Can the San Diego Comic-Con really make or break a movie? That’s a yearly question asked in the days leading up to the annual geekfest, and few experts ever provide a definite answer. Most people point to weak Con receptions of footage from ultimately failed films like The Spirit and Catwoman as proof of the event’s influence. Meanwhile, there’s the corresponding recognition that positive buzz at the Con for certain niche titles like Twilight and 300 led those films to boffo box office.

But despite the few times Con attendees have been on the same wavelength with the rest of the moviegoing public, it’s important to remember the many movies that had geeks excited in San Diego but which couldn’t garner much interest from mainstream audiences in theatrical release. After the jump, we take a look at ten such movies that buzzed well at Comic-Con only to fizzle at the box office.
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Even if you love the original Escape to Witch Mountain, you have to welcome a remake. The 1975 sci-fi Disney film has some very dated special effects — though the visible wires used to “levitate” a handgun and a harmonica give it a campy charm — and it’s not exactly the well-respected classic that The Black Hole or Old Yeller is, anyway. So, better a remake (or “modern re-imagining”) of a slightly beloved movie, which has already been redone once, to give The Rock another fulfillment of his Disney contract and utilize all the “perfect” digital effects now available.

While it seems that eventually all Disney live-action classics will be remade, potentially rendering obsolete the careers of Dean Jones, Kevin Corcoran and those ugly kids from Mary Poppins, there are some that may, like Witch Mountain, deserve to be recycled. Disney has previously erred in reworking films like The Absent-Minded Professor (Robin Williams is no Fred MacMurray) and The Shaggy Dog (Tim Allen is no MacMurray, either, nor even is he Tommy Kirk), and it’s mistakenly producing new versions of Swiss Family Robinson and 20,000 Leauges Under the Sea. But there are so many other films, most forgotten, that would better lend themselves to remakes.

Here we’ve selected 10 such classics, all but one live-action features, and we welcome you to suggest any others you may wish to see updated and/or re-imagined.
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Today’s news that Summit Entertainment has already chosen a release date for Eclipse, the third entry in theTwilight series, suggests the studio is in a hurry. With New Moon, the second entry in the series, currently in a production surge under the direction of Chris Weitz for a November 20 release date, Summit’s latest decision raises the bar even higher, by placing Eclipse right in the heat of summer 2010’s blockbuster season. What’s the rush?

Former New Line marketing chief Russell Schwartz, whose resume includes a steadily successful franchise about hobbits and rings, offers one piece of advice for the newbies at Summit: Slow down.

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TV and film critic Andrew Johnston (long with Time Out New York, more recently a contributor at The House Next Door) died over the weekend at age 40, after a battle with cancer. I didn’t know Andrew personally, but I knew his writing through his Mad Men recaps at The House, which this season I began religiously checking every Sunday night after watching each new episode twice in a row. Now House Next Door creator Matt Zoller Seitz has published a tribute to Johnston, which is a must-read whether you’re familiar with his criticism or not.

Two things pop out: first, Johnston leaves behind a legacy of supporting other film and media writers, most notably by helping them get jobs. As Seitz writes,

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My version of The Godfather would open with a voice in the darkness saying, “I don’t believe in America. The American Dream is a once-beguiling fairy tale; show’s over, y’all.” But The Dream is still real to many people, and the violence that powerful private interests have done to it in the last century pains them like a kidney punch.

Gonzo journalism pioneer Hunter S. Thompson was one of the wounded, and so is Alex Gibney (Enron: The Smartest Guys in the Room, Taxi to the Darkside), the far more straight-laced director of the entertaining documentary Gonzo: The Life and Work of Hunter S. Thompson. They share a proprietary sense of outrage over abuses of power they’ve witnessed in their times. For them, America’s Nixons, Enrons and Bush-Cheneys have desecrated the church, the front lawn. For all their passionate trouble-making, there’s no denying that Gibney and the late Thompson, two white males who came up through America’s hallowed institutions (Thompson through the U.S. Air Force; Gibney through Yale), are insiders.

When I went to interview Gibney about Gonzo, I remembered the film’s procession of leathery right-wingers and elites, former Thompson nemeses, who have warm, friendly things to say about “Dr. Gonzo” now that he’s dead, now that his caricature as a gun-toting drughead has endured beyond his politics. I wondered if, in the end, being inside got the hole dug any better than chucking rocks from outside.

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After finally seeing Spider-Man 3 the other day, I’ll be happy to never see another Sam Raimi movie again. So, when it was announced Monday that Guillermo Del Toro, instead of Raimi, was in talks to direct the back-to-back Hobbit movies, I was somewhat relieved. But now with Del Toro himself pretty much confirming he’s on board for the Lord of the Ring prequels (I know in the book world prequel isn’t the appropriate word, but in the New Line film series, and as far as mass audience is concerned, it is), I’m still a bit worried about the look of the films. Will Gollum suddenly have no eyes, like many of the creatures in Del Toro’s recent works? Will he be played by Doug Jones rather than a CGI Andy Serkis? Will Middle-earth now be a more stylized place?

One of the great things about Peter Jackson’s LOTR trilogy is that he made it look fairly straight-forward. There wasn’t much of the filmmaker’s personality in it. Sure, some of Middle-earth’s design had its influences (Rivendell looked painted by Maxfield Parrish, for example), but you couldn’t say the films necessarily or significantly reflected Jackson in any sort of a stylistic sense. Del Toro is much more of an auteur, though, and it’s easy to imagine his Hobbit duology bearing more a resemblance to his own films than to Jackson’s LOTRs (just look at how Hellboy II looks so similar to Pan’s Labyrinth). Of course, New Line couldn’t let too much divert from what the audience is used to, right? No way would anybody permit for Del Toro to do his own thing with Gollum or any other part of the franchise so that it would be unrecognizable to moviegoers. But then why not just hire some new, more malleable director to be Jackson’s Matt Reeves/James McTeague/Tobe Hooper?