Legendary film critic Roger Ebert described cinema as an empathy machine. When you watch movies, you identify with characters, you see things from their perspective, you can gain some understanding – perhaps limited and incomplete – into their life. This is incredibly powerful and can lead people to change how they see the world and other people in it. But does it apply to documentaries in the same way as fiction movies?

Movies

Bleak versions of our future have been a staple of sci-fi for as long as it has existed. The Road, set after some unspecified climate disaster, is perhaps the bleakest film you will ever see, where the best-case situation is still awful. Children of Men shows a not-too-distant future where the birth-rate has fallen to zero, the youngest person in the world is in their late teens, with no idea why this is happening it’s hard to imagine it being fixed. The absence of children is hugely oppressive, and the utter futility of what everyone is doing is almost impossible to bear. One character has been charged with saving artistic treasures from around the collapsing world – why? In a matter of decades, there will be no one left alive to appreciate them. The Mad Max series of films suggests a nuclear apocalypse, which has led to an ecological disaster, and gangs of post-apocalyptic thugs fight to the death over the dwindling resources. Even Pixar’s Wall-E shows a world overrun with trash, leading humanity to abandon Earth and live in space, enjoying an empty existence of lazy indulgence. Are these films trying to influence people? Some have a very direct message – so Wall-E is saying make an effort and clean up the planet. The Mad Max films, like many films that play with the idea of an end by nuclear war, suggest that it was almost inevitable that once humanity had these weapons, they were going to obliterate the world. The Road has a very the-living-will-envy-the-dead feeling to it. If these films are trying to stir people to take action against climate change the problem may be that they usually rely solely on fear. An article published in the journal Science Communication found that while the scary futures shown in these films do get attention, they also make people feel powerless and don’t lead to change.

It may be surprising what films have had a big impact on society. As well as being a cinematic masterpiece, Jaws forever changed people’s attitude to sharks. Both authors of the book, Peter Benchley and film director Steven Spielberg, have stated they feel bad for making people see sharks as an outright villain and especially dangerous. So effectively have sharks been vilified by Hollywood that in a 2023 documentary, Sharksploitation was made to address this mischaracterisation. Horror films like Rosemary’s Baby and The Exorcist created fears out of almost nothing, with the former creating the image of devil-worshipping human-sacrificing cults. The Exorcist led to genuine hysterical outbursts, as well as cementing the sinister reputation of Ouija boards and ideas about possession. References to oujia boards, possession, and satanists today will almost certainly reference these films. The movie The China Syndrome, about a journalist uncovering coverups at a nuclear power plant and the risk to the public there was very the real Three Mile Island nuclear power plant partial meltdown, forever linking the film with the anti-nuclear power movement.

Documentaries

The most famous climate change documentary is undoubtedly An Inconvenient Truth, a documentary made by former Vice President Al Gore. Gore has long been an environmentalist, and once out of politics, it became his main focus. The film won an Oscar and got Gore a Nobel Peace Prize. 2014’s Cowspiracy focuses on the harm animal agriculture does to the environment, and is a huge contributor to greenhouse gas emissions, deforestation, destruction of the rainforest and many more environmental problems. The Leonardo DiCaprio-produced Before the Flood was a well-received documentary about climate change, but it does not seem to have broken into the public consciousness in the way.

One of the most impactful documentaries of the past 20 years is Loose Change, a documentary on 9/11 that gives credence to a number of conspiracy theories about the attack. It had a huge impact on many people and for a lot of people shifted the narrative from a terrorist attack to something even worse. The fact that the document was roundly criticised by journalists, experts in everything from aviation to structural engineering and the authorities did little to dent its popularity.

It is exceedingly rare for one documentary to have a big impact on society, but often, they are a smaller piece of a bigger societal change. They might not inspire millions to action, but they can inspire individuals who then go on to make that change. One problem for documentaries is that real experts tend to talk in specific, limited and unsensational terms, estimated increases of a few degrees in temperature over years, which will impact the ecosystem… It’s not going to grab everyone’s attention. The Day After Tomorrow grabs your attention.

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Furiosa: A Mad Max Saga is a very different film to Mad Max: Fury Road. The latter was told over a matter of hours, maybe days, 85% of it an ultra-violent and explosive car chase. Furiosa is a film told over decades – detailing Furiosa’s life from when she was captured as a child to moments before Fury Road starts. The use of the word “saga” in the title is very telling as that is what the film is, whereas Fury Road is a frantic glimpse at that world. So where does the world of Mad Max go from here?

Looking at the original Mad Max trilogy we have three very different films. In Mad Max, some semblance of order remains with Max trying to maintain that, in Mad Max 2: The Road Warrior roving bands of psychotic raiders control the world and Max is trying to survive and help a community threatened by these raiders. And in Mad Max: Beyond Thunderdome the weirdness is turned up to 11 and we have Tina Turner and Max becoming embroiled in the politics of survivor communities. Fury Road switched things up with Max hardly being the protagonist at all and a new feel to this world. Furiosa explored more of the locations of this world, in Fury Road we saw the Citadel, in Furiosa we The Green Place, Bullet Farm and Gas Town. There are all major locations that we get to explore. Going forward it’s likely we’ll see more places, a more fleshed-out world, assuming the original trilogy is canon we know there are more locations. And with more places will come more conflict. Perhaps the Mad Max saga will turn into films about the wars between these different places in the struggle for control of diminishing resources.

The obvious choice for the next film would be to carry on Furiosa’s story. Fury Road ends with Furiosa back at the Citadel seemingly poised to become its leader with Max purposefully leaving. This might be as close to a happily-ever-after as you’re going to get in this world and to have another film follow Furiosa will mean that something goes wrong. The Citadel was built on an odd quasi-religion built around Immortan Joe and what will those people who worshipped him do now? Will they be angry with Furiosa? Will Immortan Joe’s death prove he was a fraud but they simply turn their blind devotion to Furiosa? What of Immortan Joe’s “wives” and the women from the Green Place Furiosa brought back? All will have opinions on what should happen next.

As already stated, Fury Road and Furiosa are very different movies and it is certainly possible to take on different kinds of stories. Could there be a Suicide Squad ensemble cast of wasteland survivors (although the bizarre and dire-looking Borderlands may have gotten there first)? The Max Max saga is constantly pushing the line between dark and ridiculous, in Beyond Thunderdome clearly the needle had been pushed towards ridiculous but that isn’t necessarily a bad thing.

It wouldn’t be unusual for George Miller to simply forget about all of these characters and places and simply follow wherever Max goes next. The original trilogy dotted about the wasteland, never explaining what had happened since the end of the last film to bring Max to his new location. If the next film would put the focus back on Max it will be interesting to see what new locations Miller comes up with in this post-apocalyptic world.

Of course, the terrifying answer to what George Miller might do next might be what he has done before after Mad Max: Beyond Thunderdome…namely, co-write Babe and then direct Babe 2: Pig In The City. Surely this is a horror far greater than any post-apocalyptic wasteland?

Also Read: The Enduring Appeal of Post-Apocalyptic Movies

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It’s Not The End Of The World Is It?

In the same way, sci-fi uses the future to talk about the present post-apocalyptic films can show us what our societal anxieties and fears are, and not just in terms of the end of the world. Night of the Living Dead demonstrates the societal problems in America in terms of race, Dawn of the Dead is about consumerism as the ultimate hideout is the mall – which the zombies are drawn back to, and Day of the Dead deals with power and authority. The pre-apocalypse film Dr. Strangelove focuses in on perhaps the major fear of the time – nuclear annihilation – and that through a mixture of incompetence and mistrust, those in power would destroy the world. Dr Strangelove also gave us one of the key lines of post-apocalyptic movies, that those who survive the end of the world would “envy the dead.” The recent asteroid apocalypse movie Don’t Look Up I found genuinely unsettling despite it ostensibly being a comedy, the parallel to climate change was intentionally obvious and chilling.

Reduced To One Instinct: Survive

Some post-apocalyptic movies have been cultural touchstones about how we see the potential end of the world. The Mad Max films show a brutal world, with many people reverting to outright savagery, as fights over basic resources become all-consuming. The post-apocalyptic eccentrically dressed road barbarian has become a staple of the genre and gives a clear idea that the future will be a constant struggle. Classic British horror films 28 Days Later and 28 Weeks Later show perhaps not a post-apocalyptic world then certainly a post-apocalyptic UK. The handful of survivors struggle against the infected “zombies”, with creepily empty London streets serving as a backdrop for the start of the film. A feature of both films is that it’s perhaps not best to put all your faith in the military; who might have different priorities than your survival. Perhaps the bleakest film ever made is The Road, a post-apocalyptic film where you know there is zero chance of surviving. In the world of The Road it seems that every plant and animal (except humans) has died, those who are still alive survive by scavenging or resorting to truly desperate means. While the film follows a father and son it is hard to escape the conclusion that without animals or plants, there is no future. In The Road the father has a gun with two bullets, specifically held back in case they need to shoot themselves, which is about as bleak as it gets.

It’s In Your Nature To Destroy Yourselves

The Matrix was a post-apocalyptic movie where humans were kept in a simulated reality by machines, the machines putting them at the supposed height of human civilisation, in the late 1990s. Certainly, the 90s felt like a time of progress, opportunity and relative peace (at least for those in the richest countries), the Cold War was over and the threat of nuclear Armageddon receded. Since then there have been decades-long wars, pandemics, increasing evidence of a coming climate catastrophe, the AI singularity grows ever nearer and even nuclear war seems to be back on the table. So how do you make these sorts of films when people are worried about the genuine end of the world? Well, at least since the 1950s that’s the reality people have lived with, there have been genuine moments when the world was on the brink of nuclear war and somehow pulled back and people still made post-apocalyptic thrillers and comedies about this very idea. Dr Strangelove was released in 1964, two years after the Cuban Missile Crisis when everyone was terrifyingly aware of just how close to the end we had come. Evidently, there is some enjoyment to be had in watching the end of the world.

Also Read: What Does Black Mirror Still Have to Say In Season 6?

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Fast & Furious – Martin Scorsese

The bizarrely successful Fast & Furious franchise has been around for 20 years and there are nine or ten (depending on how you count them) films already made. Scorsese could easily whittle that down to three long ones, with a de-aged Robert De Niro having a career as a street racer/criminal over decades. A de-aged Joe Pesci could play his wild friend/rival who takes too many risks when driving and Leonardo Di Caprio entering late in the trilogy as the undercover cop and/or Howards Hughes-style billionaire inventor wanting to make the fastest car in the world out of wood. The physics-defying antics of the films are replaced with short but extremely violent outbursts of criminal behaviour and the soundtrack is overwhelmingly The Rolling Stones.

Twilight – David Cronenberg

A story with as many different monsters and peculiar goings-on as the Twilight series could be brought to cinema in many different ways. The story already contains so much potential for body horror: people transform into monsters, vampires drink blood, there are unusual pregnancies and unusual childhoods, and who better than David Cronenberg to capture the horrific madness of it all? Obviously, throw in Viggo Mortensen somewhere but it would be fine keeping Kristen Stewart and Robert Pattinson, who have both shown a willingness to take on very interesting roles, with both appearing in Cronenberg films. Twilight received some criticism from monster fans in that vampires didn’t seem much like vampires, werewolves could change form at will in quite an unspectacular way, but Cronenberg would certainly provide more visceral creatures. The Fly is famous for the transformation of its scientist protagonist, Shivers a controversial and early foray into body-horror and with Rabid touching upon themes of vampires and zombies but in an utterly terrifying and horrific to watch way.

American Pie – Greta Gerwig

The awful American Pie franchise has dated about as bad as it is possible to date, with so many of the “jokes” just being truly awful things happening. A coming-of-age comedy franchise that follows the cast into adulthood has a lot of potential and Greta Gerwig can do this brilliantly. Lady Bird was set in the early 2000s, not long after American Pie was released, and Little Women – admittedly set in the 1860s but does prove she’s not limited to one setting. Instead of being a gross-out sex comedy based on the horrid treatment of women it could be something more intelligent, funnier and in every way just better.

Judging on Gerwig’s other films it’s fair to imagine that these films would focus more on young women than young men, but something like Timothy Chalamet’s pretentious but awful teenager from Lady Bird could be added very easily.

Mad Max – Phil Lord and Christopher Miller

An observant reader might have noticed some shade being gently tossed towards some of the previous franchises but there shall be none for Mad Max. But to take something already good and do something interesting you have to really change things up. So Phil Lord and Christopher Miller’s brand of anarchic inventive joy could transform the brutal post-apocalypse into a far more bizarre and “fun” place. The question of whether the film should be animated or not (and if so, based on Lego) is an interesting one but it would be great to see the aesthetic of something like Cloudy With A Chance of Meatballs brought to a non-animated Mad Max.

Also Read: The Unique Style of Wes Anderson

Also Read: Quentin Tarantino Directing A Star Trek Film? Here’s What It Would’ve Been Like

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And Another Thing…

The main problem with the fourth entry is finding the right story. Many franchises will instead opt for a prequel, spin-off or even a full reboot, rather than a fourth chapter. A reboot is often the preferred option if the last instalment wasn’t well received. After the poor reception to Spider-Man 3, director Sam Raimi was more determined than ever to make the next entry as good as it could be. Unfortunately, he couldn’t quite crack it in time to meet the release date set by Sony, leading them to reboot the franchise instead.

Another popular option is the legacy sequel or a “rebootquel”. Often arriving a few years after the original trilogy has ended, these types of sequels often introduce new characters, interacting with the old guard who eventually “pass the torch” onto the next generation. These sometimes lead to other trilogies of their own such as the Jurassic World series (even if the original characters didn’t meet until the third film). Alternatively, the fourth film can be used to shake up the existing formula if things are beginning to grow stale. Fast & Furious took this approach, focusing on heists rather than street racing, and transforming the franchise into the behemoth it is today, at a time when the studio was considering making any sequels direct to DVD.

One Last Ride

Of course, for some franchises, each entry is its own adventure, with little to no ongoing story. Making fourth entries in the Mission Impossible or Star Trek series is in theory simpler, as each film is often mostly standalone. However, this is not always easier. As seen with Indiana Jones and the Kingdom of the Crystal Skull, which was released 19 years after the third entry, finding a story can still be a problem. The extended wait can also lead to dissapointment from fans as they build up unrealistic expectations. Especially when it turns out to be more of the same.

An extended hiatus of the franchise often leads to a rethink. Actors get older and the industry moves on, meaning that any new entries can’t just do the same thing again. The Matrix Resurrections, has a slightly meta approach, acknowledging that audiences want to be amazed like they were with the original but that doing the same thing is boring and unfulfilling. Instead, the film tries to do something different, while it achieved mixed results, it is certainly not a rehash of the previous three. It acts as a look back on the franchise as well as an update. Toy Story 4 acts as an epilogue to the franchise, closing out Woody’s story and introducing new characters. Shrek Forever After offers an ending where Shrek looks at how much he has grown since the first film. Being trapped in an alternate reality where he was never born, and a look at a different outcome for the characters. While not the best in the franchise, it was a step up from the third entry, and a fitting ending.

Epilogue

Fourth films offer a chance to reboot an ailing series, offer a closing chapter to beloved characters, or even make up for a disappointing third film. However, there is a danger that the film is just a retread, or steers too far from what was great about the series in the first place. It’s important for any fourth instalment to look at what works and what doesn’t about the series, and think about the journey of the characters. A fourth entry is always risky, but can be exactly what the series needs.

Also Read: Top 5 Movies That Don’t Need a Sequel, Reboot or Remake

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These films were picked based on their creativity, the impact of the action and how well the story complimented the action. And because there were so man good action films this decade I will be including honourable mentions for you to also watch. Without further ado, let’s begin.

2010: Inception (dir. Christopher Nolan)

With an interesting story about implanting ideas into someone’s mind while having to battle through not only the subject’s mental defences but your own baggage as well as incredibly staged action sequences like the rotating hallway fight and using minimal CGI, Inception is a true sci-fi action masterpiece.

HM: Kick-Ass & 13 Assassins.

2011: The Raid (dir. Gareth Evans)

After a swat team is ambushed in an apartment complex the survivors must reach and arrest the kingpin before his henchmen kill them. From this simple premise, The Raid quickly ratchets up the tension as we are never sure who will escape alive. And the action sequences use of flowing choreography, camerawork and editing turn the film into a remarkable ballet of violence.

HM: Captain America: The First Avenger & X-men: First Class.

2012: Dredd (dir. Peter Travis)

Similar to The Raid, Dredd finds two judges (police officers who are judge, jury, and executioner) Dredd (Karl Urban) and Anderson (Olivia Thirlby), trapped in a skyscraper, having to fight their way to the kingpin to escape. However, Dredd keeps The Raid’s tension while also injecting a healthy dose of comic book action. With bloody violence, great world-building, beautiful slow-motion usage and endearing characters, Dredd, packs a punch despite its small stature.

HM: The Avengers, The Dark Knight Rises & Skyfall.

2013: Snowpiercer (dir. Bong Joon-Ho)

While the premise is far-fetched (the remnants of humanity are trapped on a perpetually running world-spanning train after a climate crisis), Snowpiercer’s story about humanity in microcosm and fight scenes are very affecting. The skirmishes are protracted and merciless, combined with the claustrophobic setting and masterful editing, Snowpiercer will keep you riveted till the end.  

HM: The Worlds End & Elysium.

2014: The Raid 2 (dir. Gareth Evans)

After surviving the first film, Rama (Iko Uwais) must infiltrate the mob and bring them down from inside. From there this sequel improves on everything great about the original. With more impressive choreography, more brutal violence; even more memorable characters, all wrapped around a fantastic story of family and loyalty. The Raid 2 is my favourite action film of the decade.

HM: Captain America: The Winter Soldier & Guardians of the Galaxy.

2015: Mad Max: Fury Road (dir. George Miller)

Mad Max: Fury Road puts all other 2015 action movies to shame, with an effectively slight story about Max Rockatansky (Tom Hardy) helping a band of women escape an oppressive patriarch; spectacular vehicle stunts. By the movie’s end, you’ll feel exhausted by the relentless action. Impressed by the practical stunts and special effects. And moved by characters like Furiosa (Charlize Theron) and Nux (Nicholas Hoult). High octane action at its finest.

HM: Furious 7, Avengers: Age of Ultron & Sicario.

2016: Captain America: Civil War (dir. Joe Russo)

Civil War is the highlight of the MCU. The story grounds the conflict in each heroes’ hopes and fears, examining them and playing them against each other expertly. Every character is relatable, making the fights more impactful. And each action sequence is creative. From the opening robbery to the final 2 on 1. Marvel has made many good films, but none topped the impact of Civil War.

HM: Deadpool.

2017: Dunkirk (dir. Christopher Nolan)

Depicting the titular WWII evacuation from three perspectives: the soldiers trapped at Dunkirk waiting for rescue, the civilians coming to evacuate the soldiers and the airmen covering them from above, Dunkirk’s tension becomes almost unbearable as we hope the soldiers escape in time. The use of practical effects, incredible sound editing, and Hans Zimmer’s tense score make the film effective and harrowing.

HM: Baby Driver.

2018: Spiderman: Into the Spiderverse (dir. Peter Ramsey, Bob Persichetti, Rodney Rothman)

The perfect balance of spectacle, personality, and high personal stakes. Into the Spiderverse is an expertly crafted love letter to comic books. With beautiful visuals that are used inventively in action sequences, all anchored by protagonist Miles Morales. Who allows us to feel his wonder, excitement, and fear better than any other spiderman.

HM: Avengers: Infinity War.

2019: John Wick Chapter 3: Parabellum (dir. Chad Stahelski)

Parabellum marks the culmination of everything great about John Wick. The story is full of unique, intriguing characters, John Wick (Keanu Reeves) is still thoroughly engaging and the grounded, varied, constant action easily beats the overblown spectacle of other films this year.

HM: Avengers: Endgame.

So ends my list of the 2010’s best action movies. Be sure to tell me your favourite action movie of the decade in the comments. There have been some great action films this decade, now let’s see what the 2020s have in store.

Also Read: How to Revive a Franchise After Many Years

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The Shining and Doctor Sleep

Original: The Shining, released 1980, Director: Stanley Kubrick, starring Jack Nicholson, Shelley Duvall and Danny Lloyd.

Sequel: Doctor Sleep, released 2019, Director: Mike Flanagan, starring Ewan McGregor, Rebecca Ferguson and Kyliegh Curran.

Years between films: 39

To me, The Shining is one of the greatest films ever made and is made by one of the greatest directors ever, based on a book by the most successful horror writer in the history of the world. It’s hard to imagine the trepidation of director Mike Flanagan when he got the job. The sequel to the book of The Shining was only released a few years ago so providing filmmakers wanted to wait for an “official” sequel they had to wait for Stephen King.

Blade Runner & Blade Runner 2049

Original: Blade Runner, released 1982, Director – Ridley Scott, starring Harrison Ford, Rutger Hauer and Sean Young.

Sequel: Blade Runner: 2049, released 2017, directed by Denis Villeneuve, starring Ryan Gosling and Harrison Ford.

Years between films: 35

Blade Runner must surely rank as one of the most influential Sci-Fi films in existence. People still quote Rutger Hauer’s final speech as an ode to life and death. It’s depiction of cities, replicants, and even something like advertising is iconic.

Mad Max Trilogy & Mad Max: Fury Road

Original: Mad Max, Mad Max 2: The Road Warrior, Mad Max Beyond Thunderdome, released between 1979 and 1985, Director George Miller, starring Mel Gibson

Sequel: Mad Max: Fury Road, released 2015, Director George Miller, starring Tom Hardy, Charlize Theron and Hugh Keays-Byrne

Years between films: 30

The cult classic trilogy of what started out as an Ozploitation film has a warm place in the hearts of many, the latest chapter is probably my favourite film of the decade.

All three of the original films left room for the continuation of the story. Danny may have escaped but what about the rest of his life with these powers? Blade Runner ended with Deckard fleeing with Rachael with huge questions remaining about his own identity. And Max Max never seems to have a definitive ending, just more of Max wondering the world.

While I think all three are good films it’s fair to say one was a runaway success both critically and commercially – Mad Max: Fury Road. I think there are a number of reasons for this:

• George Miller – the director of the original trilogy made the new sequel. It seems throughout the intervening years a fourth film has never been far from Miller’s thoughts. Keeping the same director not only means continuity of ideas, themes and aesthetics but it will satisfy a certain section of fandom who are easily ostracised.

• Mad Max has a mixed reputation – While the Mad Max trilogy are cult favourites and certainly have their charms, they were never up there with The Shining and Blade Runner in cinematic reputation. The odds of making a film that would live up to The Shining or Blade Runner were slim, almost inevitably you were going to disappoint people. I don’t think the same is true for Mad Max: Beyond Thunderdome.

• You don’t always wants answers – it is true there was potential for more stories within the world of The Shining and Blade Runner maybe you don’t want them. Would learning more about Danny and his powers make for a good film? Would learning the absolute truth about Deckard’s identity be a good thing? Already this question causes controversy with different cuts of the original film suggesting different answers. Sometimes part of what makes a film so special is that you’re left wondering, perhaps for decades, about what it was all about? Each Mad Max film has been different but never really explained what happened to the world and Fury Road didn’t try to answer that question, just added another chapter to the story.

That’s not to say Doctor Sleep and Blade Runner 2049 did everything wrong. Blade Runner 2049 assembled a great cast including Harrison Ford and got one of the best directors working – Denis Villeneuve – to make the film. Doctor Sleep was always aware of the legacy of The Shining and played this perfectly, it contains lots of references but ultimately is its own film.

More Films Coming Back…

These three aren’t the only films that had a lot to overcome. The Rise of Skywalker is getting released in a couple of weeks and this has the monumental weight of the Star Wars franchise on it, but next year we have a variety of sequels and reboots of classic films -a new Ghostbusters with the original cast, a live-action Mulan and Bill & Ted Face The Music. And they’re making a new Top Gun as well which I’m told some people are excited about.

I often complain about the lack of new ideas in Hollywood, and we live in an era when any “franchise” is resurrected to make some more money but I wouldn’t complain quite so much if they met the high standards of these three films.

Also Read: Five New Categories That Should Be Included In The Oscars

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