Even Two Of Jurassic Park's Best Crew Members Couldn't Make The Flintstones Movie Better

Brian Levant's 1994 film version of "The Flintstones" is a classic example of how major studio blockbusters, no matter now successful, can vanish entirely from the public consciousness. "The Flintstones" is rarely regarded in 2024, often seen only as footnote in its actors' careers, or perhaps a whimsical blunder not worth remembering. Those of us alive in 1994 recall the massive advertising glut that came with "The Flintstones," as well as the toy tie-ins, the magazine covers, the Universal Studios attractions, the Williams pinball machine. "The Flintstones" was a studio tentpole writ large, boasting a beloved, decades-old IP and a dazzling cast of celebrities; John Goodman, Rick Moranis, Rosie O'Donnell, and Elizabeth Taylor appeared, while the film boasted cameos from Laraine Newman, Jay Leno, and the B-52's.

Notably, "Jurassic Park" cinematographer Dean Cundey shot the film, while "Jurassic Park" Michael Lantieri similarly served as SFX supervisor. Everything was super-slick and polished nearly to death.

"The Flintstones" was the most cynical type of filmmaking, clearly constructed in boardrooms and executive suites as a commercial product to force-feed an unwitting public. The money-grubbing scheme, perhaps sadly, worked. "The Flintstones" made $358 million worldwide, not counting pinball profits. It was the fifth highest-grossing film of the year, behind only "The Lion King," "Forrest Gump," "True Lies," and "The Santa Clause."

Then, just as quickly as it surged, "The Flintstones" vanished. The film didn't remain in the public's consciousness. A late-in-the-game prequel notwithstanding, it left no footprint. The film was trashed by critics, making several worst-of-the-year lists.

Levant spoke to Syfy recently to celebrate the film's 30th anniversary, and he recalled bagging the talent he did, a rare privilege indeed for him. It's too bad such talented people couldn't elevate "The Flintstones" at all.

It was a stroke of good timing that brought Cundey and Lantieri on board. Production on "Jurassic Park" was just wrapping up when "The Flintstones" began shooting and, lo and behold, there were big openings in both men's schedules. "The Flintstones" was also overseen by Steven Spielberg's production company, Amblin Entertainment, so the filmmaker was easily able to shunt his crew over to Levant's film. Prior to "Jurassic Park," Cundey had photographed giant hits like the "Back to the Future" movies, "Hook," "Road House," and multiple films for John Carpenter, including "The Thing," "Halloween," "The Fog," "Escape from New York," and "Big Trouble in Little China." He was no slouch.

Lantieri, meanwhile, worked on effects for "Hook," "Bram Stoker's Dracula," "Death Becomes Her," "Who Framed Roger Rabbit," "Star Trek IV: The Voyage Home," and "Fright Night." He was a massive presence in the Hollywood SFX community.

One cannot argue that "The Flintstones" doesn't possess a unique aesthetic. Everything looks artificial and plasticky, kind of like an amusement park attraction. This was, perhaps, befitting an aesthetic for a live-action adaptation of a low-rent 1960s cartoon show; no one wants to see the "realistic and gritty" version of "The Flintstones."

Having access to such talented people was sobering for Levant. He had only directed "Problem Child 2" and "Beethoven" at this point in his career, so "The Flintstones" was an enormous production for him. "When you're working with these top-flight people," he said, "it forces you to elevate your game."

Levant was able to ply his lessons in his next film, 1996's "Jingle All the Way," an infamous Arnold Schwarzenegger Christmas vehicle. That, too, made a decent handful of money despite being savaged by critics.

Levant, meanwhile, has nothing but good memories of making "The Flintstones." He recalled seeing Jim Henson's Creature Shop deliver the film's many practical monster puppets and feeling a rush of nostalgia for his 1950s youth watching puppet shows on TV. He also remembered the cameos from Will Hanna and Joseph Barbera, the creators of "The Flintstones," and how everyone was in awe of them. Levant also loved how impressed they were by his film, explaining:

"When they walked into the stage and saw their world coming to life, all of a sudden, there was all these old married couple looks between them. [...] They're smiling and every artist on the set was so thrilled to see them [...] Finally, we walked out of the last stage, into the daylight, and Joe Barbera shook his head and said, 'Never in my life did I ever expect to see anything like that.'"

One doesn't take such praise lightly.

It was only the film's 2000 prequel that was a disappointment. No members of the original "Flintstones" cast returned for the film, while the six-year gap between the two movies pretty much assured that interest had been fully obliterated. "That's pretty disappointing," Levant said. "It was too many years later, I think, and the surprise element was gone." "The Flintstones in Viva Rock Vegas" cost $58 million to make, yet only earned $59 million at the box office. The over-commercialized sweet spot of the mid-'90s was clearly over.

Levant continued to direct family-friendly fare for many years after that, including films like "Snow Dogs," "The Spy Next Door," and "Max 2: White House Hero." He also helmed a few live-action, straight-to-home-media "Scooby-Doo" movies.

"The Flintstones" isn't good, but Levant got to work with multiple Hanna-Barbera heroes. He seems to love that.