![]() He’s not the only franchise star, though, who has died and been resurrected within the same film. But in a final frame that will have surprised no one because, d’uh, Superman, it was revealed he would be flying in for more adventures. Last month’s critically reviled Batman v Superman: Dawn of Justice ended with a clear winner, as Superman finished the story in a coffin. Again, if a star such as Jolie were to join a film struggling for a green light, it would make a major difference. Jolie has been rather upfront about her thoughts on coming back (“They were but I kind of feel like if I die in a movie, I should die actually,” she told Coming Soon) but Universal are reportedly still trying to tempt her. A sequel became a priority, yet the death of Angelina Jolie’s character in the first film meant they were missing their biggest star. Wanted was another graphic novel adaptation that became a surprise hit ($341m worldwide). The same problem has kept Wanted 2 firmly in development hell. The suggestion he is now returning is illogical but not that surprising.Įxactly how he’ll rise from the ashes is the difficulty though. Producers have already added Julianne Moore and Halle Berry to the cast, but Firth remains the face that most associate with the Kingsman brand. While Eddie the Eagle’s domestic numbers might have helped to further Taron Egerton’s star status, he’s still not enough of a name to hinge an entire blockbuster on. ![]() The surprising box-office success of Kingsman ($414m worldwide) has meant that a sequel became an inevitability, but the death of Colin Firth’s character left the franchise lacking. The need to resurrect, on the other hand, is often down to a far more simplistic explanation: money. A grisly death rather than a sly offscreen exit is a more dramatic ending, and just last year it was Harrison Ford’s own suggestion that Han Solo should make his final appearance in Star Wars: The Force Awakens (although rumours persist that he might also be returning). Thirdly, and most plainly, a demise correlates with an actor’s wish to leave a franchise. A shock death, teased in reviews and marketing, is tantalising, and has us oscillating between our hatred for spoilers and desperate need for answers. The recent success of 10 Cloverfield Lane showed yet again that the promise of the unknown is a juicy enough prospect to get us into cinemas, while on the small screen, Game of Thrones continues to make headlines with its ruthless disposal of key stars. Secondly, an untimely death taps into our love of surprise. In Snow White and the Huntsman, the only way the fairytale could end was with our pale-skinned heroine killing the story’s antagonist. Justice has been served and the plot can finally reach a satisfying conclusion. Firstly, if it’s a villain then we, as an audience, receive some catharsis. The death of a major character can be beneficial for a number of reasons. Harrison Ford and Carrie Fisher’s characters are torn apart by death in Star Wars: The Force Awakens. As Annie screamed: “This isn’t fair!” It’s having your cake and eating it on a grand scale. Last week, Taron Egerton tweeted a teaser poster for Kingsman 2 that suggests Colin Firth’s character will be making a miraculous recovery from a bullet to the head, while we’ve also just seen Charlize Theron’s Evil Queen survive her death by becoming part of a magic mirror in The Huntsman: Winter’s War.Įxpecting clear logic and rationality from films that have tie-ins with soft drink brands is a somewhat fruitless pursuit, but it’s still disappointing, given the teams of writers who often work on franchise films, to see so-called cheats taking place. She would have got in a lather over the return of Bobby Ewing, casually taking a shower despite being dead, and would have started wielding a sledgehammer as Harold Bishop returned to Madge even though he was lost at sea.īut unlikely resurrections, as ridiculed as they may be, have persisted, and not just on the small screen. It’s therefore unlikely that Annie was a fan of soaps. In one memorable moment of Oscar-winning outrage, she took aim at characters coming back to life and the outlandish mechanics that are used to explain how this could happen (“He didn’t get out of the cockadoodie car!”).
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