"Sequels suck." Or do they? Sure, we might go with the crowd by condemning Hollywood's retread of original classics, but isn't there a part of us that eagerly looks forward to Part 2? Yes, perhaps sequels are mostly disposal grounds for unoriginal ideas, but there's a lot to be said for them as well. So here, in typical MRFH equal opportunity fashion, we present both sides of the arguement. And you can decide.

Pro-Sequels	Sequels Suck
The Return Of... your favorite character(s) from the previous movie. No one saw Beverly Hills Cop II or III because of a highly original plot -- they came to see Axel Foley and his reliable antics.	And Introducing... many sequels can't afford or attract the big stars that were in the original, and therefore transplant in some lesser-known actors to try to win over our loyalties (everyone remembers how traumatizing it was to have Steve Guttenburg replaced for Police Academy 5).
Better Than The Original: A sequel theoretically allows filmmakers to refine and better an idea from the original, particularly if they're granted more cash and better technology. Examples: Aliens, Addams Family Values	Fewer Resources: As sequels are only expected to draw in about a third as much box office, they typically have a smaller budget. Plus, few filmmakers see a sequel as a place for an original plot idea -- they'd rather take it elsewhere. Examples: Alien 3, Tremors 2
Superman II	Superman IV: The Quest for Peace
The Story's Not Over Yet: Unlike a TV series, after two hours a movie ends and the story continues no further. A sequel is an opportunity to keep the spirit of the original film alive, and offer new perspective on where the characters are going. Example: American Pie 2	Don't Ruin A Good Ending: Picking up character's story lines in a sequel can disillusion us to the success they had at the end of the first movie. Example: Characters being broke and out of work in Ghostbusters 2.
Tidy Up: Loose plot points from the original can be tied up in the sequel. Example, Mel Gibson's wife's murder is resolved in Lethal Weapon 2.	Sometimes, Ambiguity Is Good: We're not a dumb film audience (well, not most of us) -- not every single thing needs to be explained to us. We might already have a good idea how questions from a movie should be answered, and a sequel can ruin that. Example: Midichlorians in The Phantom Menace.
Reliability: You basically know what you're going to get. We rely on quippy snippits to describe new movies to figure out what they'll be like... and most of the time, your expectations are let down. A sequel needs no big introduction. Want to go see Rambo II? Gee, what will it have: guns, one man vs. an army, gratuitous violence. Case closed.	Been There, Filmed That: Life's too short to watch a rehash when you could choose something new, fresh and different. You saw Dr. Dolittle, there's nothing great to be gained from seeing two more hours of it in the sequel.
Fresh Blood: A new director can infuse life into a failing franchise by taking a familiar concept and using their own style to rejuvinate it. All Alien films have had different directors, each with their own vision for the horror/suspense/action/sci-fi setting.	You Don't Really Understand Me: The worst travesty that can befall a sequel is to hire on a director at the helm who does not grasp the spirit of the film's ancestors. Too much of a radical change in tone, too many characters betrayed, and an audience will riot. Example: Predator 2 (a fine film on its own, but too different from the original for the audiences to accept)
Train Wreck Watching: It's the morbid curiosity that urges us to tackle cinema-worthy celluloid like Leprechaun 4: In Space. Whether they're so-bad-it's-great or so-bad-you-want-to-claw-your-eyes-out, horrible sequels are a genre of their own.	We agree with the left there. For added fun, make it a special point of perusing your video store shelves for sequels that were (1) never in the theaters, (2) you didn't know they were making, and (3) have truly horrible taglines. Our favorite: "Being BAD has never smelled so GOOD"
Good Marketing Campaigns: Since a sequel's profits are largely drawn from its recognizability, studios worth their salt will come up with a cheeky and (hopefully) original marketing strategy to make audiences salivate. Example: the Death Star teasers for Austin Powers 2 ("If you only see one movie this summer... well, see Star Wars. If you see two, then see Austin Powers").	Bad Marketing Campaigns: Don't include the words "They're back!" Don't play on the same jokes that were funny in the first film. And unless there is the promise of something new and fun, we ain't coming.
Return of the Killer Tomatoes	Killer Tomatoes Eat France
I Just Can't Wait: Anticipation can be the sweetest thing to a movie buff, and what better than to anticipate a sequel to a terrific film?	The Traditional Prejudice: "It's a sequel, it's going to stink"... so many movie-goers are disillusioned that they never give the idea of a sequel a fair chance.
The Grand Epic: A series of classic films can become a sweeping epic that spans years and numerous storylines. This gains the longest-lasting popularity that any silver screen feature could hope for. Example: The Holy Trilogy (i.e., Star Wars)	The Running Joke: A massive series consisting of rather lackluster sequels can turn the franchise into a has-been punchline, obscuring the original (and best) film for the sins of its offspring. Example: Nightmare on Elm Street... part 2, 3, 4, 5, 6...