I’ve mentioned it on here a time or three, but I’m not automatically averse to remakes. While people speak as though it’s a relatively new blight upon the world of cinema, there is a long, rich tradition of remaking movies in and outside of Hollywood, dating back to at least the 1920’s. Years pass, new technologies come along, new potential audiences come along, you try to update something that came before and, hopefully, make it even better than it was the first time. That last part is usually where the problems come in–when you’re remaking something that was already great, you better have a fantastic take on the material in store, otherwise people are likely to consider your efforts a waste of time at best.
Fortunately for the folks behind the new version of Flatliners, the movie they’re remaking wasn’t great to begin with, but had a premise loaded with potential. Unfortunately for them, this first trailer makes their efforts look like an uninspired waste of time.
I’ve written here before about a work I’ve read that tackles the same idea, and takes it far out into unexpected territory (perhaps too far out). So there’s certainly potential for such a story to be truly memorable. The trailer for this remake looks like it’s more in the vein of forgettable mid-grade work like 2015’s The Lazarus Effect, however. We get some midday hallucinations, a hand-slamming-window jump scare, an unearned scare-sting to accompany the image of the word MURDERER floating at the bottom of a pool in the most standardized office font you can picture. We get Ellen Paige giving us a Blair-Witch-esque weepy recorded confession, and then later we see her getting dragged backwards into the darkness by an unseen force, reminiscent of [Rec]. And look, I know that criticizing a movie for showing us some stuff we’ve seen before elsewhere is a bit foolish–there are no purely original ideas in fiction, after all–but when you’re remaking a movie with this premise, the first impression you make shouldn’t convey that even your execution is bland.
That MURDERER bit really stands out to me for how flavorless it is. It’s the kind of thing that comes off as a misguided effort to be subtle. Take note, when you have a character hallucinate seeing a word–in giant letters–that directly accuses them of something they feel guilty about, you have forsaken all hope of subtlety. Might as well do a Smooth Criminal lean in the other direction and try to make those letters really pop, and make the moment worthy of the scare chord you’re falling back on to sell the moment.
Speaking of the music, I will say that I don’t mind the chanting backing this trailer starting at the 1:45 mark. It’s little too grandiose for what we get, and would be better used in service of a trailer for a giallo flick.