![]() ![]() It’s an innately cinematic sport (when done right - see Hoosiers and Coach Carter), and theoretically lends itself to the kind of slapstick antics the Tunes made their stock in trade. The skeleton of a Space Jam film is so deceptively simple, it hardly needs to be adapted from the cocktail napkin on which it was first scribbled: Take a popular athlete, dump him in a world of branded characters (preferably American icons the Looney Tunes), and have them play basketball. But in what specific ways does it falter? And in what ways might it actually improve on the rock-bottom expectations of the first? Let’s lace up, hit the court, and find out. It’s bad in many of the same ways as the first (and several new ones), making its own mistakes while attempting feebly to address the many shortcomings of its predecessor. And this time, the kid’s-film canvas extends beyond the loopy slapstick of the Looney Tunes to the vast, all-encompassing breadth of WarnerMedia’s umbrella of franchises, from Game of Thrones to Hanna-Barbera and beyond. Lee-directed Space Jam: A New Legacy, starring the closest thing we have to a modern MJ: LeBron James. Now, 25 years later, the long-dormant sequel is out, the Malcolm D. ![]() So it made money, at least, even if it rotted the respective brains of ’90s kids everywhere (myself included). It’s a battle of competing corporate synergies, the ultimate showdown of a series dependent on the scintillating synthesis of family-friendly franchises and merchandisable brands.įew good things come from properties adapted from the cocaine-addled musings of corporate ad executives ( Ted Lasso being pretty much the sole exception), but the 1996 feature-length followup to the 1993 “Hare Jordan” commercial, in which Bugs Bunny and His Royal Airness Michael Jordan team up for a little b-ball, scored $250 million dollars on an $80 million budget. ![]() Let’s face it: comparing the first Space Jam to its new sequel, Space Jam: A New Legacy, is a bit like the tagline for Alien v. ![]()
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