Every time a prequel craps all over movie goers' expectations from high atop a pile of money, there seems to be a common refrain among disappointed fans: How could they waste all that potential?! Afterall, a franchise loses its luster with each passing sequel. But the prequels should reverse the aging process, since they rewind the storyline to back before the original movie was ruined. The brainless jack offs in Hollywood must be trying to ruin these franchises. One thing you rarely hear people bring up is that it might be literally impossible to make a good movie prequel. After all ...
5The Past Was Better Before We Saw It Happen
When a magician hears the audience gasp and say, "How'd he do that?" he does not turn around and loudly announce, "Oh, the rabbit's in my assistant's ass." Similarly, professional writers know that there are some questions that their audience doesn't want answered, even though they think they do. Like a magician, a writer wants his audience to live in that space between knowing and wanting to know. That's what keeps them coming back for more. Unfortunately, when Hollywood studio executives hear the audience asking questions, they hire someone to start writing a prequel.
Questions invite thought, and audiences hate that.
Hannibal Lecter became a pop culture icon in part because he was gleefully engaged in the taboo act of cannibalism without any specific reason motivating him to be such an evil bastard. 2007 brought us Hannibal Rising, which explained that Lecter was a tortured youth during WWII who got tricked into eating his dead sister.
If we're going to call the young Vito Corleone scenes in The Godfather Part II a prequel, we'll go ahead and bestow the same status on the first 30 or so minutes of Rob Zombie's remake of John Carpenter's Halloween. The film delves into the childhood of Michael Myers, making crystal clear exactly how a young boy could commit such brutal murders. The short version is "He grew up in an abusive environment surrounded by a bunch of shitty rednecks."
Queue the tune from Deliverance.
Of course, this completely undermines exactly what was so scary about Michael Meyers. Carpenter went to great lengths to make Meyers straddle the line between inhuman nightmare cipher, and guy next door. He grounds everything in the real world by giving him a name, and putting him in a mental institution. But then he gives him a mask and motives that are intentionally vague. Carpenter knew that the blank mask allowed us to project whatever we wanted onto the character and that this is what we found scary. Rob Zombie apparently knew a few things he picked up about human psychology while watching Law and Order: SVU.
But the grand prize for supplying information that the audience doesn't need or want goes to the Star Wars prequels. The very thing that made the original films cool was that they combined Eastern mysticism with the typically dry sci-fi genre. Well, it turns out that all that mysticism was an accident. As the prequels explain, the Force was grounded in science, not mysticism. It's a bacterial infection.
This is what makes telekinesis possible.
4Characters Need to Be Less Interesting to Make Sense
The natural inclination of a film franchise is to show the main character progressing and changing. If the movie works, the character is a little different at the end. Writers want the characters to evolve and so do we. A prequel hits "reset" on this process. You're starting with a character that is either the same one we wanted to see change when the original movie started, or one that's worse, and had to become more interesting to become that less interesting version the franchise started with.
Badass murder cyborgs > Whiny little shits.
In the Star Wars prequels, Anakin spends three movies whining about the inevitable change we all know is coming. It's the opposite of suspense. It's like listening to a joke that you already know the punch line to being stretched out over six hours. Unfortunately, that's what's needed to make Vaders bad ass nature in episodes IV-VI an act of progress.
Man's inhumanity to man is a terrible thing to behold.
The other problem here is that casting is borderline impossible. Despite giving a much better performance as Sabertooth, Liev Schreiber seems like he's pretending to be someone we've already seen played by Tyler Mane. The problem isn't Schreiber, who can act circles around Mane. It's that his character by nature has to be less interesting. Otherwise, he makes no damn sense.
Speaking of which ...