The Italian Job Sequel in the Works

[DimON]

Paramount Pictures is developing a follow-up to The Italian Job, and Paul Feig is attached to direct, according to a report from Deadline. A writers’ room is being assembled now, and no cast has been confirmed, but the studio is officially moving on a project that has, for two generations of MINI owners, done more for the brand than any advertising campaign could.

It is worth pausing on why this matters here and not just on a film blog. The 1969 original made the classic Mini a getaway car icon decades before MINI existed as a modern brand, and when MINI USA marked the marque’s 60th birthday, it pointed straight back to that film’s opening weekend as the moment the Mini’s cultural profile changed for good, alongside celebrity owners like George Harrison and Steve McQueen. The 2003 F. Gary Gray remake then did the same job for the reintroduced R50 generation, putting Mark Wahlberg, Charlize Theron and a trio of red, white and blue Cooper S models through a Los Angeles chase sequence that ended up selling more Minis than most dealer brochures.

What’s actually confirmed

Feig comes to this fresh off directing The Housemaid, and per Deadline he is now developing an Italian Job successor with Paramount rather than a straight remake of the 2003 film. That is an important distinction for anyone hoping to guess casting or plot. There is no script yet, no confirmed timeline, and certainly no word on which generation of Mini, if any, gets the hero car role this time. Given the current Cooper range spans the F66 combustion cars and the electric J01, either could plausibly headline a modern heist sequence, though MINI’s involvement in the production has not been announced.

That caveat matters because this genre has a habit of generating premature enthusiasm. MotoringFile reported on Italian Job sequel talk back in 2004, when Variety sources suggested St. Tropez and the Swiss Alps as filming locations for a follow-up that never materialised. NBC also announced an Italian Job television reboot in 2016 that likewise went nowhere. The lesson from two decades of false starts is simple: treat this as a real, funded project with a director attached, which is more than the previous attempts had, but not yet a greenlit production with a release date.

Why the format keeps working

The heist film formula, an antihero crew, meticulous planning, a getaway sequence built around a nimble small car, has aged remarkably well precisely because it does not depend on spectacle for its own sake. The 2003 film grossed roughly 176 million dollars worldwide against a modest budget, largely on the strength of a chase choreographed for a car that could dive through the Los Angeles storm drains and out of the way of Charlize Theron’s pursuers. MINI clearly understood the value of that association. The brand later leaned on the same imagery for a 2012 short film tied to the London Olympics, and again in a 2019 commercial for the launch of the Cooper SE, which restaged the Lingotto rooftop chase from the original 1969 film to introduce the brand’s first electric production model.

A new film, if it lands, gives MINI a rare opportunity: a built-in marketing moment that requires no invented backstory, no explaining why a small British car is capable of outrunning a police fleet through narrow streets. Audiences already know. The only open question is whether MINI gets a seat at the table this time, or whether Paramount builds the chase sequence around something else entirely.

We will keep tracking this one as the writers’ room takes shape.

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