Symptomatic of a compulsive streak in my nature, I’ve always been a tad obsessed with seeing the exact moment a digital display on a clock or cellphone clicks off a major milestone. For instance, I often feel a pang of frustration upon glancing down at a car’s odometer to see that it has advanced into a new hundred, thousand, ten thousand, or (heaven forbid) hundred thousand series without my noticing it. If you can recall the extra excitement exhibited ten years ago by New Year’s revelers as 1999 gave way to 2000 even though, technically, the millennium didn’t turn over until the following year, you may be able to empathize.
This probably explains why the cinematic “reboot” phenomenon of the 2000’s decade intrigued me more than it should. More extensive than simply changing lead characters, a reboot involves melting down the component parts of an established film franchise that has run its course and reforging them into a new, yet familiar vision. Successful or not, there’s something about the exercise itself that I gravitate toward. Of course, in addition to being obsessive, I’m also cynical. In my heart of hearts I realize that the decision to breath new life into an otherwise exhausted film series is made on commercial rather than artistic grounds. But that doesn’t mean reboots can’t be done well or aren’t worth the attempt.