The conversation around originality in Hollywood often feels like a paradox. While complaints about sequels, remakes, and adaptations dominate film discourse, audiences often seem to resist truly ambitious, creatively risky projects. It’s a tension that suggests a desire for both the familiar and the surprising, a balance that’s proving increasingly hard for studios to strike.
The current cinematic landscape, as highlighted by recent box office trends, demonstrates a clear preference for established intellectual property. But a look at films willing to take chances—to be “big swings”—reveals a fascinating dynamic: even when those swings don’t fully connect, they often offer a more engaging and memorable experience than perfectly polished, predictable fare. The question isn’t simply whether originality is dead, but whether audiences are willing to embrace the messiness and discomfort that often accompany genuine creative risk.
The appeal of the “big swing” was evident in my recent trips to the cinema. Three films, vastly different in execution and reception, offered a compelling case study in the value of ambition, even when it doesn’t translate to universal acclaim.
The Predictability of Polish: “Crime 101”
“Crime 101,” a well-executed cops-and-robbers drama, proved a perfectly competent, if unremarkable, cinematic experience. The film’s strength lay in its solid performances and tight direction, but it ultimately felt derivative of Michael Mann’s iconic “Heat.” While enjoyable, it lacked the spark of innovation that elevates a good movie to a great one. As one viewer, it’s hard to justify revisiting a film that feels like a polished echo of something already masterful.
Embracing the Chaos: Gore Verbinski’s “Good Luck, Have Fun, Don’t Die”
In stark contrast to “Crime 101” was Gore Verbinski’s sci-fi dark comedy, “Good Luck, Have Fun, Don’t Die.” The film, starring Sam Rockwell, is a chaotic explosion of ideas about technology’s grip on humanity, some brilliant, others decidedly not. Despite its unevenness, the film’s sheer audacity and Rockwell’s captivating performance made it a far more stimulating experience. Verbinski, known for his function on the “Pirates of the Caribbean” franchise, has a history of subverting expectations. The original “Pirates of the Caribbean” remains a beloved classic, while its sequels, “Dead Man’s Chest” and “At World’s End,” are famously strange and overlong, yet undeniably captivating in their ambition.
Verbinski’s willingness to push boundaries has sometimes led to professional setbacks, with projects like “The Lone Ranger” and “A Cure for Wellness” failing to resonate with audiences. However, even these films contain moments of genuine brilliance, like the elaborate train sequence in “The Lone Ranger,” demonstrating a commitment to bold choices. “Good Luck, Have Fun, Don’t Die,” made on a smaller budget, retained that spirit of experimentation, proving that creative vision can thrive even with limited resources.
Provocation and Polarisation: Emerald Fennell’s “Wuthering Heights”
Perhaps the most divisive of the three films was Emerald Fennell’s reimagining of “Wuthering Heights.” Fennell, known for her provocative style in “Promising Young Woman” and “Saltburn,” took significant liberties with Emily Brontë’s classic novel, resulting in a film that deliberately courts discomfort. The adaptation, starring Margot Robbie and Jacob Elordi, leans heavily into the novel’s themes of lust and obsession, presenting a version of the story that is, as some have described, “horny and awful.”
Fennell’s approach has garnered a vocal backlash online, but it’s too drawn attention to her distinctive directorial voice. While her films may not appeal to everyone, they are undeniably well-crafted, boasting striking cinematography, art direction, and sound design. The intention isn’t to faithfully recreate the source material, but to offer a bold, unsettling interpretation. As Fennell herself seems to suggest, the goal isn’t to create a universally loved film, but to provoke a reaction, even if that reaction is outrage.
The Value of Imperfection
These three films highlight a crucial point: the most memorable cinematic experiences aren’t always the most polished or predictable. Sometimes, it’s the films that take risks, that stumble, that provoke, that truly stay with you. The success of original films remains a challenge, as data shows that IP-based projects consistently outperform novel concepts at the box office. However, the audience’s willingness to embrace films like “Good Luck, Have Fun, Don’t Die” and “Wuthering Heights” suggests a hunger for something beyond the familiar. According to a recent report, 71% of films earning over $100 million domestically between 2022 and 2025 were part of established franchises, further illustrating the industry’s reliance on pre-existing material.
the value of the “big swing” lies not in its guaranteed success, but in its willingness to challenge conventions and offer audiences something different. Not every swing will connect, and some will undoubtedly miss the mark entirely. But in a cinematic landscape increasingly dominated by safe bets, those bold, imperfect attempts are more valuable than ever.
The industry’s continued reliance on established IP is unlikely to change dramatically in the short term. However, the success—or even the notoriety—of films like those discussed here could encourage studios to take more chances, to invest in original voices, and to embrace the messy, unpredictable nature of true creativity. The next major test will come with the release of several highly anticipated original films slated for late 2026, the performance of which will likely shape the direction of Hollywood for years to come.
What are your thoughts on the state of originality in film? Share your opinions in the comments below.
