What is the WORST immediate sequel to a great film?

Beneath the Planet of the Apes has already been mentioned, but another sequel came out about the same time. Time magazine’s review of both was entitled Beneath and Beyond.

That’s because the other sequel was Beyond the Valley of the Dolls, a sequel to the 1967 motion picture version of Jacqueline Susann’s Valley of the Dolls. Neither the book nor the movie was a “classic”, but the sequel was even worse, from all accounts. (I’ve never seen it).

It was directed by Russ Meyer, better known these days for employing women who had “blown themselves up to poster size”. The film was originally intended as a straight sequel but quickly devolved into parody. It was panned by critics. But, as often happens, it persisted and became a Cult Classic.

Oh, yeah, and its screenplay was written by critic Roger Ebert.

It stars probably no one you ever heard of, although Edy Williams, who appeared in Playboy and other mags, has a role. Pam Grier apparently has a bit part. And it was the last film of Coleman Francis, whose three most famous movies were the subjects of MST3K outings. And Trina Parks (“Thumper” in the Bond film Diamonds are Forever has a bit part.)

I haven’t seen Valley of the Dolls, but I found the Meyer/Ebert movie to be enjoyable cheese (and cheesecake).

Beyond the title it is definitely not a sequel.

Neither are a lot of supposed “sequels”, like Prom Night 2

..or most the Howlling series

Beyond the Ebert connection, the only other thing interesting about that film is The Strawberry Alarm Clock.

Incorrect! It’s a tradition for myself and my friends as well. Albeit also the Rifftrax version (“What are you, tobacco?!?!”) and in a very well lubricated state. And even then, it’s terrible but traditions are what they are.

By the way, the person who started this tradition in my group of friends received the Star Wars: The Life Day Cookbook from us as a “gift”, and it makes great fun of Bantha Surprise, which is readable in the Amazon preview pages. :wink:

Great filmmaking but I didnt get it either.

I wonder if he gave it a good review?

On the other hand…Gene Siskel:

The thing I remember about Beyond the Valley of the Dolls was that the script had a lot of teenage slang, spoken by characters who were definitely not teenagers. I often got the impression that the actors would have been far more comfortable with iambic pentameter, than with the lines they were given.

I’m not surprised that others honor(?) the tradition, and I should have said no one else in my family.

The YouTuber Diva (aka Christi Esterle, past Jeopardy winner) has done a riff of it as well as part of her Musical Hell TV series. (She’s retired from the Musical Hell part, but still does the other sub-series, such as At The Source, which compares musicals to their source material, Know The Score, which discusses musical theater and films in general, and Musical Hell TV, which riffs bad musicals.) I’ll pay her the compliment of saying her riff of the SWHS is as good as the Rifftrax one–maybe better. (I like her comment on the brief All In The Family commercial–paraphrased: “Ah, the days when TV could show a right-wing bigot forced to confront his ingrained prejudices.”

I think Richard O’Brien has said something to the effect that Shock Treatment’s not a sequel, or a prequel, but an “equal.” I interpret it as meaning this is an AU of the Rocky Horror universe…an alternate timeline where Brad and Janet never got stuck in Frank-N-Furter’s castle.

As for my own candidate…

Maybe 2005’s The Legend of Zorro wasn’t the WORST immediate sequel (if, indeed, eight years after The Mask of Zorro counts as “immediate”). But it was a drop-off. Mainly, because the main engine driving the plot was rather unbelievable as well as historically inaccurate. I mean, there’s “suspension of disbelief” and there’s “instant divorce in a heavily Catholic region in the nineteenth century.”

My tendency to script-doctor kicks in with this one…the movie would have been better, perhaps even lived up to the original, if they’d pulled a Vertigo and had the Pinkerton agents blackmail Elena into faking her death and impersonating someone else. That would have afforded us some drama as a grieving Alejandro struggles to hold on for his young son’s sake, and, after seeing this new woman in town who so resembles Elena, fears he is going mad from grief in believing it’s really her. And it would have given us a hell of a scene when Alejandro, after finding out the truth, confronts the Pinkerton agents who are behind the scheme…

“Why Elena? Any other woman would have served your purpose just as well. Some Don’s patriotic daughter, or some widow, or, hell, you could have trained a whore from the brothel to impersonate an aristocrat. Instead, you settle on a devoted wife and mother and blackmail her with her husband’s safety. You force her to fake her death with no guarantee she could go back to her old life afterwards…or even that she’d survive this at all. You put her through hell. You put me through hell. You put HER EIGHT-YEAR-OLD SON THROUGH HELL!!! If there’s a shred of humanity left in either of you, you will tell me why you did this!”

One of the agents replies, “Because no other woman–no Don’s daughter or widow or whore–had the inside information on your society that your wife already did. And it would have taken time to train another operative–time we didn’t have. By the time we would have had any other operative ready, it may well have been too late for this country.”

“Congratulations,” Alejandro sneers. “You thought of everything.”

The agent glowers. “It’s easy for you to judge us, isn’t it, Don de la Vega? You charge in on your stallion and wave your sword and the public hails you as a hero. As they should. You do, after all, save lives. Our work saves lives too…but no one hails us as heroes. We work in the shadows because we have to…because we have to make the dirty decisions that the public doesn’t know about and doesn’t want to know about because they don’t want to believe these decisions are necessary. The kind of decisions where we may have to allow five innocent people to die so that five thousand innocent people can live. That’s the truth of our work. That’s what we have to do and will continue to do. But don’t think for a minute, if I do have to let five innocent people die, that I am not haunted by those five every day of my life. Whether the good I try to do outweighs any evil I have to allow…I’ll find that out on my day of judgment.”

Whaaaaaaaat? :face_vomiting:

(Note that this comment is from Gene Siskel, not Mahaloth, who was just quoting).

Thanks for the recommendation. I will try to watch it in the next few days. The channel looks interesting.

Hope you like!

I have seen the movie - or at least part of the movie. I don’t remember if I finished it. I have mercifully forgotten all but two terrible scenes (and one of those I recall from the trailer, not the movie). But I seem to remember from an internet post panning the movie that the CSA/Confederate army exists in 1850.

I think this is an example where waiting too long to do a sequel will always guarantee a bad sequel - even more so if what you are a sequel to has any kind of following at all-

See - Star Wars prequels and sequels as another fine example.

2010 came out in 1984 - 2001 came out in 1968 (almost double the time difference based in title)
While not a cinematic masterpiece, 2010 was IMHO pretty good.

Brian
I don’t know what you folks are talking about there was only one Highlander movie :wink: