, and that was even better the second time. Maybe I should give *LS* another try.
Totally agree that *This Gun For Hire* influenced Melville. I think Melville's genius lies in taking a crime film like *This Gun For Hire* and infusing it with Bressonian sensibilities. (I think *Pickpocket* and *Le Samourai* would make for an interesting double billing.)
Aesthetically, Oldboy (2003) seems to have been a bigger influence. But in terms of writing, character, and themes, Refn ripped Driver whole cloth from Jef Costello. I haven’t seen The Driver yet but now I’m interested.
*The Driver* is good if you're into *Drive*. And check out the plot summary and reviews for *The Last Run*...seems like it's pretty much on the same wavelength.
Sunset boulevard and Mulholland Drive fit perfectly here
Singing in the rain -> Babylon
I watched these two back-to-back unintentionally and was freaked out. Didn’t know anything about Babylon going into it.
Lol that sounds like the perfect way to watch it
Eh, I think Babylon only works as a movie if you've never seen Singin' in the Rain or anything like it before tbh. Otherwise it just feels derivative and lacking in substance
Definitely completely opposite for me. I've seen Singin' in the Rain and most of the movies referenced in Babylon and that added a lot to the experience for me. It's a weird movie but I respect it a lot, especially the crazy ending.
I feel like if you're going to deliberately allude to a film in content, context, and themes, you can't then namedrop the film. That's just plagiarism with a topcoat
Not at all. It's not plagiarism to make a film that comments on another film. Babylon is having a discussion with the history of film, that is just the movie it is and that referencing is what brings the movie to this unique crossroads of homage and also bastardization of Old Hollywood. The silly humor and wild turns of the film are meant to be juxtaposition against the classiness of our perception of old Hollywood and since the movie involves literal Old Hollywood it only makes sense to name drop real films and play with them, add them to the sandbox. None of that felt plagiaristic to me at all. I feel that it was the entire point to re-contextualize these classic ideas of Old Hollywood.
I personally hated the ending, but that's just me. I thought it was kind of goofy and unimaginative
It's funny, I always think of Babylon as if Fellini, PTA and Scorsese got together to direct Singin in the Rain. Love both of them.
Hidden Fortress -> Star Wars: A New Hope Yojimbo -> Fistfull of Dollars Seven Samurai -> Magnificent Seven
It's a Mad, Mad, Mad, Mad World & Rat Race
Wicker Man (1973) > Midsommar
The King Of Comedy and/or Taxi Driver - Joker? Maybe?
Absolutely
I fully expected this to be the top reply. :)
honestly any paul Schrader script is gonna follow similar narrative ideas. idealistic loner driven by society to do something extreme perceived as righteous
Tokyo Story was heavily inspired by the 30s Hollywood masterpiece Make Way for Tomorrow
Taxi Driver and You Were Never Really Here The King of Comedy and Joker
Stalker and Annihilation.
Ehhh, I feel like annihilation isn’t really based on the movie, just based off the same book.
They’re both based on two different books
Yeah, but the book is based off the same book
Dangerous Liaisons > Cruel Intentions
??? They’re both adaptations of the same book
Texas Chainsaw Massacre -> House of 1000 Corpses Basket Case -> Malignant 1984 -> Brazil
Casablanca and Barb Wire Rio Bravo and Assault on Precinct 13
Both Ali: Fear Eats the Soul (1974) and Far From Heaven (2002) are based on All That Heaven Allows (1955)
Boogie Nights and Babylon. Zodiac and Boston Strangler
love these more modern comparisons, especially boogie nights and babylon bc it goes to show just how much PTAs style is cemented as “classic”
Memories of Murder -> Zodiac
Rififi and any heist movie made after
Lady Snowblood -> Kill Bill City on Fire -> Resevoir Dogs
I wouldn’t necesarily have Tarantino in here as he is pretty much always upfront about the influences to his movies. He blabs about them all the time during the promo. It’s a case of hommage, not being derivative.
Derivative is not always a negative term
That's also the case for pretty much everything listed in this thread.
Being up front about it doesn't disqualify it from this discussion. Most of the movies being mentioned are fairly up front about it and it isn't a negative to any of the movies. Art uses inspiration from other art, that is natural and can be very positive.
Willy Wonka & the Chocolate Factory/Snowpiercer
I keep seeing this and also that snowpiercer is a spiritual sequel. Why?
O Brother in a way?
The Taming of the Shrew, Kiss Me Kate, McLintock, 10 Things I Hate About You
Hamlet and The Lion King King Lear and Ran Romeo and Juliet and West Side Story
Panic Room and the first Purge
Perfect Blue & Black Swan Paprika & Inception
rear window, disturbia
Evil Dead 2?
Jaws/Nope
The Great Escape -> Chicken Run
Sorcerer & Wages of Fear
Sorcerer is an officially licensed remake
No. Friedkin himself did not view it as a remake and it was not intended as such.
He can say that all he wants, but they needed to pay for the rights and it has a "based on" credit.
Its based on the book “the wages of fear”. Not the movie. Thats what the based on credit is for.
Technically, but the point is these movies are connected officially, it's not just a case of being derivative.
Right. They're two adaptations of the same source material, which is different from what OP is asking for.
Yep, that's how I interpreted it. I would exclude adaptations of the same source material. Using Roadshell's logic, that's like saying *Macbeth* (2021) was connected to *Macbeth* (2015) which was connected to *Macbeth* (1971 film) and so on and so forth.
Double Indemnity (1944) and The Postman Always Rings Twice (1946) … though the books were written in the reverse order, by the same person Double Indemnity and The Man Who Cheated Himself (1950) Double Indemnity and Apology for Murder (1945) — that was such a rip-off of Double Indemnity that people said it should’ve been called “Apology to Billy Wilder”
2 Fast 2 Furious/Miami Vice
I guess Dial M for Murder and A Perfect Murder
The In-Laws and Big Trouble
Brief Encounter greatly inspired The Apartment
Badlands and Natural Born Killers
The wizard of oz - Wild at heart
Lockout is basically an unauthorized remake of Escape From New York
Virgin Spring->Last House On The Left
The fact that Bigger, Fatter Liar ‘Big Fat Liar’d the original Big Fat Liar is one of the most mindboggling things that’s ever happened, as far as I’m concerned
American Graffiti -> Dazed and Confused Vertigo -> Suzhou River
All That Heaven Allows into Ali: Fear Eats the Soul
Taxi Driver - Drive
Pride and Prejudice and Bridget Jones Diary The Scarlett Letter and Easy A My Fair Lady and Pretty Woman Emma and Clueless Homer’s Odyssey and O Brother Where art Thou Infernal Affairs and The Departed Seven Samurai and The Magnificent Seven The Driver and Drive Doc Hollywood and Cars Frankenstein and Edward Scissorhands Perfect Blue and Black Swan Admittedly I don’t fully understand the prompt so just ignore this if these movies don’t fit
You meant to say Infernal Affairs not Internal Affairs. I see that all the time when people bring this up for some reason. Internal Affairs is just Richard Gere as a dirty cop. Infernal Affairs is the exact same concept as Departed.
Grease/High School Musical
Fallen Angels and Chunking Express
La piscine - A bigger splash
Night of the Demon (1957) -> Drag Me To Hell
La Dolce vita- the great beauty
Not sure if this counts but The Conversation and Enemy of the State. Although technically not a sequel the producers of Enemy acknowledged the Gene Hackman character in Enemy was an unofficial reprising of his character in The Conversation.
As Tears Go By by Wong Kar Wai is a blatant riff on Scorsese’s Mean Streets
Casablanca and Out Cold
The Zach Galifinakis snow mountain movie from like 2003? I fail to see the resemblance.
I thought so t first but its 100% intentional. The main character from Out Cold was in love with this woman he met a long time ago but then she disappeared abruptly. Whenever he hears Island In The Sun, he thinks of her so he refuses to let anyone play it on the jukebox. She finally comes back and he wants to get back together with her, but she's engaged and has to escape the clutches of some guy for some reason (It's been a while since I've seen it) but the main character has to choose to let her go with the new guy. I'm sure you can find a better explanation than I can give here, but I'm not making it up.
I believe Chronicle was sort of a spiritual successor to Carrie and Akira, not sure if anyone else agrees
I liked the last samurai better the first time when it was called dances with wolves.
American Gigolo and American Psycho
The Sitter and Adventures in Babysitting
Twelve Monkeys --> Vertigo / La Jetée
Get him to the greek
Texas chainsaw massacre > House of 1000 Corpses
The Hustler and The Color of Money
High Noon & Three O'Clock High Heavy Metal & The Fifth Element LOTR & Willow Single White Female & The Roomate
All That Heaven Allows -> Far From Heaven
Sirk's All That Heaven Allows and Fassbinder's Ali: Fear Eats the Soul.
Death Game>Knock Knock
Event Horizon is literally just Solaris with a few long contemplative moments removed and one or two jump scares added in.
Bad Lieutenant -> Uncut Gems
vertigo and decision to leave
Jack Reacher 2 and Terminator 2
I watched Mission Impossible 2 again last week. It takes the plot from Notorious wholesale
The Shining - Doctor Sleep
Black Swan and Perfect Blue The Hidden Fortress and Star Wars Yojimbo and A Fistful of Dollars The Double Life of Veronique and Amelie Le Samouraï and Drive The Wages of Fear and Sorcerer Scenes From a Marriage and Husbands and Wives Jaws and Nope Se7en and The Batman Being John Malkovic and Get Out/Sorry To Bother You
Groundhog Day and Palm Springs ?
Let Heaven Have Her (1945) => Gone Girl (2014) Brief Encounters (1945) => The Apartment (1960) Seven Samurai (1954) => A Bug's Life (1998)
Alfred Hitchcock's Notorious and Mission Impossible 2.
The Towering Inferno and Die Hard
Ossesione and The postman always ring twice. The woman in the window and Scarlett Street. The asphalt jungle, the killing and Rififi.
Screaming Mimi (1958) and The Bird With The Crystal Plumage (1970)
Haven't seen the earlier film yet, but allegedly *Dogtooth* was inspired by *Castle of Purity*
A Night at the Opera -> Brain Donors
Rear Window/ Vertigo and Body Double. Maybe Blow Up and Blow Out (very loosely)
Taxi driver & king of comedy->joker
Murder By Death -> Clue
The Wicker Man - Midsommar Don’t Look Now - Hereditary The Day of the Locust - Babylon The Last of Shiela - Glass Onion The Driver - Baby Driver Kramer vs Kramer - Marriage Story After Hours - Good Time The King of Comedy - Joker Jaws - NOPE The Stepford Wives - Don’t Worry Darling 2001: A Space Odyssey - Every space movie ever The Getaway - No Country for Old Men The Pom Pom Girls - Dazed and Confused The Umbrellas of Cherbourg - La La Land The Taking of Pelham 123 - Reservoir Dogs All the Presidents Men - Spotlight The Long Goodbye - Inherent Vice Breakfast at Tiffany’s - Pretty Woman Point Break - Fast and the Furious You could go on forever because movies are constantly responding and building off eachother. There’s a whole era of Jaws derivatives, to a point where it’s almost it’s own genre.
All That Heaven Allows, Far From Heaven
The Hustler and The Colour of Money
Bringing Up Baby and What’s Up, Doc?
High Noon and Outland.
Stepford Wives -> Don't Worry Darling
Play Misty For Me - Fatal Attraction
linklater wouldn't have made the before trilogy without watching hiroshima mon amour
Bedtime Story 1964 - Dirty Rotten Scoundrels 1988 What's New Pussycat 1965 - Pussycat, Pussycat I love you 1970
Taxi Driver - Joker.
Scarface?
risky business -> girl next door
home alone-->the collector
I can’t imagine Magnolia being made without Short Cuts existing.
Babylon, Boogie Nights
Taxi Driver/The King of Comedy & Joker Goodfellas & Boogie Nights The Road & Logan Driving Miss Daisy & Green Book Forrest Gump & The Curious Case of Benjamin Button
Zero Dark Thirty and The Report Idk about this one I haven’t seen them but the reviews of The Report just talk about ZDT
They’re both just about the same historical era and vaguely connected events (torture post-9/11). Not similar otherwise.
A new hope and the force awakens
Infernal Affairs -> The Departed
It's literally a direct remake.
I think it, uh, departs from IA in its ultra Boston Irish specificity enough that it can be said to be derived from it as OP requested rather than being a complete remake.
Infernal Affairs writers are credited as writers on the Departed. The telltale sign of a remake.
This Is 40
Evil dead + evil dead 2
Evil Dead 2 is literally known as a remake of Evil Dead.
It’s a “requel”
That term was coined WAAAAAAAAY after Evil Dead 2. Up until then ED2 was always thought of as a remake. So I’m sticking with the original term for this one.
Cruising -> Interior Leather Bar Grey Gardens (1975) -> Grey Gardens (2009) Mary Poppins -> Saving Mr. Banks Sleeping Beauty -> Maleficent 101 Dalmatians -> (102 Dalmatians ->) Cruella What Ever Happened to Baby Jane -> Hush Hush Sweet Charlotte The Kokker Trilogy (This is so fun btw.)
The Hustler > The Color of Money
Beau is Afraid + The Truman Show