Shrek (2001)
Before this was spun out into a series of ho-hum sequels, the original was an animated film that burst with a freshness and a series of winning voice characterisations
The Science Fiction Horror and Fantasy Film Review
Crossover Films are films where characters from two different franchises meet on screen or there is the implication that they live in a shared universe. Writers such as Philp Jose Farmer, Kim Newman and Alan Moore have created worlds on the printed page where numerous fictional characters meet, team up, are related or make cameo appearances.
The first screen work to conduct a crossover was Frankenstein Meets the Wolf Man (1943) where Universal Studios brought two of their in-house characters together on screen. For several years after, Universal made a series of adventures involving Frankenstein, Dracula and The Wolf Man. Similar meetings between the Famous Monsters have occurred in other works since from Van Helsing (2004) and tv’s Penny Dreadful (2014-6) to more comic offerings like the Hotel Transylvania films.
Toho had similar success when they brought Godzilla together to battle King Kong in King Kong vs Godzilla (1962) and thereafter pitted Godzilla against various other monsters they had created in standalone films.
Through the years we have had crossovers between franchises where the intellectual property has been held under the same roof such as Freddy vs Jason (2003), AVP: Alien vs Predator (2004), Sadako vs Kayako (2016) and Charles Band and Full Moon who regularly cross over their various creations. There have also been a surprising number of films showing that fairytale characters inhabit the same world.
Great success was had by Marvel Comics who first created an Easter Egg in The Incredible Hulk (2008) that led to the creation of a series of films introducing their various comic-book superheroes before all of them merged together and met on screen in The Avengers (2012). This blossomed into the Marvel Cinematic Universe, an elaborate interwoven shared continuity.
DC Comics did the same soon after. Other media franchises from Universal’s Dark Universe, Warner Brothers’ Monsterverse to Hanna-Barbera in Scoob! (2020) have sought to emulate the same with varying degrees of success.
Before this was spun out into a series of ho-hum sequels, the original was an animated film that burst with a freshness and a series of winning voice characterisations
Shrek was a fresh and original hit. The first of four insipid sequels, this seems to merely coast by on our liking of the characters while upping the fairytale parody
The fourth of the Shrek films. By this point, the freshness and originality of the first film has been buried under animated film formula, while the plot is a tired rehash of It’s a Wonderful Life
The third of the Shrek films settles in with a formulaic blandness where the characters turn up more because everyone expects them to than the film finds much for them to do
The Asylum made Avengers Grimm as a copycat of The Avengers films, featuring a team-up of fairytale heroines, and so for the release of Suicide Squad they made this sequel featuring a team-up of fairytale villains. Both films are utterly incomprehensible and require you to essentially ignore the originals
Bizarre musical monster bash with singer Harry Nilsson as Dracula’s son and Ringo Starr as Merlin. A film that seems to have no real clue what it is doing beyond friends having a good time. Nilsson makes surely the screen’s least threatening Dracula, while this is the worst film from the usually great Freddie Francis
For reasons not clear to me, Space Jam is considered a classic. Now we get a sequel that updates it to the present featuring a different NBA star LeBron James
The animated Spider-Man: Into the Spider-Verse proved an unexpected success. This sequel builds on that ups the artistic quality of the original to something quite extraordinary
Spider-Man: Homecoming was Sony’s Spider-Man reboot where the elements came together with winning regard and Tom Holland’s politely eager nervousness made for a fantastic Spider-Man. This was the first sequel.
Sony’s reboot of the Spider-Man franchise bursts with a freshness and creative energy. This is also a Spider-Man that has integrated with the MCU with the script kowtowing to Marvel at every point
Sony’s Spider-Man franchise ingeniously competes with Marvel’s shared universe by bringing all their previous incarnations of Spider-Man together
M. Night Shyamalan’s name took a nosedive throughout most of the 2000s (although I am prepared to defend him) but he received some of his best notices in years with his collaborations for Blumhouse, This split personality thriller, anchored by a tour-de-force performance(s) from James McAvoy, continues the upward trend
The first of the Star Trek: The Next Generation films is an odd affair that seems like a routine episode of the series that accidentally gained a big-screen budget. This crosses over with Classic Trek where William Shatner mugs his way through a grand old airing of Captain Kirk
This team-up of C-list DC super-villains proved a surprise hit. The script is all over the place but Margot Robbie owns the screen as the gleefully insane Kewpie Doll gone wrong Harley Quinn
An animated film that seems premised on not much more than bringing various obscure DC Comics characters out of mothballs for one giant-sized punch up
Here the less-than-serious Teen Titans Go! conduct an Into the Spider-Verse-type crossover with their serious counterparts from the multiverse
The film adaptation of Marvel Comics’ The Mighty Thor is placed in the hands of Kenneth Branagh who delivers an okay film, if one where he never quite seems at home with the superheroic action
The fourth of Marvel’s Thor films, where director Taika Waititi gets the balance of humour down much more successfully than he did in the previous film
The third of the MCU’s Thor films. This time Kiwi director Taikia Waititi gives much more of a comedic emphasis where you get the impression the intention has been to push the film in the direction of Guardians of the Galaxy. On the other hand, the superheroics are routine
Sequel to Thor that earranges the same basic elements much more satisfyingly than the first film – the actors (with the exception of a tranquilised Natalie Portman) seem more at home in their roles and a director who is more confident with the effects and superheroics. That said, it is starting to feel like Marvel is shuffling the same plot ingredients around between films
This offering from the MCU was one of the lowest grossing, but it a good deal more likeable than many other recent entries, emerging as a sort of earthbound Guardians of the Galaxy Lite
A crossover between all the menaces in The Asylum’s films, which are brought to life as part of an alien invasion plan
Stephen Sommers conducts a big-budget rehash of a 1940s Universal monster bash. A film so overloaded with CGI bombast and general overkill it becomes utterly absurd.
The first sequel to the passable Venom. Next to Batman & Robin, this could be a strong contender for the worst big-budget superhero film ever made
The third of Spanish star Paul Naschy’s films about the werewolf Waldemar Daninsky. This becomes a crossover where Daninsky meets up to fight Countess Bathory
Groundbreaking film that hilariously imagines an alternate world where cartoon characters live alongside humans. The energy and creativity of the film is superlative
This is surely one of the great exploitation titles of all time. Another Mexican wrestling superhero film where a duo of woman wrestlers take on the Aztec Mummy from another Mexican horror series
Zack Snyder’s original cut of Justice League is a magnificent work that restores much character depth and story. I would far rather watch this than any of the recent MCU films