Film directors do more than just yell “action!” They shape the vision, story, and feel of a movie. But sometimes, especially in big franchises, the director chosen isn’t the best fit. They might clash with studio demands, misunderstand the source material, or just not live up to the hype. This can leave fans wondering “what if?”
Franchise directors often juggle studio expectations, fan desires, and the legacy of previous films. It’s a tough gig! Let’s dive into 10 franchise movies that many believe could have truly shined under a different directorial vision, perhaps even with someone who was initially considered or had a strong connection to the material.
10. Alien 3
After the massive success of Aliens, 20th Century Fox had trouble securing Ridley Scott for the sequel. Vincent Ward was set to direct Alien 3 but was let go late in the game because producers found him hard to manage. They then chose David Fincher, a rising star, thinking he’d be easier to work with. However, Fincher constantly battled studio-demanded changes, many of which were forced through. The resulting film didn’t please many and controversially killed off beloved characters Hicks and Newt from Aliens, partly because the actors couldn’t be brought back.
Who might have done better? James Cameron. He was key in bringing Sigourney Weaver back for Aliens and likely could have reunited the cast for a third film. In the years between, Cameron had made groundbreaking films like The Abyss and T2, pushing CGI technology forward. He would have brought this innovative spirit to Alien 3, likely creating something spectacular. As an established director, Cameron also would have had more power to manage studio interference and deliver a more cohesive vision.
9. Ant-Man
The first Ant-Man movie, directed by Peyton Reed, wasn’t a failure, but it felt a bit safe. It stayed comfortably within the Marvel Cinematic Universe’s established style without much experimentation. While Reed’s later Ant-Man films developed their own charm, the original could have been something truly unique from the start.
Edgar Wright was initially attached to direct. He and Joe Cornish had been working on a script since 2003. Their version would have likely featured a distinctly British sense of humor, setting it apart from other MCU films. Wright, a dedicated fan of the comics, also planned to bring his signature fast-paced, visually inventive style, full of quick cuts and clever Easter eggs. Unfortunately, Marvel reportedly wasn’t looking for such a distinct “Edgar Wright movie,” leading to his departure.
8. Star Wars: The Rise of Skywalker
The Star Wars sequel trilogy had its share of ups and downs. J.J. Abrams’s The Force Awakens and Rian Johnson’s The Last Jedi both sparked intense debate among fans. For the final film, The Rise of Skywalker, Lucasfilm president Kathleen Kennedy, reportedly concerned by the reception of prospective director Colin Trevorrow’s previous film, brought Abrams back. This decision, however, led to a concluding chapter that felt misaligned with the bold new direction Johnson had introduced.
Perhaps Rian Johnson should have directed the final installment. Having already made daring choices with characters and plot in The Last Jedi (like eliminating the main villain), Johnson was poised to guide Star Wars into fresh territory. While Abrams did communicate with Johnson, the differing visions ultimately resulted in a story that felt disjointed, leaving many fans wanting more consistency.
7. Thor: Love & Thunder
After Avengers: Endgame, expectations were high for Thor’s next solo adventure, especially since he’d teamed up with the Guardians of the Galaxy. However, Thor: Love & Thunder largely sidestepped this, delivering a film filled with goat screams, awkward jokes about serious topics, and a surprisingly dimwitted Thor.
Taika Waititi, who had successfully reinvented Thor with the lighter tone of Thor: Ragnarok, seemed like the perfect choice. Yet, many felt he fumbled this time, creating a film with an inconsistent tone, poorly handled characters, and an underused villain in Christian Bale’s Gorr. Reports suggest Waititi took on Love & Thunder because his live-action Akira project was delayed. A better fit might have been co-writer Jennifer Kaytin Robinson. Her work on Do Revenge (2022) shows she’s skilled at blending dark themes with comedy, a balance that could have greatly benefited this Thor outing and allowed Marvel to support an emerging talent.
6. No Time to Die
Daniel Craig’s final outing as James Bond, No Time to Die, had all the classic 007 elements: cool cars, intriguing women, and menacing villains. Yet, the film, directed by Cary Joji Fukunaga, ended Craig’s era with more of a sigh than a bang. It tried to be clever by subverting expectations with Blofeld but then fell into a cliché-ridden finale. Fukunaga, known for more serious dramas, seemed to struggle with the unique appeal of Bond.
Danny Boyle was originally slated to direct but left due to “creative differences.” For such a pivotal film, producers might have considered Martin Campbell. Campbell directed GoldenEye and Casino Royale, two of the most acclaimed Bond films. Hiring him would have brought a deep understanding of the character and a satisfying sense of completion, with Craig’s Bond era beginning and ending under the same masterful direction. Campbell has even said he’d consider another Bond, but alas, not for Craig.
5. F9
When a franchise runs out of road, it sometimes heads to space. That’s exactly what happened in F9, the almost cartoonish ninth installment of the Fast & Furious saga, directed by Justin Lin and produced by Vin Diesel. Lin had guided the series into increasingly over-the-top action from Tokyo Drift to Furious 6 before returning for F9. But a history with the franchise doesn’t always mean knowing what’s best for its story.
Instead of escalating the spectacle, perhaps Diesel and the studio should have revisited the series’ roots. Who better than David Ayer, co-writer of the more grounded original, The Fast & the Furious? Ayer is known for directing gritty, lower-budget action thrillers that blend urban settings, gang dynamics, and strong characters, like End of Watch. Just as he did with the first film, Ayer could have brought a more realistic tone, drawing on real-world elements and focusing on character development, potentially revitalizing a series straining under its own weight.
4. Terminator Salvation
Terminator Salvation offered something unexpected from the time-traveling killer robot series: a film largely without time travel or traditional robot stalkers. Despite a strong cast including Christian Bale and Sam Worthington, director McG delivered a visually drab film with uninspired action, flat characters, and a weak script. The simple solution? The franchise creator himself: James Cameron.
While Cameron’s work on the first Avatar would have prevented him from directing in 2009, waiting a few years might have been worthwhile to see his vision continue from the first two iconic films. Cameron was still involved in the series around this time, even recommending Sam Worthington to McG. However, rights disputes over the third film had unfortunately sidelined him. There’s a sliver of hope, as Cameron has recently hinted at returning to reboot the series, potentially erasing Salvation and its sequels from the timeline.
3. Bad Boys for Life
For the long-awaited third Bad Boys film, directors Adil & Bilall borrowed heavily from Michael Bay’s visual style: sun-drenched Miami shots, soft lighting, and spinning camera moves. However, many felt they lacked Bay’s directorial skill, resulting in messy editing and a forgettable script. The movie veered into “dad joke” territory, failing to capture the action-comedy-character balance that made the first two films so popular.
The obvious better choice? Michael Bay himself, director of Bad Boys I and II. Despite his reliance on certain filmmaking clichés, Bay undeniably shaped the action blockbuster landscape of the 90s and 2000s and was instrumental in making Bad Boys a global hit. He even directed a cameo scene in Bad Boys for Life. So why wasn’t he fully on board? Reportedly, the studio took too long to get the project off the ground, and after a 17-year gap, Bay had moved on.
2. Dark Phoenix
Entrusting the writer of one of the X-Men franchise’s most criticized films, X-Men: The Last Stand, to make his directorial debut with a crucial new installment seemed like a risky move. Yet, that’s what Fox did with Simon Kinberg for Dark Phoenix. This film, intended to be a highlight of the rebooted timeline that started with First Class, ended up being a major disappointment, suffering from uneven pacing and underdeveloped characters.
A more logical choice would have been to bring back Matthew Vaughn, director of the excellent First Class and co-writer of Days of Future Past. Vaughn is a genuine comic book enthusiast who successfully rebooted the series and later found success with the Kingsman films. He likely would have brought a more dynamic pace and a deeper connection to the comic source material. In fact, Vaughn originally planned a trilogy of character-driven X-Men films but walked away when the studio didn’t align with his vision.
1. The Hobbit
Peter Jackson’s Hobbit trilogy stands out as a prime example of a bloated production that many felt strayed too far from its source. Jackson, who hadn’t directed much since his acclaimed Lord of the Rings trilogy, seemed somewhat out of touch with what audiences wanted. The Hobbit films were criticized for thin plots, over-reliance on sometimes unconvincing CGI, and stretching a relatively short book into three long movies.
Originally, The Hobbit was envisioned as a two-part film, helmed by Guillermo del Toro. Del Toro, a master of fantasy storytelling, intended to stay true to J.R.R. Tolkien’s concise novel. He planned an immersive world built with models, miniatures, paintings, and animatronics, a departure from heavy CGI. His proven ability to balance action, heartfelt themes, and stunning visuals, seen in films like Pan’s Labyrinth, was precisely what The Hobbit needed. Unfortunately, lengthy delays led to del Toro’s departure, and Jackson stepped back in.
Sometimes, the right director makes all the difference. A small change at the helm can drastically alter a film’s DNA, leading to a blockbuster hit or a missed opportunity. It’s fascinating to think about these cinematic “what ifs.”
Which franchise movie do you think suffered most from its director? Share your thoughts or other examples in the comments below!
