Picture this: a horror remake starring Tom Welling that's widely regarded as one of the worst in history, yet it inexplicably raked in millions at the box office. It's the kind of paradox that makes you question everything about movies, marketing, and what audiences really want. But here's where it gets controversial – could this be proof that quality doesn't always trump clever timing and low expectations? Stick around as we dive deep into this puzzling success story.
Welcome to Tales from the Box Office, our ongoing series exploring cinematic triumphs, flops, and all the gray areas in between. We unpack the insights and takeaways from these box office adventures to help you understand the wild world of film finance and fan reactions.
"If everyone's jumping on the remake bandwagon and they're offering to pay me to rework one of my own films, why turn it down?" That's what legendary horror director John Carpenter told IGN in 2005. At that point, the world was eagerly awaiting the release of 'The Fog,' a fresh take on his 1980 supernatural tale, which you can check out more about here.
Carpenter's original movie was a solid earner and, while it couldn't match the massive popularity of his 'Halloween' from a couple of years prior, it holds a special place in his filmography. Fast-forward to 2005, and Sony Pictures decided to give it a modern overhaul with a heftier budget and a star-studded lineup featuring Tom Welling from 'Smallville,' Selma Blair of 'Hellboy,' and rising talent Maggie Grace.
The outcome? Many argue it's among the most disappointing horror reboots ever made, as detailed here. Still, despite not being a blockbuster, it earned enough to qualify as a win. Looking back, it's downright surprising – if not utterly bewildering.
This week in Tales from the Box Office, we're celebrating the 20th anniversary of the 'Fog' redo by examining its origins, the state of mainstream horror back then, its theatrical performance, the buzz afterward, and the valuable lessons it offers today. Ready to explore? Let's get started.
The film in question: The Fog (2005)
Sony Pictures
This story centers on the inhabitants of the quaint town of Antonio Bay, who get ensnared in an eerie fog while unknowingly falling prey to a terrifying vendetta. Specifically, the spirits of sailors from a shipwreck a century ago are seeking retribution against the descendants of those who caused their demise.
Carpenter and his co-writer Debra Hill from the 1980 version were listed as producers for Sony's version. But let's consider Carpenter's career stage at that moment. His 1995 remake of 'Village of the Damned' crashed at the theaters, marking a pivotal shift where his peak as a director seemed to have passed.
Fresh off the disastrous 'Ghost of Mars' in 2001, and nearing his last directorial feature, 'The Ward,' in 2010, Carpenter was in a transitional phase. Producing a redo of his own work was enticing for multiple reasons – chief among them, the financial incentive.
"I penned the script for 'The Fog,' so they're obligated to compensate me," Carpenter shared in a 2019 Variety interview. "It's my dream remake scenario: extend my hand for a paycheck without lifting a finger. That's a gig I can wholeheartedly embrace."
The Fog redo fit right into the early 2000s horror remake wave
Sony Pictures
Carpenter wasn't deeply invested in this project, but the pay was a welcome perk. Sony enlisted Rupert Wainwright, director of 'Stigmata,' to helm it, based on a screenplay by Cooper Layne from 'The Core.'
Why did Sony opt to reimagine 'The Fog'? It was during a boom in remake success. Hollywood loves replicating wins, after all. Take 2003's 'The Texas Chainsaw Massacre,' which grossed $108 million globally on a $9.5 million spend, proving hugely popular and inspiring similar efforts.
Earlier that year, the much-criticized 'The Amityville Horror' with Ryan Reynolds pulled in $109 million worldwide, fueling the trend. Sony aimed to follow suit by casting a TV star like Tom Welling, much like they did with Jessica Biel from '7th Heaven' in 'Chainsaw' or Jared Padalecki from 'Supernatural' in the 2009 'Friday the 13th' reboot, which earned $91.5 million globally.
There was clearly a winning formula then, repeated with success. Sony had plenty of justification to proceed. Remember, this was pre-Netflix streaming dominance – the service was just a DVD rental option, and physical media reigned supreme. Theater visits were a big social event, making it simpler for modestly budgeted flicks to turn a profit.
The Fog redo amps up the scale (but not the excellence)
Sony Pictures
Carpenter drew inspiration for the original 'The Fog' from a Stonehenge visit, crafting a concise 90-minute screenplay. The remake aimed to broaden the narrative, extending to 100 minutes, demonstrating that more isn't necessarily better. Budget-wise, Carpenter's version cost a mere $1.1 million – under $5 million inflation-adjusted – a pittance by studio standards.
Wainwright's take clocked in at $18 million, roughly $30 million today, yet still modest for a major production. As a refresher for newcomers, horror films often attract investment because they're cost-effective: low risk with potential for big rewards. During a set visit, Wainwright described his vision to Dark Horizons:
"Much of the story revolves around the town's history. Previously, the journal appeared in a church, tying everything there. In ours, we emphasize the bridge between past and present, where ancient wrongs resurface to shatter the now."
At least Wainwright tried to differentiate it. Regrettably, the final product fell short.
The money trail
Contemporary reviews tore it apart, with a dismal 4% on Rotten Tomatoes. "By pandering to young horror fans, it ages down characters by 15 years and dumbs down the plot accordingly," quipped R. Emmet Sweeney in The Village Voice.
Nonetheless, Sony marketed it as an accessible ghost yarn for teens. They weren't targeting nostalgic adults; they hit their mark, defying harsh critiques to claim the top spot.
'The Fog' premiered October 14, 2005, perfect for Halloween vibes. It debuted at number one in North America with $11.7 million – not earth-shattering, but respectable for a maligned film. Competition was light, with 'Elizabethtown' at $10.2 million and 'Domino' at $4.6 million.
A week later, the atrocious 'Doom' video game adaptation opened, indirectly boosting 'Fog' with a $6.6 million second frame. Then 'Saw II' took over for Halloween, but the damage was done. Sony walked away unscathed.
Domestically, it tallied $29.5 million, plus $16.6 million overseas, totaling $46.2 million globally.
The Fog barely scraped by as a hit, but even that's astonishing
Sony Pictures
To clarify, it wasn't a smash, but in 2005 terms, it was a decent win. Using basic box office wisdom – where a film needs about 2.5 times its budget to break even – it nearly achieved that, and home video amplified profits. DVDs alone brought $15 million in the U.S., not counting cable or streaming deals.
For context, Carpenter's original made $21.4 million theatrically on its tiny spend, and has thrived on VHS, DVD, Blu-ray, and even a 2018 4K re-release. It's enduringly popular. No comparison to the redo's fate.
That said, the remake's legacy is abysmal – and deservedly so. Honestly, discovering it wasn't a total bomb shocked me. Its moderate success underscores how different the industry was two decades ago. Even subpar movies could lead the charts and profit. For better or worse, that's the reality.
The takeaways from all this
Sony Pictures
Carpenter crafted 'The Fog' to branch out from 'Halloween,' avoiding repetition. It wasn't as lucrative initially but grew in esteem, letting him explore other themes and skip directing 'Halloween II.'
The redo, however, felt like a quick cash play, repackaging an old concept for youth amid a trend. While not fair to blame Wainwright entirely, his lack of features since is noteworthy.
And this is the part most people miss: Remakes aren't inherently flawed. There are excellent ones, like Carpenter's masterful 'The Thing' redo, which breathed new life into a classic. Successful reboots usually bring innovation – a unique twist or fresh presentation for modern crowds – beyond just profit motives. 'The Fog' did just enough to avoid disaster, thanks more to era-specific factors than its creativity.
Back then, DVDs were a reliable lifeline, salvaging flops. Today's streaming payouts are smaller, and video-on-demand is helpful but less lucrative. Modern mediocrities lack those safeguards.
So, what do you think? Is it fair to judge a film's worth by box office alone, or should quality reign supreme? Do remakes deserve a chance if they experiment creatively, or are they doomed to fail without passion? Share your views in the comments – I'm curious to hear agreements, disagreements, or fresh perspectives!
