Jon Watts Explains Why He Left ‘Fantastic Four’ Project

Jon Watts has finally shared why he dropped out of directing Fantastic Four: First Steps.

In 2022, the director of the movie “Spider-Man: No Way Home” decided to step down from the project, citing the emotional exhaustion caused by the ongoing pandemic as the reason for his departure, leaving him with no other choice.

As a devoted cinephile, I can attest to the challenging nature of filmmaking during the pandemic, as shared by a fellow artist during a storytelling masterclass at the Mediterranean. He expressed the emotional toll of navigating COVID protocols, maintaining creativity, and ensuring safety for the cast and crew – a lapse could have been fatal. Adding to this, the post-production process was incredibly demanding.

As a devoted movie enthusiast, I can tell you that when crafting visual effects, it’s not just about local work but also an intricate global collaboration with vendors from every corner of the world. However, the COVID-19 pandemic disrupted this supply chain, making it incredibly challenging to execute visual effects in the traditional manner.

Between the production of the second and third Spider-Man films, he had agreed to work on “Fantastic Four: First Steps,” but when it was time to begin, he found himself running out of energy or enthusiasm for the project.

He expressed: “Given the additional challenges of creating a blockbuster film during the COVID era, I recognized I didn’t possess the necessary resources to make it an exceptional movie. I was simply exhausted and required some rest. Marvel fully comprehended my situation, as they had gone through similar struggles with me. They understood how demanding and exhausting that experience could be; ultimately rewarding, but at times, if you can’t give it your all for it to be outstanding, it’s more beneficial not to do it.

The Best Superhero Movie of Each Year of the 1990s

1990: Darkman

The film “Darkman” often slips the mind when discussing top-tier superhero movies, possibly due to its originality as a screenplay creation rather than an adaptation. Additionally, its protagonist, portrayed by a young Liam Neeson, is self-proclaimed as a “monster” with a grotesque visage, which might contribute to its overlooked status. However, Sam Raimi’s foray into the genre was highly successful, skillfully merging elements of horror, action, and humor to create an exceptionally entertaining superhero mix.

1991: The Rocketeer

In hopes of substantial success, Disney anticipated great things from their comic book series adaptation titled “The Rocketeer,” originally created by Dave Stevens. Regrettably, the film underperformed at the box office, even though it received positive reviews from critics. If “The Rocketeer” had been more successful, it would have been simple to extend Cliff Secord’s (played by Billy Campbell) heroic adventures as a stunt pilot turned superhero. However, the movie’s disappointing box office sales halted any franchise plans. Though Disney later revived the property years ago as an animated children’s show, starring a female version of the Rocketeer who is revealed to be Cliff’s great-granddaughter. The show was enjoyable for kids (my daughters adored it), but unfortunately, it was also short-lived; the show was terminated after only one season. Sadly, The Rocketeer continues to struggle in any format.

1992: Batman Returns

In essence, Tim Burton’s last Batman flick shares some similarities with Christopher Nolan’s final Batman production. It’s peculiar, quirky, and challenging, much like the original Tim Burton’s Batman but amped up. The film packed in more villains, more gloom, more gothic structures, and more profound melodrama. Michael Keaton’s Bruce Wayne, Danny DeVito’s Penguin, and Michelle Pfeiffer’s Catwoman were portrayed as three damaged souls intertwined by fate, each battling personal demons in search of peace and acceptance. Despite its oddball reputation compared to typical blockbusters, it’s quite captivating, mainly due to Keaton’s underrated performance and Pfeiffer’s spot-on portrayal of one of the most intricate female characters in any superhero film. The fact that this Catwoman never got her own movie while Halle Berry’s did is a significant misfortune in Hollywood history.

1993: Batman: Mask of the Phantasm

For years prior to “The LEGO Batman Movie,” it was convincingly argued that animation was the perfect format for Batman, with “Batman: Mask of the Phantasm” being a prime example. Crafted by the same team responsible for the timeless “Batman: The Animated Series,” this movie encapsulated all the elements that made the show exceptional – captivating visuals, smooth animations, and iconic voice actors – into an almost flawless 75-minute experience. Unlike many Batman films that can be overblown and tiresome, “MotP” is streamlined and efficient, much like a well-crafted 22-page comic book.

The tragic love story between Bruce Wayne (Kevin Conroy, who remains the best Batman in my opinion, even if only through voice acting) and Andrea Beaumont rivals that of Bruce and Selina Kyle in “Batman Returns,” and the film’s central mystery retains its impact if you avoid spoilers by not examining the movie’s action figures. Now over 30 years old, this film has aged gracefully, in part due to the timeless blend of Art Deco architecture and futuristic technology featured in the streamlined artwork from “TAS,” which was deliberately out-of-time even in 1993.

1994: The Mask

Today, it’s rare not to have a major superhero film release every few months. Contrastingly, during the ’90s, superheroes were often considered low-budget B-movies, and many adaptations centered around obscure characters – such as The Mask, a comic by Dark Horse about a mystical mask that transforms wearers into nearly indestructible superheroes at the expense of their mental stability. (The character Stanley Ipkiss from the comics didn’t even last through the initial Mask series!) The movie softened the comic’s grim atmosphere and emphasized its exaggerated protagonist, played by Jim Carrey in a breakout role whose facial expressions were so vivid, even under green makeup, that The Mask’s special effects seemed almost unnecessary.

1995: Tank Girl

In the early 1990s, the initial Batman movie sparked a surge of superhero and comic-strip adaptations. However, by the late 1990s, many of these productions struggled at the box office, potentially leading to the collapse of the genre. Among these flops was Tank Girl, based on a popular British comic series by Alan Martin and Jamie Hewlett. The film, released in 1995, featured Lori Petty as the title character, battling an evil corporation in a post-apocalyptic Australia. Initially, audiences found this peculiar production unappealing. However, over time, it has garnered a dedicated cult following. Today, Tank Girl is recognized for its innovative production design, dark humor, and perhaps even its feminist narrative, which was arguably ahead of its time.

1996: The Phantom

When The Phantom appears online (not too frequently), it’s often to poke fun at Billy Zane’s purple suit, which mirrors the original comics, or its catchphrase “Slam evil!”. I find nothing wrong with a superhero fighting evil sometimes. However, there are impressive stunts in The Phantom, and Billy Zane does a great job as The Phantom. Catherine Zeta-Jones, who is young and incredibly beautiful, plays an immoral pirate. I’m not particularly fond of the mysterious laser battle at the end between Zane and Treat Williams, and the movie seems like it could be a shortened version of a more intricate story (or possibly multiple stories by Falk). Nevertheless, The Phantom has a horse and a wolf as his companions, and in one scene, they communicate through barks and growls. That’s tough to beat, Batman.

1997: Hercules

In the ’90s, particularly the mid-’90s, there weren’t many excellent superhero films to choose from. You think I should have chosen Batman & Robin? I highly doubt it. Instead, let’s opt for Hercules. This movie could be labeled as a Disney musical, an animated film, or a contemporary adaptation of a classic Greek myth – but at its core, it’s a superhero story. Co-director John Musker himself referred to it as their “superhero movie,” a project they pursued because of their shared love for comic books. The story features the typical elements you’d find in any great superhero saga: Action, adventure, supporting characters, humor, and James Woods portraying the ruler of the underworld.

1998: The Mask of Zorro

In this superhero movie trend’s early days, a film modeled like a follow-up to an unmade movie (known as a legacyquel) was created. Anthony Hopkins played the original Zorro, who passed on his mask and skills to Antonio Banderas. The director Martin Campbell, who later made Casino Royale, delivered thrilling action scenes, while Hopkins added witty humor to the film. Catherine Zeta-Jones made her big break in this movie as the daughter of the first Zorro. This 1990s blockbuster is a timeless and underappreciated gem.

1999: The Matrix

In a similar vein to Hercules, The Matrix isn’t adapted from a comic book, and while it may not strictly fall under the category of a superhero movie, it undeniably overlaps with several other genres such as science-fiction and martial arts action. However, the film’s final shot indicates that the Wachowskis intended this film to serve as the origin story for a new character, Neo (Keanu Reeves). Much like Superman, Neo has a hidden identity; the main difference being that Neo wears sunglasses instead of taking them off when it’s time to save the world.

In essence, The Matrix can be considered a unique take on the superhero genre, with Neo embodying many of the same traits as traditional superheroes, albeit in a distinct and original manner.

2025-07-02 18:24