When are the remakes going to stop? Does Hollywood not have a shred of originality left in its bones to come up with a story that hasn’t been told before?
THR just dropped the news that Amazon/MGM Studios and Ryan Reynolds are developing a remake of Michael Cimino’s 1974 feature Thunderbolt and Lightfoot. Reynolds is set to star, co-writing the script with Fargo season four writers Enzo Mileti and Scott Wilson. The original film—a buddy crime comedy starring Clint Eastwood as a bank robber disguised as a preacher and Jeff Bridges as a low-level street thief—stands perfectly fine on its own. It’s a classic. It’s beloved. It doesn’t need a 2025 facelift.
But here we are. Again.
And it’s not just Thunderbolt and Lightfoot. I’ve compiled a list of remakes that have been greenlit in the last 24 months, and the sheer volume is staggering. Ready? Vertigo, Starship Troopers, The Night of the Hunter, The War of the Roses, Scarface, The Thomas Crown Affair, Bloodsport, Audition, House of Games, The Faculty, The Man From Rio, Headhunters, The Hand That Rocks the Cradle, A Colt is My Passport, Fail Safe, Near Dark, 9 to 5, Creature From the Black Lagoon, Possession, A Fistful of Dollars, Backdraft, Another Round, The Wizard of Oz, The Conversation, Rope, The Fly, It’s A Wonderful Life, Body Heat, It’s A Mad Mad Mad World, Witches of Eastwick, Forbidden Planet, Deep Impact, Idle Hands, Cliffhanger, Cruel Intentions, Clue, The ‘Burbs, Highlander.
Forty-plus remakes. In two years. Some of these are classics. Some are cult favorites. Some are masterpieces that should be left alone. And Hollywood is remaking all of them anyway.
The Original ‘Thunderbolt and Lightfoot’ Doesn’t Need This
Let’s talk about what made the original Thunderbolt and Lightfoot work. It was Michael Cimino’s directorial debut, a lean, character-driven crime film with a buddy comedy heart. Clint Eastwood played John “Thunderbolt” Doherty, a bank robber on the run from his former gang, who mistakenly believe he betrayed them. Along the way, he crosses paths with Lightfoot (Jeff Bridges), a low-level street thief with big dreams and no plan. The two hatch a scheme to join forces with the old gang for a new heist. Naturally, nothing goes according to plan.
It’s a film that works because of its chemistry, its pacing, and its willingness to let character drive the story rather than spectacle. Eastwood and Bridges had a rapport that felt lived-in, like two guys who genuinely liked each other despite being total opposites. Cimino’s direction was tight, economical, and grounded. The film didn’t need $100 million in CGI explosions or a convoluted plot. It was just two guys, a robbery, and the inevitable fallout.
So what’s the pitch here? Ryan Reynolds playing Lightfoot (or maybe Thunderbolt—who knows at this point)? Reynolds is charming, sure. He’s proven he can carry a buddy film. But Thunderbolt and Lightfoot doesn’t need a modern-day reinterpretation. It stands on its own. If originality isn’t an option, I’d rather Hollywood remake bad films. Reimagining flawed movies allows them to fix plot holes, improve acting, and turn forgotten ideas into something worthwhile. But remaking a classic? That’s just lazy.
The Remake Machine Is Out of Control
Let’s zoom out for a second and look at the bigger picture. Forty-plus remakes greenlit in two years. That’s not a trend. That’s an industry crisis.
Some of these remakes are baffling. Vertigo? Hitchcock’s masterpiece? The Night of the Hunter? One of the most visually stunning and thematically rich films ever made? The Conversation? Rope? It’s A Wonderful Life? These are films that don’t just work—they’re definitive. They’re cultural landmarks. And Hollywood is remaking them because… why, exactly?
The answer, of course, is IP. Studios are terrified of taking risks on original stories. They’d rather bank on name recognition and hope that nostalgia carries the box office. But here’s the thing: most of these remakes fail. They fail critically. They fail commercially. And they fail to justify their own existence.
Look at The Wizard of Oz remake that’s in development. The Wizard of Oz is one of the most beloved films of all time. It’s a cultural institution. What could a remake possibly add? Better CGI? A darker tone? A more “grounded” take on Dorothy’s journey? None of that is necessary. The original is perfect. Leave it alone.
Or take Vertigo. Alfred Hitchcock’s 1958 psychological thriller is a masterclass in filmmaking. The cinematography, the score, the performances—it’s all untouchable. A remake won’t improve on it. It’ll just remind people how good the original was.
Why Not Remake Bad Films Instead?
Here’s a radical idea: remake films that didn’t work the first time. Take a concept with potential that was poorly executed and give it another shot. That’s a win-win. You’re not stepping on the toes of a beloved classic, and you’re actually improving on something rather than just recycling it.
There are plenty of films from the ’70s, ’80s, and ’90s that had great ideas but were hampered by budget constraints, weak scripts, or misguided direction. Those are the films that deserve a second chance. Not Thunderbolt and Lightfoot. Not Vertigo. Not The Conversation.
But Hollywood doesn’t want to take that risk. It’s safer to remake something people already love and hope that goodwill translates to ticket sales. Except it doesn’t. Look at the recent string of remake failures: The Mummy (2017), Flatliners (2017), The Lion King (2019)—which, despite its box office success, was critically panned and felt soulless. Audiences are getting tired of this. And yet studios keep doing it.
Ryan Reynolds Can Do Better Than This
Ryan Reynolds is a talented actor. He’s charismatic, funny, and has proven he can carry a franchise (Deadpool). But does he really need to remake Thunderbolt and Lightfoot? Is this the best use of his time and star power?
Reynolds has built his career on playing the wisecracking everyman with a heart of gold. That persona works in the right context. But Thunderbolt and Lightfoot isn’t a Deadpool movie. It’s a character-driven crime film with emotional weight and a melancholic ending. Can Reynolds pull that off? Maybe. But why not do something original instead?
The fact that Reynolds is co-writing the script with Enzo Mileti and Scott Wilson—two writers from Fargo season four—suggests there’s at least some creative ambition here. Fargo is known for its sharp dialogue, dark humor, and character depth. If they can bring that sensibility to Thunderbolt and Lightfoot, maybe this won’t be a complete disaster. But that’s a big if.
The Full List of Remakes: A Depressing Catalog
Let’s revisit that list I mentioned earlier. This is every remake greenlit in the last 24 months:
Vertigo, Starship Troopers, The Night of the Hunter, The War of the Roses, Scarface, The Thomas Crown Affair, Bloodsport, Audition, House of Games, The Faculty, The Man From Rio, Headhunters, The Hand That Rocks the Cradle, A Colt is My Passport, Fail Safe, Near Dark, 9 to 5, Creature From the Black Lagoon, Possession, A Fistful of Dollars, Backdraft, Another Round, The Wizard of Oz, The Conversation, Rope, The Fly, It’s A Wonderful Life, Body Heat, It’s A Mad Mad Mad World, Witches of Eastwick, Forbidden Planet, Deep Impact, Idle Hands, Cliffhanger, Cruel Intentions, Clue, The ‘Burbs, Highlander.
That’s 40 films. Some of these are classics. Some are cult favorites. Some are mediocre. But all of them are being remade. And most of them don’t need it.
What Happens Next
Amazon/MGM will move forward with Thunderbolt and Lightfoot. Reynolds will attach his name, the trades will hype it up, and production will eventually begin. Maybe it’ll be good. Maybe it’ll surprise us. But more likely, it’ll be another forgettable remake that makes us wish we’d just rewatched the original instead.
And that’s the tragedy of modern Hollywood. Instead of taking risks on new stories, studios are strip-mining the past, betting on nostalgia and name recognition to carry them through. It’s a strategy that’s creatively bankrupt and unsustainable in the long run.
But until audiences stop showing up for these remakes, studios will keep making them. So here we are. Waiting for Thunderbolt and Lightfoot to get the Ryan Reynolds treatment. Because apparently, originality is dead. And Hollywood is too scared to revive it.
What You Need to Know About the ‘Thunderbolt and Lightfoot’ Remake
Ryan Reynolds Is Starring and Co-Writing
Reynolds is set to lead the remake, co-writing the script with Fargo season four writers Enzo Mileti and Scott Wilson, suggesting at least some creative ambition behind the project.
The Original Is a Classic That Doesn’t Need a Remake
Michael Cimino’s 1974 film starred Clint Eastwood and Jeff Bridges in a character-driven buddy crime story that stands perfectly fine on its own—making the remake feel unnecessary.
Amazon/MGM Is Banking on IP Recognition
Studios are terrified of original stories, preferring to bank on name recognition and nostalgia—even when the source material is already iconic.
40+ Remakes Greenlit in the Last Two Years
From Vertigo to The Wizard of Oz to It’s A Wonderful Life, Hollywood’s remake machine is out of control, recycling classics instead of creating new stories.
Hollywood Should Remake Bad Films, Not Good Ones
Reimagining flawed films with great concepts but poor execution would be a win-win, allowing studios to improve on something rather than just recycling perfection.
FAQ
Why is Hollywood remaking ‘Thunderbolt and Lightfoot’?
Because studios are terrified of original stories. IP recognition and nostalgia are safer bets than taking creative risks, even when the original film is already a classic that doesn’t need updating.
Can Ryan Reynolds pull off a character-driven crime film?
Maybe. He’s proven he can do charm and wit, but Thunderbolt and Lightfoot requires emotional weight and melancholic depth. Whether Reynolds can deliver that outside his usual persona remains to be seen.
Why not remake bad films instead of classics?
Exactly. Reimagining flawed films with great concepts but poor execution would actually add value. But studios would rather recycle classics and bank on nostalgia than take creative risks.
