Remakes of films are like data corruption – full of unintended changes to the data in storage or transit. Three films about moral corruption are currently being remade or given a sequel. One, Oldboy, is about unwitting moral corruption; another, Bad Lieutenant: Port of Call New Orleans, concerns a corrupted moral nihilist and the third, a quasi-sequel to Happiness by Todd Solondz, stars the corrupting and the corrupted in a tale of corrupt and broken morality.
Remakes are corrupted somewhere between the retrieval and transmission, introducing along the way unintended changes to the original. They are corrupted by stealth. Solondz, similar to a hacker, utilizes corruption as an end product and recognises it as an objective, using it intentionally at source rather than in transmission. This makes the sequel to Happiness the only one of the three to maintain any data integrity, and by doing so the only one to remain uncorrupted as a film, despite, should it be anything like its companion, being the most brutal portrayal of the morally corrupt.
Remakes: 3 corrupted films about corrupted morals
Remakes of films are like data corruption – full of unintended changes to the data in storage or transit. Three films about moral corruption are currently being remade or given a sequel. One, Oldboy, is about unwitting moral corruption; another, Bad Lieutenant: Port of Call New Orleans, concerns a corrupted moral nihilist and the third, a quasi-sequel to Happiness by Todd Solondz, stars the corrupting and the corrupted in a tale of corrupt and broken morality.
Remakes are corrupted somewhere between the retrieval and transmission, introducing along the way unintended changes to the original. They are corrupted by stealth. Solondz, similar to a hacker, utilizes corruption as an end product and recognises it as an objective, using it intentionally at source rather than in transmission. This makes the sequel to Happiness the only one of the three to maintain any data integrity, and by doing so the only one to remain uncorrupted as a film, despite, should it be anything like its companion, being the most brutal portrayal of the morally corrupt.