The 1980s are fondly looked back on by those who lived through it as a decade that brought us some of the best, if not cheesiest, in entertainment. Films, television shows, albums, and video games of that era have been elevated to cult status, and rightfully so. We refer back to products of that time with great nostalgia. The entertainment we consume and create today is informed by this context. Much of it wouldn’t exist without the cultural forces brought forth in the 80s, and a portion of it even exists for the main purpose of capitalizing upon this fascination (see: Kung Fury, Manborg, and Far Cry 3: Blood Dragon, for starters).
Remakes, reboots, and sequels in cinema are nothing new, no matter how much bemoaning of such things today might lead you to believe. And it makes sense why they happen, both financially and creatively. It’s easier to bank on something that has, in some form or another, shown some form of previous success (or at least a following). Creatively, it’s easier to either expand on an idea or just re-hash it entirely. But sometimes the original idea is already perfect, and this is the case with John Carpenter’s 1986 masterpiece, Big Trouble in Little China.