Skip to main content

5 unmade movies we want to see

Legendary filmmakers are great in part because they know how to pick good projects. Sometimes, though, the projects that they don’t make are even more intriguing than the ones we get to see. In Hollywood’s long history, a number of great directors have announced projects, only to abandon them at some point.

This happens all the time in Hollywood, but most of the movies that don’t get made don’t get remembered as legendary “what ifs.” The movies on this list, though, could have been all-time greats if they’d been produced.

Recommended Videos

Christopher Nolan’s Howard Hughes biopic

The Aviator
Miramax Films

Nolan’s thunder got stolen when Martin Scorsese made The Aviator, but he was planning to make a Howard Hughes biopic in the aftermath of Insomnia. In speaking with The Daily Beast in 2007, Nolan even claimed it was the best thing he’d ever written.

Once Scorsese’s project got ahead of Nolan’s in the production schedule, Nolan ultimately abandoned the script and moved on to Batman Begins. Now, almost 20 years later, it seems like Nolan could still revisit this project, with plenty of distance from The Aviator.

Darren Aronofsky’s Batman: Year One

Christian Bale as Batman in Batman Begins.
Image used with permission by copyright holder

Plenty of directors have almost made a Batman movie at some point in their careers, but none of the unmade movies are more thought-provoking than Darren Aronofsky’s abandoned adaptation of Batman: Year One.

The movie was announced all the way back in 2000 when Aronofsky was coming off of Requiem for a Dream, but it never made it off the ground. Warner Bros. was intent on a reboot of the Dark Knight, though, so after Aronofsky left the project, it was eventually handed to none other than Christopher Nolan.

Quentin Tarantino’s Double V Vega

John Travolta and Sam Jackson star in Pulp Fiction, directed by Quentin Tarantino.
Miramax Films

Quentin Tarantino has abandoned a number of projects over the course of his career, but perhaps none were more enticing than Double V Vega, which was meant to be a direct prequel to Pulp Fiction and Reservoir Dogs. The movie would have brought together John Travolta’s Vincent Vega and Michael Madsen’s Vic Vega, but Tarantino never got much further than his initial premise.

“It would’ve taken place in Amsterdam, during the time Vincent was in Amsterdam,” the director explained during an interview with Cinema Blend. “He was running some club for Marsellus Wallace in Amsterdam, he was there for a couple years. In some point during his two years spent running that club, Vic shows up to visit him and it would’ve been their weekend.”

David Fincher’s Eliot Ness Movie

The cast of The Untouchables.
Paramount Pictures

It’s rare to find a director and subject so well-suited for one another, but David Fincher and Eliot Ness feel like a match made in detective heaven. Ness would have been an adaptation of the graphic novel Torso, and it would have starred Matt Damon as the famed investigator as he hunts down a serial killer in Cleveland.

The movie was initially meant to be Fincher’s follow-up to The Curious Case of Benjamin Button, but development took too long and Fincher wound up making The Social Network instead.

George Miller’s Justice League movie

The Justice League of Zack Snyder's Justice League.
Warner Bros. Pictures

Mad Max: Fury Road proved that George Miller is a visionary action director with almost no rivals. While Miller may not be done with the Mad Maxuniverse, plenty of people aren ow retroactively upset that his Justice League movie never came together.

Miller had already cast Armie Hammer as Batman and Adam Brody as The Flash, but the 2008 writers’ strike kept the movie from moving forward. Now that we know it’ll never happen, all we can do is speculate about how great it might have been.

Joe Allen
Joe Allen is a freelance writer at Digital Trends, where he covers Movies and TV. He frequently writes streaming…
5 things we need to see in The Mandalorian & Grogu Star Wars movie
The Mandalorian and Grogu in a poster for the Disney+ series.

It's not hard to see why Lucasfilm gave the green light to the upcoming Mandalorian & Grogu movie. No new characters from the new Disney era are as widely beloved as they are. In a time when so many Star Wars films have been announced and subsequently abandoned, a movie based on The Mandalorian feels like a surefire hit.

And yet, everything else about this film remains a mystery. What's the story? When does it even take place? None of that is known. But I think we can agree that the following five things need to be addressed in the upcoming film.
1. The right epic feel and scope

Read more
Are movie franchises dead, or are we just seeing the start of new ones?
Vin Diesel holds a car door like a shield in a still from Fast X

Vin Diesel in Fast X Universal Pictures

Hollywood runs on franchises. It has for decades now. Quick, how many times this century has the highest-grossing movie of the year been a sequel, a prequel, or part of a so-called shared universe? It would be easier to count the times it hasn’t been: Since the turn of the millennium, we’ve seen only half a dozen originals rise to the top of the annual box office.

Read more
Oppenheimer was the movie of 2023. Here’s why
Shot of Cillian Murphy in "Oppenheimer."

A few weeks ago, Christopher Nolan’s towering historical blockbuster Oppenheimer landed on Blu-ray. Within days, the disc sold out everywhere, disappearing from online retail inventories and brick-and-mortar shelves alike. In an age when physical media is supposedly on its deathbed, pushed to the brink of extinction by the convenience of streaming, here was what used to be called a “home-video release” so in demand that it started fetching the exorbitant resale rate of a cult classic long out of print. Such is the anomalous power of a pop-culture sensation whose success we’re still finding new ways to quantify.

By most metrics that count, Oppenheimer was the movie of 2023. Plenty of fans — including, incidentally, the author of this article — would argue that it’s actually the best film of the year: a dazzling cerebral spectacle that views the dark legacy of its subject, the so-called Father of the Atomic Bomb, as a chain reaction of political, philosophical, and existential consequences. But even with the question of its artistic merit set aside, Oppenheimer still looms impossibly large over the year in cinema. Nothing else achieved such a perfect fusion of multiplex popularity, rapturous acclaim, and mass cultural curiosity. No, not even Barbie, the chipper, brightly colored yin to Oppenheimer's depressive, muted yang.

Read more