With Leigh Whannell’s The Invisible Man now a certified hit at the box office, Universal is guaranteed to be eyeing over the rest of their classic monsters to see which ones they ought to entrust to Blumhouse next. Of course, that is assuming that they will continue to rent their horror IP out to the smaller production company, which at this point seems like an absolute no-brainer.

The thing is, it’s been a rocky road for some of these franchises, with their reputations being severely damaged by certain high-profile blunders (*cough* The Mummy *Cough*). Meanwhile, others have faded into near total obscurity, making it difficult to identify which ones are commercially viable these days.

With that in mind, let’s take a gander at the studio’s main players and decide which ones are best poised for an overdue comeback.

9) The Hunchback of Notre Dame

Out of the bunch, this one seems like the least likely to be dusted off. Obviously the first strike against it is that few people even associate the property with the horror genre anymore, given that it’s been almost a century since it last operated within that zone. Furthermore, when that original film was released in 1923, Lon Chaney was free to stuff his cheeks with cotton and apply a plastic hump in order to portray the titular ‘’monster’. Back then, audiences were unphased by such a transformation, but it’s quite hard to imagine it going down well in today’s climate.

On that note, the very notion of exploiting the protagonist’s disfigurement for the sake of cheap scares and sensationalism would rightly be met with accusations of ‘’poor taste’’ nowadays. What’s more, the lavish period backdrop of 19th Century Paris – not to mention the opulence of Notre Dame itself – doesn’t really lend itself to the cost-effective production model that is typically favoured by Blumhouse. I guess you could do something interesting with a present-day perspective, in light of the fire that ravaged the cathedral in 2019, but it would still be an inherently expensive undertaking.

With all that said, if you really had an insatiable desire to update this epic novel, it would probably be best approached as a prestige drama, ala Les Misérables, rather than a low-fi B-movie.

8) The Wolfman

On the opposite side of the spectrum, Larry Talbot’s lupine alter-ego is a beloved and instantly recognisable member of the traditional monster line-up. Not only that, but his 1941 debut is primed for a revival, so that it can take advantage of state-of-the-art effects and relaxed attitudes towards gore. Honestly, I’d love to see more of The Wolfman and would have absolutely no qualms with Universal commissioning Jason Blum to oversee it.

In fact, the only reason I’m not hankering for such a remake is that it already exists! Released back in 2010, it was lovingly helmed by Joe Johnston and remains one of the most underrated genre offerings of the last decade. Nailing all the requisite ingredients – including gorgeous visuals, rich production design, a moody score, characterful writing, and Oscar-winning make-up from none other than Rick Baker – it’s effectively a perfect specimen of gothic chills.

With all the being said, there’s no urgent need to revisit this territory so soon, especially when Universal could instead be focusing on some of their more overlooked characters.

7) Dracula

This relatively low placement, of what is arguably the most famous Universal Monster, is in no way meant to disparage Dracula’s status as a legendary villain. On the contrary, it is reflective of just how popular – and consequently overexposed – the bloodsucker has become in recent years, with Guinness World Records naming him the single most prolific character in all of cinema (by virtue of appearing in just over 270 films – circa 2012).

Indeed, since Bela Lugosi first donned the quintessential cape, we’ve been treated to all manner of adaptations; from those that are more straightforward, to auteurist twists (Francis Ford Coppola’s 1992 melodrama), voguish updates (Dracula 2000), parodic stabs (Dead and Loving it) and even animated kids fare (Hotel Transylvania). This year alone we’ve been subjected to the BBC’s radical reinvention, which subverted expectations at every conceivable juncture in a desperate attempt to offer something different.

In other words, opportunities to defamiliarize Bram Stoker’s source material are becoming increasingly rare. Leigh Whannell’s idea of stripping away all the usual iconography and tropes – like the fangs, the castle, and the sexual overtones – would be a step in the right direction, and a more ‘’psychotic’’ depiction of the character does admittedly sound fun. Nevertheless, it still feels like we could do with a bit of respite from this guy and let some of his neglected peers have a moment in the spotlight.

6) Frankenstein

With a paltry 70 credits to his name, Mary Shelly’s galvanised corpse has been somewhat lagging behind the Count, at least in terms of sheer quantity. Yet he has still had to endure his fair share of cinematic embarrassments, most notably the disappointing Victor Frankenstein and that utterly atrocious Aaron Eckhart vehicle.

Unlike Dracula though, it feels like there’s still juice left in the tank for old Frankie. For a start, it’s been a while since we’ve had an outwardly horror-centric version of the character, as he’s been almost exclusively relegated to action and fantasy as of late. There’s a very timely essence to his story as well, one that a clever screenwriter could easily translate over into a modern setting.

Examining how science continues to push the envelope in terms of its ethics and the perils of playing God, it’d be cool to reinject those lofty themes and weighty morals back into the tale.

5) The Bride of Frankenstein

Even better than digging up Frankenstein’s monster for yet another stint in a leading role, Blumhouse could always skip ahead to his reluctant paramour and let her take center stage for once. A spin-off that’s along these lines has been floating around Hollywood for some time now, with Bill Condon, David Koepp, John Krasinski and Sam Raimi all expressing an interest at various intervals. Meanwhile, in addition to enticing all these industry figures, fans have likewise shown an appetite for the bride getting her own solo outing.

Which is a huge testament to her staying power, because she’s not really been given much to do before. Historically speaking, she’s only been used as a plot device for motivating either her creator or her betrothed. And by even the most generous estimates, she must have a cumulative total of 5 minutes worth of screen time, during which she does little more than strike rigid poses, hiss like a cat, and fearfully recoil from others. So, you can’t really say that she’s been given an equal opportunity to her male counterparts in the series.

However, regardless of this thin characterisation, there’s something about the bride that has managed to stick with viewers across generations. Maybe it’s the lightening streaked hair and the elegant gown, or perhaps it’s her tragic (but sadly underexplored) backstory. Whatever the lasting appeal might be, handing over the reins to this secondary antagonist would undoubtedly make for a welcome change of pace. After all, we’ve never really seen things from her perspective and there’s got to be compelling, existential drama to be mined from someone realising that they have been given life purely to gratify the whims of another. If nothing else, it’s a unique point of view that would help recast the age-old narrative in a completely different light.

4) The Phantom of the Opera

The Phantom of the Opera might seem like a dead end as far as Blumhouse is concerned, due to the inescapable baggage that is Andrew Lloyd Webber’s musical. However, if you can expel any lingering memories that you might have of that sanitised affair- and instead turn to the original text or the 1925 picture – then you’ll find that this is one of the front-running candidates for a Blumhouse reimagining.

As a quick recap, it focuses on a dangerous fugitive who hides out in a local theatre house and creates a ghostly persona for himself, so that he can impose his will upon the intimidated staff. Prowling around subterranean catacombs beneath the building, he uses unseen passageways and hidden vantage points in order to materialise at will, thereby keeping everyone firmly under his thumb. Things escalate when he develops an unsavory infatuation with a young understudy and begins engineering circumstances that will ultimately win her the lead role in Faust. Before long, his advances turn more aggressive, with him threatening rival lovers, murdering those who get in his way and eventually kidnapping the object of his affection.

If you’re able to purge the stage production from your memory, then you’ll see the foundations for a pretty kick-ass slasher movie here. Granted, there is a risk of there being too much overlap with Whannell’s Invisible Man (controlling man interferes with a woman’s life whilst orchestrating things from the shadows) but by that same token, it’s a formula that Blumhouse can place their confidence in. Layered on top of the compelling narrative you’ve also got a more grounded villain that hits closer to home, a funhouse setting that’s conducive for good jump scares, and room for an innovative score that blends together classic opera songs with nerve-wracking horror cues. Sign us up!

3) Dr. Jekyll and Mr. Hyde

Nominally considered to be part of the Universal monster roster, you might be surprised to learn that this was actually the first character that the studio (then known as IPM) tackled. In fact, their history with the schizophrenic boogeyman stretches back as far as 1913 – predating even The Hunchback.

Clocking in at a brisk 27 minutes, the silent flick is basically an early experiment with the genre. As such, it’s not particularly scary or eventful, perhaps explaining why you don’t find Mr. Hyde popping up in any of Universal’s branded T-shirts, Halloween Horror Nights or assorted memorabilia. The fact that the movie later slipped into public domain probably has something to do with it as well.

Alongside Quasimodo, he’s kind of fallen into a black sheep role within the family, getting very little love from filmmakers or audiences. Which is a shame because you could certainly do something contemporary with this villain, given that he’s fertile ground for exploring themes like mental illness, the hubris of science and substance abuse. Indeed, much like The Invisible Man, Mr. Hyde is arguably more relevant now than when he was first created. Plus, he hasn’t been exhaustively run into the ground like the other monsters (save for Universal’s clumsy attempt to integrate him into their Dark Universe) so you could easily find a fresh angle to take, without provoking too many eye-rolls from the general public.

2) Creature from the Black Lagoon

Although undeniably iconic, Jack Arnold’s Creature from the Black Lagoon lacks the clout that distinguishes many of its Universal stablemates. Reviews at the time were lukewarm – criticising the repetitious plot beats, wooden acting and gimmicky 3D – and truth be told, as much as I personally love the Gill Man suit, even I have to admit it’s not the most gripping film in the world. I mean, a lot of the runtime is taken up by long stretches of the cast aimlessly paddling around a Floridan creek (unconvincing standing in for the Amazon rainforest), in order to show off the then-groundbreaking underwater cinematography.

But the fact that it is a lesser entry is precisely why we’re due for another go-around, as Creature from the Black Lagoon is rife with untapped potential! First of all, the tropical environment is teeming with possibilities, completely removed from the security of civilisation and overrun with creepy crawlies. There are muscular anacondas ready to crush unwitting victims with ease, unseen tarantulas that can inject paralysing venom, ferocious eels lurking in the depths, and that one fish that swims up your pee. If lensed by the appropriate filmmaker and a crew that are qualified for the task, you could conjure a properly distressing atmosphere out of this location, recalling the freakiest bits of a Planet Earth documentary.

Of course, the tension would spike tenfold once you finally get around to introducing the aquatic beastie itself. Speaking of which, being able to depict a more lifelike iteration of the Gill Man is surely the most tantalising prospect here. Whether that’s accomplished via cutting edge prosthetics, sophisticated CGI, or a combination of both – like in The Shape of Water – Blumhouse could have something special on their hands if they get it right. Those newfangled techniques and advancements might even enable them to outdo Stan Winston’s astonishing interpretation from The Monster Squad. And that is very exciting.

1) The Mummy

Having suffered indignity after indignity in the 21st century, mummies have devolved into a bit of a joke. No one really thinks of them as truly frightening anymore, at least not to the same extent as werewolves, vampires or zombies. They’re more like hokey Halloween costumes at this point, better suited to Goosebumps episodes than they are proper terror. Frankly, the last time anyone really thought about taking the concept seriously was when Clive Baker pitched his characteristically ‘’perverted’’ take back in the late ‘90s.

Universal reportedly hated the author’s suggestions, contending that ‘’nobody in America […] would accept such a ridiculous premise’’, and they ended up pulling the plug. From then on, we’ve had nothing but cheesy adventure serials and overblown spectacles wherein mummies have been reduced to throwaway cannon fodder. It just seems like the company has no faith in people finding the idea creepy, hence why they also shut down similar projects from George Romero and Wes Craven.

But if the major conglomerate agrees to outsource this IP to Blumhouse – a studio that clearly understands how to handle all things spooky – then we might finally get a return to The Mummy’s roots. At this point, we’ve become so conditioned to seeing this type of monster be gunned down by swashbuckling action heroes, that’s there’s no telling what a contemporary horror version would even look like.

And that’s what is so intriguing; they’d have to figure out something entirely new! For example, how do you shoot the exotic desert climate of Egypt and portray it in a way that’s legitimately menacing? How do you make the campy getup of bandages and garish jewelry anything other than laughable? And most importantly of all, how do you distance the film from the infamous Dark Universe travesty? If Blumhouse can find the answers to all these questions, then whatever they produce is sure to be an exhilarating breath of fresh air that restores some grandeur to this former icon.