We're at the half-way mark of 2015 and the box office looks to be repeating itself as remakes/reboots/sequels/adaptationsdominate. This has led to a presumptuous nature by the studios, and of sites publishing articles about forthcoming sequels long before they are due to be released. Cinema Blend published an article recently noting the upcoming Independence Day 2 (ID Forever) will be the first in a series of films. The site also confirms Jurassic World will have a sequel as the studio looks for a new director. It is in the latter article that is of interest for the site preempts what many film fans are thinking, "it's time to ask the obvious question. What about the sequel?" In short, you're aware of this pattern. The reason for this article is to defend the onslaught of unoriginality in the summer blockbuster genre, and its dependency on source material.

It's easy to forget the very first summer blockbuster, Steven Spielberg's Jaws, was an adaptation. This film did more than provide one of the most iconic film scores in cinematic history, it also gave light to genres that were only for the cheap B-movie variety, and are now a blend of critical merit, big budgets, and familiarity that aren't (for the most part) audience insulting. Spielberg's later summer blockbusters would be E.T., Indiana Jones, and Jurassic Park, all films that before the summer blockbuster were marginalized as B-movies, and/or for cheap Saturday morning programming. Spielberg managed to produce movies that were more than just "reboots", and "lazy adaptations" that were void of originality, but would come to define an era and be hailed as masterpieces of cinematic history. Fast-forward to today and its films like Ozploitation Mad Max: Fury Road, the superhero genre, and Furious 7, which, pre-2000, were genre types met with derision, but are now looking to define this decade.

As each generation of filmmakers break through the mould to make their mark, they bring with them a host of influences. Furthermore, they come to represent the cinematic voice of a generation. Audiences have loved monster movies and dinosaur flicks dating back to pre-Ray Harryhausen's iconic stop-motion creatures, and Spielberg adapted this (from a novel!) to a modern audience with contemporary sensibilities. (Also look to 2014's Godzilla for further proof in the pudding.) My point is, reboots and sequels in the summer blockbuster locus adhere to expectations and can come to define an era. This definition is significantly more palpable due to its familiarity of its source material; audiences recognize the tropes and the characters. When these are modernized (well!) these produce a safe romp for the summer season.

Summer is that time of year where people vacate to their familiar destinations, or try something daring yet still adhere to familiarity (I am, of course, talking about touristy places). As it is a period that fuses familiarity with originality, let's allow cinema to follow suit. It's in the post-summer Oscar baiting season that filmmakers shine, and the pre-summer catalogue where little gems can be found. The summer season is an ideal period for safe big budget movies to reflect an era, all nicely embedded in a fusion of remakes, reboots, adaptations, and sequels. Let's make this a summer, like the last, one to remember as one that is new, yet wholly familiar.