From ‘Valor de ley’ to ‘Let me in’: 10 great remakes of the 21st century

Mercilessly massacred by the public after its premiere, Len Wiseman’s “Total Challenge” completely carried the weight of the memory of Paul Verhoeven’s masterpiece, leaving almost no possibility of an answer. However, Despite not touching its landmarks, this is an action and science fiction show that is fun from start to finish.becoming a remarkable show in which, if we can forget where we come from, there is only room for the more recognizable fun than popcorn.

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After finishing the impressive “Lord of the Rings” trilogy, Peter Jackson he devoted himself body and soul to the admirable task of making one of his great professional dreams come true. And it is that, among all the films ever made, there is one with which the director has a bond that goes far beyond the merely cinematic: ‘King Kong’. From early childhood Jackson devoured with unparalleled passion every frame of the masterpiece signed by Merian C. Cooper and Ernest B. Schoedsack in 1933, becoming a sort of liturgy that he fell in love with over and over again with the seventh art.

A wonderful tradition that ended up becoming a sensational and misunderstood masterpiece with this ‘King Kong’, one of the most overwhelming, beautiful, vibrant and spectacular blockbusters of all time. Pure adventure, overflowing with emotion, hypnotic mystery and a romance of overwhelming beauty: ‘King Kong’ has it all. And nothing fails. A contemporary classic at the height of the legendary monster of him.

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One of the most characteristic and exciting images of that wonderful film genre called western is that of a random train arriving in a random city that awaits its new inhabitants with a mixture of anticipation and discomfort. In this sense, if we look back, exactly to the year 2007, we find ‘The 3:10 Train’, a remake of the wonderful 1957 eponymous film starring Glenn Ford, in a role he inherited on this occasion. a perfectly restrained Russell Crowe, in which a man in serious financial difficulty, great Christian Bale volunteers to accompany a dangerous outlaw to the city where he must catch that hourly train that will take him to the end.

Destiny on the tracks, the door to loneliness and pain, the horizon marked by fear and represented by an imposing vehicle which is, according to the eyes with which each character looks at it, salvation and condemnation. One of the great westerns (and remakes) of recent years.

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David Fincher brought this story of serial killers, disappearances and investigative journalism to millions of readers. into something new and exciting, amplifying the traces of disturbance that the novel has ended up hiding under the terrible blows. From her unforgettable credit headlines, ‘Millennium: The Men Who Didn’t Love Women’ justifies its cinematic (re) reading with exquisite staging, a photograph that has become a key feature of the director’s latest work and a column sound composed by Trent Reznor and Atticus Ross that manages to create an atmosphere of constant discomfort.

Lisbeth Salander, interpreted with extreme precision by an immense Rooney Mara, is part of the history of contemporary literature. Fincher is of the movies. And the combination of both could not be solved with any other result than a film as powerful as the one we are facing. The strength of a director who, like Larsson’s novels, hides a universal genius behind his armor as a cult artist. And popular.

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Rarely, perhaps never, has an Oscar been celebrated as much as the one received by Martin Scorsese, attention, Steven Spielberg, Francis Ford Coppola and George Lucas, only Brian de Palma was missing, for his direction in “The Departed”. And it is that, as much as the Academy tries to justify itself, it made no sense that the New York director didn’t have any statuette in the house.

It had to, we had to wait until 2006 to get it, but, at least, the corresponding film lived up to the myth. Remake of the remarkable ‘Dirty Game’, this fabulous ‘The Departed’ marked Scorsese’s return to the kind of cinema that lovers of the seventh art always refer directly to him. In deep respect for its referent, here we find a director enjoying this vibrant, violent and hilarious thriller about cops, criminals, cats, moles and mice. All happy.

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Luca Guadagnino’s ‘Suspiria’ is a constant fire, a visual explosion, individual and collective delirium, resonance in the face of subtlety, screams in the depths and a hasty short circuit disguised as dancing calm. Y a masterpiece.

It is not just a remake that improves almost all the elements of its original, and that Dario Argento’s film is truly wonderful, but a unique experience, a hypnotic web, a sad and contagious melancholy that, if you can insert it, you will never forget it.

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A remake of the 1962 John Frankenheimer-directed film of the same name, ‘The Manchurian Candidate’ brought back the best version of a Jonathan Demme who was shipwrecked in a big way with his previous project, ‘The Truth About Charlie’. On that occasion the filmmaker dared to make another revision, in this case of that 1963 jewel called ‘Charada’, with poor results. Fortunately, two years later He had the audacity to present a rematch at the climax, yes, in much more favorable terrain, the thriller.

Despite the fact that intrigue and mystery have a strong presence throughout the plot, “The Messenger of Fear” provides an indisputable social and political component, both cinematic and vengeful, evident in its protest against the war but, at the same time, constantly focused. in search of total spectator enjoyment. And he manages to achieve all his goals, in substance and form, in a more than remarkable way, even managing to surpass the original film. A great movie.

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After starring in one of the most amazing Oscar races of recent years with a last-second win that thrilled and angered the respectable, ‘CODA: The Sounds of Silence’ he finally lives peacefully in his (much) higher condition than his original makeover. And it’s not that “The Bélier Family” wasn’t a good movie, but rather that the proposal directed by Sian Heder offered more fun and excitement, better performances, unforgettable Troy Kotsur and a lot more precision when it came to moving to tears. A film as simple as it is effective whose vision continues to be a safe bet for having fun at the cinema.

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When one, several days after having seen a film, remembers one of his scenes with a lump in his throat, one realizes that he has witnessed a film capable of leaving a mark. And this happens with this American remake of ‘Let Me Enter’, a proposal that collects the testimony of its original Swedish to enhance and complete it, understand it and respect it, make it exciting and moving tribute.

And the task was by no means easy. The film directed by Tomas Alfredson marked a small milestone in the history of the genre, being one of the most respected and loved films by all those who were able to enjoy it in its short and unfair career in the cinemas of our country. So the work that Matt Reeves had before him was presented as a risk, for many, useless. And so came another exception that confirms the rule: yes, you can do good or, as in this case, excellent remakes.

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