Movie Remake vs. Reboot: Understanding the Key Differences

Road House, set to debut on Amazon Prime on March 21, will bring audiences back to the character of Dalton, a philosophical bar bouncer originally portrayed by Patrick Swayze in the 1989 film of the same name. (The 2024 version stars Jake Gyllenhaal.) Enthusiasts of the cult classic believe it will be tough for the new production to capture the gritty ‘80s vibe of the original, questioning the need for a remake.

But is this a remake? Or perhaps a reboot? Or something entirely different? With Hollywood's growing reliance on established intellectual properties for its movies—though, in the case of Road House, “intellectual” may be a stretch—these industry terms have become increasingly muddled. Prequels, sequels, legacy sequels, reimaginings, and rebootquels are difficult to categorize. As new versions of films and series like Frasier, Harry Potter, and Highlander continue to emerge, here's a guide to how the terminology for these cinematic reinventions breaks down.

Remake vs. Reboot: What’s the Difference?

When it comes to terms describing the act of revisiting familiar cinematic territory, 'remake' and 'reboot' are arguably the most prevalent—and also the hardest to distinguish from one another. Broadly speaking, a 'remake' involves a film that recycles the same events, characters, and plot points from a previous version. For instance, in every iteration of 'A Star Is Born' (1937, 1954, 1976, and 2018), a struggling performer grapples with the jealousy tied to the success of their partner. In Peter Jackson’s 2005 version of 'King Kong,' modern special effects technology is used to retell the story of a giant ape trapped in captivity, a narrative first seen in the 1933 original. When a remake mirrors its predecessor nearly exactly, as in the case of Gus Van Sant’s 1998 'Psycho,' it’s typically referred to as a 'shot-for-shot remake.'

Remakes don't always follow their original counterparts to the letter, and sometimes, changes in character names and settings occur. A prime example is Brian De Palma’s 1983 film 'Scarface,' where Al Pacino plays Tony Montana, a Cuban immigrant who rises to power in Miami's criminal underworld. The 1932 version, starring Paul Muni, features a protagonist named Tony Camonte, an Italian immigrant who builds his empire in the gritty streets of Chicago.

In contrast, a 'reboot' tends to retain very few elements from the film that inspired it, often taking just enough to embark on a completely new direction. One of the most common examples can be seen in comic book reboots, where the only elements carried over are the characters and settings from the original source. For instance, 'The Amazing Spider-Man' (2012), starring Andrew Garfield, isn't a remake of Sam Raimi’s 2002 'Spider-Man,' featuring Tobey Maguire. Instead, it reboots the Spider-Man universe, which was further reinvented in 2017 with Tom Holland’s portrayal in 'Spider-Man: Homecoming.'

Reboots are attractive to studios because they carry established brand recognition. While the Garfield-led Spider-Man films were considered underperforming at the box office, Sony executives were astute enough to recognize that Spider-Man as a character remained beloved by audiences.

The economic logic behind this strategy can also be sound: 'The Amazing Spider-Man' was cheaper to produce compared to the hypothetical 'Spider-Man 4,' which would have required significant investment to retain the talent from Raimi's original trilogy, thus driving up production costs.

A reboot stands apart from a remake in an essential way: it suggests that a franchise is being revitalized and modernized with the aim of producing additional sequels. For instance, 20th Century Fox revived the Planet of the Apes series with the 2011 release Rise of the Planet of the Apes, which then paved the way for sequels. A fourth film is expected to be released later this year.

Here's another example: The heist comedy Ocean’s Eleven (2001) is a remake of the 1960 classic Ocean’s 11, starring George Clooney as the suave conman Danny Ocean, a role originally played by Frank Sinatra. This film led to the sequels Ocean’s Twelve (2004) and Ocean’s Thirteen (2007), along with a reboot in Ocean’s Eight (2008), which introduced a fresh cast while keeping continuity with the original trilogy. In the reboot, Debbie Ocean (Sandra Bullock), Danny's sister, takes charge.

A film might appear to be a remake, but it could instead be a new take on existing material. Greta Gerwig’s 2019 version of Little Women isn’t a remake of prior adaptations; it is based on the novel by Louisa May Alcott, just like all previous versions. If someone were to create another The Godfather film, they might argue that it's merely an adaptation of the Mario Puzo novel, rather than a remake of the iconic 1972 film by Francis Ford Coppola. (Good luck with that.)

It’s important to recognize that these terms can be open to interpretation. Generally speaking, a remake is a fresh take on a story, as if experiencing it for the first time, while a reboot seeks to restart a franchise and may or may not adhere to the continuity of earlier films.

Reboot vs. Sequel vs. Legacy Sequel

As previously noted, a reboot can forge a new direction while still maintaining a connection to the original film or films. In 2015’s Creed, Michael B. Jordan takes on the role of Adonis Creed, the son of Apollo Creed, the primary rival of Rocky Balboa (Sylvester Stallone) in the 1976 film Rocky. Although Balboa makes an appearance in Creed and events from the original series are referenced, Balboa assumes a supporting role, and Adonis is positioned as the new lead going forward. This is why it’s considered a reboot, not Rocky VII. By the time of Creed III (2023), Balboa is entirely absent, signaling a full-fledged reboot.

Sequels are direct continuations of a franchise, following the same characters and narrative. Generally, any film with a number following the title is a sequel. However, some movies may seem like remakes or reboots, only to be revealed as stealth sequels or prequels instead, as viewers of the 2011 version of the seemingly remade The Thing can attest. (We won’t spoil it here.) Sometimes these films are also referred to as “requels.”

It becomes more complicated when movies acknowledge an existing continuity without fully embracing the title of sequel. The Bourne Legacy (2012) tried to launch a new espionage series for fans of Matt Damon’s Jason Bourne films, but with Jeremy Renner in the lead role. Although Damon didn’t appear, Bourne was referenced through photographs and dialogue. As a result, it’s more of an (attempted) reboot than a true sequel.

Both Blade Runner 2049 (2017) and Top Gun: Maverick (2022) could be considered sequels or reboots. Blade Runner 2049 demotes Harrison Ford’s Rick Deckard to a supporting character while keeping the dystopian world introduced in the 1982 original. Top Gun: Maverick, a sequel to the 1986 film Top Gun, was at times referred to as a reboot due to its new cast of pilots and the 36-year gap between films. Movies that blur the lines between sequels and reboots are often called soft reboots, legacy sequels, or, less favorably, rebootquels.

In some cases, filmmakers downplay the terms reboot or sequel due to the negative connotations they can carry. Both Tom Hardy and George Miller preferred to label their 2015 film, Mad Max: Fury Road, as a “revisit” of the Mad Max franchise instead of a reboot or sequel.

Remakes vs. Reimaginings: A Clearer Distinction

The terms remakes and reimaginings are often used interchangeably, leading to confusion. Some people argue that reimagining specifically refers to a remake that introduces a significant change to the original, such as adapting an animated film into a live-action version. A prime example of this is Disney's ongoing efforts to rework its animated classics with real actors.

This brings us to Road House. Jake Gyllenhaal steps into the role of Dalton, but the setting has shifted from a rustic saloon in Missouri to a steamy bar in the Florida Keys. In this version, Dalton is an ex-UFC fighter, a career that didn’t even exist at the time of the 1989 original. So, does this classify as a remake or a reboot?

Amazon refers to it as a 'reimagining,' which seems fitting. While the films share a similar structure, they may differ enough that calling it a remake doesn't quite apply. Additionally, since Road House wasn’t really part of a larger franchise (especially considering the largely ignored 2006 sequel), it doesn’t quite qualify as a reboot either. If it turns out that Dalton’s last name is linked to Swayze’s character, though, it could be a soft reboot or legacy sequel. But for most audiences, the only question that matters is whether or not the film is enjoyable.