Excepting those instances when you turn your computer off and on, the word “reboot” doesn't really exist outside Hollywood. It came to prominence over the last few decades as popular storytelling shifted away from original stories and more towards managing intellectual property.

There have been many successful franchise reboots, many of which are a reboot in spirit alone, and actually have a direct connection to the film's that preceded them. Technically making them a sequel. But a new cast and a new vibe will lead to them being called a reboot.

That is the case with the new Charlie's Angels movie, which opened over the weekend and generated results that highlight the perils of the modern-day reboot.

The new iteration of the film, which appears to exist in the same universe as the 2000 and 2003 movies, stars Kristen Stewart, Naomi Scott and Ella Balinska as three secret agents saving the world with the help of their handler Bosley, played by Elizabeth Banks, who also co-wrote and directed the movie.

That the film only managed an opening weekend take of $8.6 million, giving it the third spot on the charts, will definitely give pause to those who may have felt they were launching a triumphant new iteration of the franchise.

Banks was philosophical about the result, having previously encouraged turnout to show that female-led action movies can succeed.

There will no doubt be much analysis over why the film failed to click with audiences. It may be the case that the brand here simply doesn't mean as much in 2019 as it did in 2000. It certainly means less than it did in the late '70s, when the original TV show was at the height of its popularity.

As with the early 2000s movies, the new iteration places a modern emphasis on female empowerment, but it may be the case that the recent strides made in this area don't necessarily gel with an intellectual property that was born in a much less progressive era.

The film that took the number one spot over the weekend provided some slightly more encouraging results from a narrative perspective.

True life racing tale Ford V. Ferrari opened to a healthy $31.5 million, and while much of that can be attributed to the presence of stars Matt Damon and Christian Bale, the well-reviewed film nevertheless feels like something of a throwback to an era when mainstream studio movies didn't need to come with a built in brand.

It might sound a bit odd saying that about a film with the words “Ford” and “Ferrari” in the title, but the fact that this movie lacks anyone in spandex and managed to make that much money is a victory for traditional cinematic narrative no matter how you look at it. It remains to be seen if the film's popularity at the box office will translate into awards season glory, but it's definitely in the conversation now.