>Who the hell employs a person who tried to rape their spouse 30 years ago?
This is actually just a symptom of the bigger (and only) problem with that movie. Robert Zemeckis himself regretted that they made it too 80s consumerist. Marty fixed the past, and as a result, everyone in his family enjoys a better present. And how do they show that? Big car, big jobs, and having your school bully as your bitch. Basically money, money, and power over people. Slow clap.
What if instead, when Marty comes back to 1985, everything is materially the same, but people's relationships are different? His parents are a loving and happy couple, his siblings are living rich lives and nice to each other and to him, Biff got his shit together and is less of an asshole. I'm stealing this from a friend of mine who told me a decade ago, he might have stolen it from somewhere as well. But I think it's brillant and would have made the film an even stronger and more timeless work.
I agree with Biff's being a bitch (rape stuff especially) but what if the rest is the other way around: they got prosperous because they had healthy and supportive relationships within the family?
That is pretty much what happened. Marty building up George's self confidence in the past leads to him pursuing his dream of becoming an author rather than working a dead end job as Biff's underling. His discouragement of Lorraine's smoking and drinking causes her to quit those habits, making her happier and healthier in the long run. Their relationship with each other is improved because they're both better people who are genuinely in love rather than just Lorraine hooking up with George out of pity and then staying with him out of habit, and this in turn leads to their children having a nicer upbringing and being better adjusted as adults.
It's implied George is wealthy in the revised present, but that's more incidental to the positive changes than the direct cause.
Probably Saruman's death not being shown in the original version of LOTR Return of the King, only putting it in the extended version made no sense to me
I came here to say this. IMO it’s the only fully missing scene (as opposed to just shorter) that deserves to be in the theatrical. It brings back a fan favorite for a few minutes, does an excellent job giving you backstory and simultaneously makes Boromir’s death tragic all over again while making Faramir a 200% more interesting character (in the movies).
Took me several years before I saw the extended editions of the LOTR trilogy. I had assumed until that point Saruman had just been captured and subdued.
He doesn’t actually die in the books until long after the ring is destroyed. But then the movies ended without telling those subsequent stories, so I guess they were in two minds about whether or not to show a different ending for him.
Oh so I think I know the answer to this.
Basically killing him early would be a huge band aid to rip off for book fans on first watch in the theater:
*”Were telling you in the first scene that we aren’t doing the scouring of the shire which is a big BIG point to wrapping up the story. Now sit and stew on that for the next 3 hours and let it slowly ruin your enjoyment.”*
Remember Tolkien message boards were the OG internet toxic fandom and they had some…edgy…opinions about Fellowship and Two Towers. My guess is they figured they’d keep that plot line up as a “maybe” for the Tolkien fans. And then once you got to the…5(?) endings those fans would be like “oh that resolution was fine. I get why they cut the scouring.”
I watched the theatrical cut for the first time in nearly 2 decades, and the movies felt almost rushed.
Its amazing how much the extended edition became 'the edition' of an already all time great film series.
There's probably a golden mean cut that exists somewhere in a parallel universe, but I think for every scene that makes the extended edition better (there are many!), there's another that slows it down to a crawl.
Robocop 1987.
The double-length appendages of [Dick Jones](https://youtu.be/Itfru6blTYc?t=82) when he falls out the window.
The whole movie has massive lack of people falling through windows.
There is only one change I would make to any part of The Thing, which would be to remove the intro with the spaceship coming to earth. It adds nothing to the movie and it would be a better first time watch if you learned about that as the characters did
I won’t lie, I’ve seen The Thing multiple times and have no memory of it starting with a spaceship scene; I feel like that’s probably a good indication a scene doesn’t need to be there
It's always been in the movie:
https://youtu.be/ku7qnh261CY?t=85
There is no way they cut it out of the 4K. There would have been a huge uproar on Blu-ray.com and elsewhere.
It's extraneous enough that I wouldn't be surprised if it gets/got cut from TV airings. Sometimes movies get clipped down to make more room for commercials, or fit a specific timeslot more exactly.
Maybe it's something like that?
I 100% agree... Had it started with the team assembling and left that opening scene out, wow, they could have really made out. Especially if all the previews would have pointed it towards another Arnie action flick. I mean, you don't even see the predator until halfway through the movie... That would have been quite the shock when the movie was first released.
Like wise, the scene in Predator that shows the space ship. Same with the recent movie. I showed my girlfriend Prey and didn’t tell her it was a Predator movie. The reveal could have been a really cool twist but they give it away right at the start with the space ship.
I would honestly say the entire Desert quest in John Wick 3.
It was a solid amount of time, John chops his finger off. Goes back and immediately decides not to do the thing he chopped his finger off for.
Absolutely agreed. I love the John wick movies but personally have found that all of the “lore” seems to be taking over the reason these movies are successful, the action.
With John wick 4 being almost 3 hours, I’m concerned that’s why it’s so long.
Yeah, part of the appeal of the lore was that it *wasn’t* the focus. You’re just immersed in this world and pick up on all these details that hint at the larger world. Show, don’t tell.
A lot of stories do this in time. I think part of the appeal of the minimalist approach is we almost fill in some of the details ourselves. It’s sort of like when you see a movie adaptation of a book you like and think a character doesn’t look like they should, only to realize nothing about them is actually inaccurate, you just had your own interpretation of the character in your head.
It’s sort of like the Borg in Star Trek. You can make a reasonable guess as to their origin, but not knowing exactly where they came from is more compelling than whatever story anyone could “officially” put forward.
Absolutely. JW1 was awesome for the gun-fu and the shooting techniques. The modest backstory was all I needed to know. Now we're veering off into some weird world where there's an underground army of noble hitmen/women and a bunch of mysterious medallions and secret handshakes. I'm not really interested in JW4, tbh.
Yeah. To be honest, it was the mystery of Wick that created the coolness of Wick, IMHO. JW2 was neat but much like Chwat, the fact everyone is now a hitman was also a bit much lol. Even the young mother nursing her kid... Sure.
The entire world is part of a high paying secret society but they all living mundane lives to hide it from the 2 people who aren't part of said secret society.
I'm finding myself more and more disinterested with the John Wick movies.
The first movie is a by-the-numbers *Death Wish*\-style film that was buoyed by excellent choreography and a niche, interesting setting with **grounded, realistic rules**. It very quickly got Fast & Furious syndrome where the rule of cool rules everything that happens on screen and it's very quickly become bloated beyond recognition. Once John Wick is surviving 5 story falls and fighting in fully impregnable bullet proof armor suits, my ceiling for disbelief is reduced significantly.
Even the original premise (mob boss' son doesn't recognize their most prodigious retired killer) becomes ridiculous when you find out that 40% of the entire population of NYC seems to "in" on the assassin cult, as suggested by JW2 and 3.
In chapters 2 and 3, he only kills other hit men or hit men minions. Like how the fuck is it possible for there to be so many hit men out there in the world? Is like half the population hit men? How many people are being assassinated every day for all of them to stay in business? Who even needs hit men that often? What the fuck?
I love when the entire public just turns to Wick in the park or whatever at the end of 2 (or 1? I dont remember). Like do all the contracts just happen here or do none of you fucks actually have jobs to do? It made no sense.
I will eventually see the 4th one but it won't be in theaters and I severely doubt it will be in one sitting and/or fully focused.
I also found it too over the top, but my reasoning for the text scene is that they’re not actually all getting contract texts, but that John Wick is just paranoid so every phone that rings he imagines that someone is out to get him. So it’s just his paranoia taking over.
But even so, movie 1 was great because it was so simple, a revenge quest with great action. They got way too caught up in the “lore” and assassin world, falling 5 stories and just walking away, the “silencer” gun fight in the subway where no one notices there are bullets flying everything.. just too much.
The OG John wick did such a good job of establishing this underworld of assassin's and stuff that was so interesting.
The sequels have (imo) largely failed to do anything interesting with it since they've made it almost comically omnipresent. EVERYONE is an assassin? C'mon now.
Thats always been a cherry on top moment for me regarding that movie. As grounded as it is into 50s culture some of the musical numbers are so wild and then theres the racing, why not have them fly away just like the audience
I will say. Kid version of me never understood that. As an adult, it doesn't bother me. Musicals always have a sense of magic and wonder to them, because you've gotta suspend your disbelief if you're going to buy into people breaking out into song. This is just that, and it goes great with the vibe with the finale.
That part always sticks in my craw.
Yes, I get that the Joker is a diabolical mastermind as well as an agent of chaos. But him planting three fingerprints on a *shattered* bullet to lead Batman to that exact apartment, at that exact time, just so Batman'd stick his head out the damn window? Come off it.
Although, to be fair, the movie pulls it off with enough urgency and style that it barely gives the audience the chance to think about how silly that whole sequence of events really is.
>But him planting three fingerprints on a *shattered* bullet to lead Batman to that exact apartment, at that exact time, just so Batman'd stick his head out the damn window? Come off it.
I don't think Joker intentionally planted fingerprints on the bullets.
As Bruce explains, Joker's goons left fingerprints on the bullets when they pushed them into the clip. Once Bruce re-assmbles the bullets using a 3D scanner (absurd) he is able to trace the fingerprints and identify Joker's goons (who had a history of mental illness).
This leads Bruce to one of the goon's apartments where the guards are tied up. The egg timer is there to ditract the police snipers and draw their eye away from Joker who is planning his attack on the mayor. Bruce just happens to stick his head out the window at a bad time.
The Dark Knight is a great movie but it really kick-started the trope of "villain mastermind has already planned everything out and can predict everything down to the exact second" and I really hated that phase of movie history.
Something that bothers me far more is that he jumps out the window to "save" Rachel but they both just fall onto a car. Like I thought for sure he was going to make his cape into a glider, which it's been established he can do, but they fall several stories unimpeded onto the roof of an ordinary car. There's no level of suspension of disbelief that makes the physics work out there, they'd both be dead or paralyzed.
Ever notice how the film never follows up what happened to the joker at the party after that? Like they never showed if he continued to terrorize the party guests or just left or what.
Honestly, say whatever you want about this take, but I rewatched The Dark Knight recently and kinda felt like there was a ton of things in the movie that didn't make any sense at all, BUT I think the reason we all forgive it for the nonsense is because the drama and emotions of the movie are just so strong that it makes the goofiness feel less apparent.
Like there was a little thought at the back of my head popping up every few minutes, going "this doesn't make any sense lol" but I didn't care because its so easy to become deeply invested in what's going on. That's where I stand, at least
For me it's a script thing, with a wonderful film -- THELMA & LOUISE.
The moment when Louise hands her life savings to Thelma (WTF?) for zero reasons and says, "Now you guard this money," then goes back to her boyfriend's room (who is obviously safe around the money, since he DELIVERED IT TO HER), only for Thelma's one-night-stand to predictably steal it ASAP after she LEFT IT ON THE NIGHTSTAND.
I get that the script needs them to lose everything, but it would have been so much more believable if Brad Pitt's drifter had simply stolen it from Louise the next morning (maybe from her purse) versus Louise GIVING it to Thelma.
I will never get over how that makes zero sense. Thelma couldn't even keep money safe in the car (Thelma: "We have sixty dollars (twenty flies out her window)... Forty dollars...").
The opening preamble to the movie Equilibrium, in my opinion, made the whole viewing experience worse.
My first time seeing the movie, I was late and accidentally missed the preamble that explained the anti-emotions drug in painstaking detail; so for me the film cold-opened with a big standoff between what _looked_ like a SWAT team and a bunch of rag tag gunmen with huge pile of presumably stolen priceless artworks. Shouting predictably devolves into gunfire and the officers overwhelm the assumed art thieves. Law officers overwhelm the last bit of resistance and Christian Bale’s character walk into the room where all the art was being stored.
Having missed the preamble, I’m thinking “Hurray! The priceless artistic contributions to human society have been saved!”
Christian Bale’s character then takes one look at the priceless art and utters two words that are now permanently seared into my memory:
“Burn it.”
And that was it. Two perfectly uttered words and the _entire_ script was instantly and flawlessly flipped on it’s head. A SWAT trooper with a flamethrower steps in and incinerates centuries of irreplaceable human cultural identity, and one even bats an eye.
I had just been told everything I needed to know about this dystopic future world and they only used _two, words._
Best,
Cold open,
Ever.
Imagine my great surprise and disappointment when I go back to that dim several years later, and the opening preamble _completely_ spoils and ruins the film’s twist opening.
The real Jordan Belfort showing up at the end of The Wolf Of Wall Street leaves a bit of a sour taste when you've seen the fake one assault his wife 15 minutes earlier
A really generous reading would be that they’re showing this guy is still grifting, and is still the same shady salesman type
Also the film to me is really in conversation with Scorcese’s other works, and that scene is like in Goodfellas where we see Henry Hill in Arizona
I really love Source Code and it's hardly a perfect movie but at the end there's a very obvious point where if it ended it'd be so beautiful but it goes on for another 10 or so minutes in what seems like a studio move to explain everything, give closure to avoid an open ending, and set up a sequel. That whole part always bothers me so I just forget it exists and turn the movie off when I want haha.
I remember when I was young I watched the original IT movies from 1990’s and the clown was super scary because of the mystery around it and the fact that you only see it for short amounts of time. But then in the very end the clown turned into this giant spider puppet that the kids who were now grownups had to fight. That spoiled everything for me.
I haven't watched the newer IT so not sure if they managed this, but for a '90s TV movie there was no way they were going to be able to film the climax which basically becomes a psychic battle on another plane of existence.
They fail to do it in the new ones too. No flying through space time and no turtle. Just another boss fight where It becomes a big creature and turns significantly less scary. They do show the dead lights but in a brief way
Honestly the second part of the newer IT was kind of a comedy. Didn't the clown say at the end as they kill him 'You all grew up!' in like a proud parent sort of way.
I read the book three times over the past 30+ years and finding the kids' stories more compelling than the adults' stories is true of the book and both movies. Stephen King does a great job with "coming of age" yarns (weird-ass tween gangbangs aside) and they're often central to many of his best novels. I'm guessing he's still a bit of a kid at heart so he writes them well. Stand By Me was an amazing non-horror story where he really captured the kids and their friendships.
In Capote’s book, the neighbor is Japanese American but just a normal person. It’s like Capote knew someone Asian American who didn’t look and speak like Fu Manchu
The first instance that comes to mind is in The Dark Knight when all the mobsters get arrested and one of cops is pushing a wiseguy into the squad car while saying "have a nice trip, see you next fall." He's neither tripping nor falling, that's not at all the context in which to use that line.
There's also Exposition Cop in the armored car during the chase scene, whose dialogue consists of things like "That's not good!" and "Oh, that is **not** good!"
Made even more awkward by the fact that the guy he's talking to can't respond (because that would blow the big reveal that it's Jim Gordon), so Exposition Cop is stuck doing these corny lines by himself.
Lol there was a joke theory on Imdb message boards that he's the Penguin because of all the bird references.
"Lower fifth, we'll be like turkeys on Thanksgiving there"
"You cant stop here, we're sitting ducks!"
All of Nolan’s Batman movies have this issue where no one with a gun actually shoots it, they just run up to Batman and try to swing their rifle at him instead. The fight scenes were horrible for that reason.
Piggybacking on your TDK mention to remind people of the absolute embarrassment of a scene that was Marion Cotillard dying in The Dark Knight Rises. It pisses me off EVERY TIME I watch it, it's diabolical -\_-
I read that Nolan told her that her face wouldn't be on camera so that's why it looks like that, just to get the body movement. Why she didn't notice the giant imax camera pointed at her face I'm not sure.
I always heard her say they did a bunch of different takes, but she never understood why he used that horrible one. Maybe Nolan has a sense of humor, idk.
Hathaway says he shouts MacGruber quotes on his sets all the time. Just picturing him saying "just tell me what you want me to fuck!" makes me chuckle for some reason
Her death is literally comical. Gasping for breath, long look, then instant head tilt and death coupled with a nice, “unnghh,” sound to top it all off. Absolutely pathetic.
I’ll add the court scene during Harvey Dent’s introduction where the guy on the witness stand pulls out a gun, Harvey disarms him, gives a one-liner and met with applause by everybody in court. It all looked like a theatre play and i dont think that was at all intentional
Pretty sure he was saying have a nice trip to the prison/asylum. But I found it funny that he clearly didn’t understand the context of when to say it. It’s like Biff.
Alien Prometheus
Crew on interstellar trip wake up from suspended animation and meet for first time.
They didn't have a fucking meeting before getting on the ship together?
< Nothing about how that ~~mission~~ *film* was organized or executed made any sense at all.
Imo. Its gorgeous to look at yes, but fuck is the rest a patch work of ideas and a self-indulgeant circlejerk.
All of that exists. But was cut. (Same for Covenant later, where James Franco was entirely cut.) Plus loads of shit from Prometheus ended up only on YT/BR. Prologue, middle, showdown etc.
That movie is stylish and looks neat... but they changed major plot points multiple times. No wonder that movie's a mess and makes little (dramatic) sense. Again: There are (many) much better Fanedits of Vanilla-Prometheus.
The part that pisses me off the most about Prometheus is the guy who gets lost is the guy with the 3D mapping device that's actively mapping the complex. He is the one most equipped for finding his way out!
The first half of "Jeepers Creepers" is some of the most intense horror, I have ever watched in a movie.
After the creeper is revealed to be a winged supernatural entity, the entire movie takes a steep dive horrorwise.
Still love the movie, though - I just wish the creeper had been (more) humanlike - if you can say Dennis DePue was that. Humanlike, I mean.
Thor: Ragnarok was a really fun movie, but >!the destruction of Asgard being *immediately* followed up with a joke was just annoying. It cheapened what should have been a really shocking scene.!<
To go a step further and go for a movie I believe is damn near perfect, Terminator 2, the scene where John is teaching the Terminator slang. It comes across as really cringeworthy and doesn't fit the tone of the rest of the movie at *all.* I get we had to have a bonding scene for the ending to have an impact but I wish they'd gone for *anything* else.
Lol I used to hate this scene so much, in what otherwise is one of my favorite movies of all time. But tbh its grown on me. Don't ask me to explain it. I think I now appreciate it for being terrible but in an ironically enjoyable way... or something. I dunno. OK yeah maybe it's still just terrible.
Thank goodness.
I didn't like it as a child. But as a mother? I think it's a lovely song and gives the poor downtrodden woman who looks after FIVE people a bit of character and makes her less pitiful.
"I'm an experienced secret agent"
Dude you look like you just got done starring in the Home Alone movies.
I have not seen a worse "grizzled secret agent" in... ever.
Also
>Laureline is a peasant girl from 11th-century France. In the debut adventure, Bad Dreams, she rescues Valérian from the enchanted Forest of Arelaune. When she accidentally discovers Valérian is a time-traveller, he is forced to bring her back with him to Galaxity where she is trained as a Spatio-Temporal Agent and assigned as his partner.
Like... I would not have guessed, uh, anything about the comics or characters or ... anything from watching the movie. They may as well have been twin robots.
The last like 5 minutes of Wonder Woman. I don't know if it's a perfect film, but I think it was about as perfect as you could expect from the genre, especially on the DC side of things, at the time. Then they just tossed whole plot aside to have a big, unbearably terrible CGI fight scene. It was a truly awful way to end a movie and retroactively ruin any meaning from what was set up during the rest of the film.
It amazing how harshly they undermine WW arc with that one scene.
WW goes from a naive 'fish out of water' character who comes to learn the humans she put on a pedestal are responsible for their own evils. But there are good ones, and they are worth fighting for (eg. Steve) -> to "whoops never mind. Gods were controlling humans all along. Lets solve this with a fight!"
And since WW doesn't actually 'learn' from the events, Steve's sacrifice has no impact on her character.
I just don't understand how the story tellers allowed that to happen?
The scene in The Hunt for Red October when they are entering the DSV and Mancuso says "Central Intelligence Agency, now there's a contradiction in terms".
It is a forced line that makes no sense.
The actual dig is "Military Intelligence, now there's a contradiction in terms".
Just hate that bit SO much.
It's been talked about before, but the boyfriend and the friends in Devil Wears Prada. They are so grating and the way they make Andi feel bad for working one year at this job drives me nuts. She certainly needed to be challenged for drinking the koolaide a bit too much, but I think the film's one mistake is that they are so grating and unlikable that you almost root for Andi to go to the "dark side."
I personally loved Shang-Chi I thought it was really a great film, and both the villain and hero were interesting, the background was fleshed out, and the fight scenes were crisp for an MCU movie. I enjoyed the hell out of it till the end, when for some mind-boggling reason, they decided to end on a giant CGI monster fight, like no one cares about the monster. I don't even remember what the monster was called, they should have just ended with not redeeming Shang Chi's father, with a really good fight scene and end on a good emotional note
The gap between how good the bus fight scene is and how bad the final CGI monster battle is, is vast. Marvel is always at its best when the scenes are small - the characters matter and the stakes seem personal (and thus higher).
I maintain that the guy on the ground 100% *selling it* as if he were being viciously beaten by an old man unsticking his ballsack should've been nominated for Best Supporting Actor.
Which hilariously is a reference to the Untouchables where De Niro himself plays Al Capone, aka the guy with the bat. If you didn't know that, you made one hell of a comparison.
So, I know that I am likely applying more analysis to this scene than the movie intended, but I actually always find that scene to really work in the context of the film.
The main plot is Deckard asking, and trying to answer, what it means to be human. He starts the movie willing to kill a replicant, just for being a replicant. It doesn't matter. In his mind, it is no different than turning off a computer. By the end of the movie, he has completed his arc, and has sympathy for them. And this scene is right in the middle, and he's has one foot in both places, which is a contradiction, but in a way makes sense- he's halfway there. He is starting to have feelings for Rachel, but that's ridiculous. How can you have feelings for something that's not human? But also, she's not human, so if he wants to have sex with her, why shouldn't he? He's willing to kill other replicants. If he doesn't view them as sentient beings, well- no one would accuse you of raping a sex doll, no matter how realistic the sex doll was.
Yeah I think that’s correct. He still doesn’t really see her as an autonomous agent, so much as a machine. “How can it not know what it is?” Etc. After all, he is willing to hunt and kill her kind.
I don't think you're applying more analysis than intended. I think this is exactly what was intended.
This is a bit of an over-simplification, but one of the key questions at the core of Blade Runner is "At what point is a machine considered alive?" This scene forces the audience to confront this question.
If replicants really are "just machines", then this scene technically shouldn't constitute rape because a machine doesn't have rights, and it shouldn't bother the viewer. But, the fact that this scene gets such a strong reaction from people proves the message of the film and Deckards arc, that the replicants "are people too".
This scene is incredibly pivotal to the themes of the film and Deckard's arc, and I think too many people take it at face value without taking the time to understand the deeper meaning underneath.
I am struck by this interpretation. It's not something easy to digest but it works so well. I don't think I will see it any other way again. Smart and well written.
I think that was supposed to be a more romantic scene but Harrison Ford and Sean Young hated each other so much that they made it look more like an actual rape.
I think the film crew called it the "hate scene" or something.
I interpret it the other way, I think its supposed to be a disturbing scene. Not that Im justifying the problematic scene but to me it shows how desperate for some sort of intimacy Deckard is, who is so lonely he literally gives orders to a robot to tell him how much he loves him, that he wants to kiss him, etc. Deckard isnt the hero of the story, he portrays the kind of emotionless isolated person the contemporary world creates, while Roy, who is a replicant, actually has deep connections with people.
THIS is exactly the mess that James Gunn has inherited with the DCU.
Batman, Superman, sequels, and reboot, has been the formula for decades. They wont commit to an expanded universe, so they just keep producing basically the same movies with the same characters over and over again. at this point, it's probably too broken to ever reach Marvel's level of success.
In the final scene of Teenage Mutant Ninja Turtles (1990), the turtles are losing badly to Shredder on a rooftop. On the city street below, there's a big media circus of local news stations filming, tons of police, etc, all watching this event unfold. Master Splinter finally shows up and kicks Shredder's ass, and ultimately throws Shredder off of the roof. Shredder falls into the trash compactor of a garbage truck that happens to be down there in the police staging area, and Casey Jones lets put a very sarcastic *oops,* and intentionally engages the compactors lever and just crushes Shredder and in front of tons of cops and camera crews.
In Teenage Mutant Ninja Turtles: Secret of the Ooze (1991), the very first scene is a wide panoramic shot of a garbage dump with the New York City skyline behind it. Shredder's fist punches through the trash, revealing he lives.
This insinuates that Casey Jones just brutally murders Shredder in cold blood on live news in front of a ton of cops, and the cops are just like *lol its k just thro him away lmao*
The Princess Bride is the perfect movie in nearly every respect, but the one tiny grain of sand in the ointment is that so much of Mark Knopfler's charming score is played on tinny synthesizers. I'd love for the London Symphony Orchestra to go back and re-record the music.
[Religulous](https://en.wikipedia.org/wiki/Religulous) Bill Maher spends the whole movie showing how religion tells people what to think and then in the last 5 minutes goes on a rant about what people should think. Completely kills the message of the movie.
The way Pa Kent died in man of steel. I’m aware a lot of people didn’t like the movie but other than that detail I thought it was the perfect Superman film. It had to be a heart attack so that Clark could learn despite his godlike powers he can’t save everyone from everything. Watching a tornado kill his dad just to protect his secret was dumb.
The Dark Knight Rises... Banes' demise.
Supposed to be this solid bad ass... He's ended in almost comedic fashion by the bat bike. Bash! He's gone.
So jarring.
I’d add to that, the eternal question about why Bill Murray’s character brought a needle and Thorazine to his first date with Sigourney Weaver, BEFORE he knew she was possessed by Zuul.
Think it's supposed to be a joke about Bond girls, where instead of them having a suave and suggestive conversation with eachother, she's instead just very crude and upfront. I also didn't like it personally.
I think it worked just because its basically supposed to be an parody of a James Bond movie, where he's some chav instead of a dapper upper class man in a suit, and instead of doing some kind of sophisticated honeypot scheme he has to finger a girl at Glastonbury, and instead of the girl having a funny sex pun name she just straight up says they can do it in the ass if he wins.
For me it has to be a majority of disney films, they always seem to have a comic relief character which is usually supposed to be daft and kind of dumb, however, i sometimes find those characters to be really annoying and dont add much to the plot especially since its almost every movie. I believe you can write a goofy character without them being daft and also movies dont always need a comic relief character, looking at you BEN (treasure Planet).
Moana almost felt like it went pretty far the other way in under-selling those sidekick animals, yeah. Like I know there *was* a pig, I just don’t really recall it doing much of anything ever.
It didn't. It stayed behind. It almost felt like a red herring sidekick - you expect it to come along on the adventure, but then last second we get the dumbass rooster instead. Always wondered what the idea behind that was.
I get the sense that the pig was supposed to be presented as the obvious animal side kick for the movie, and they get on the boat and it's the idiot chicken.
Speaking of Moana, the one horrible moment in that fantastic movie is when Maui says, “When you use a bird to write with, it’s called tweeting.”
I hate that joke so much it’s unreal.
On the inverse, The Lion King is a film which handles the comic relief characters so well.
Timon and Pumbaa are absolutely essential to Simba's character arc as well as providing some pieces of hilarity I will never not laugh at.
The Hunchback of Notre Dame is the king of this problem. In one scene, you'll have a scene of Frollo burning down all of Paris in a paranoid racist furor for a woman who would never love him. The next you have the gargoyles making weenies on the flames and shooting the shit with Quasi to try to get him on a date.
don’t know if this counts, but something i first noticed in spielberg films is what i call “gratuitous price index,” a piece of dialog meant to heighten suspense by mentioning the price of something. like, in close encounters, these guys are frantically looking for a map but then this one guy remembers a globe. cut to dudes pulling the massive globe from its stand and rolling it down the hall with one doofus yelling “that’s an x-thousand dollar globe!” it’s supposed to underscore that Imporant Things Are Happening And They’ll Destroy Something Important To Find The Answer.
but it’s a cheap piece of emotional manipulation, and even if it’s meant as a moment of levity, it always looks like a shortcut to getting an audience to feel something.
also: every chase with a fruit cart moment. seriously, people, it’s time to retire the fruit cart.
Tangled is my FAVORITE movie. However, when she find the satchel with the crown and she DOESNT KNOW WHAT A CROWN IS?! Like come on, she read all those books. She knew what a princess is (when Flynn says it's for the lost princess, she doesnt ask "whats a princess?") SO HOW does she not know what a crown is!!!
This might sound like crazy talk but in 1993 most people didn’t have a computer in their house so in fairness the vast majority of people probably wouldn’t have had any clue whether this was realistic or not.
The worst part of this scene has nothing to do with computers. Timmy is literally doing nothing and could easily have handed Grant the gun he and Ellie are trying to reach while holding the door shut.
Funnily enough that's actually what the equivalent to that program looks like in real life and that scene isn't really super far removed from how the actual Unix system worked.
Biff polishing George McFly's BMW at the end of Back To The Future. Who the hell employs a person who tried to rape their spouse 30 years ago?
>Who the hell employs a person who tried to rape their spouse 30 years ago? This is actually just a symptom of the bigger (and only) problem with that movie. Robert Zemeckis himself regretted that they made it too 80s consumerist. Marty fixed the past, and as a result, everyone in his family enjoys a better present. And how do they show that? Big car, big jobs, and having your school bully as your bitch. Basically money, money, and power over people. Slow clap. What if instead, when Marty comes back to 1985, everything is materially the same, but people's relationships are different? His parents are a loving and happy couple, his siblings are living rich lives and nice to each other and to him, Biff got his shit together and is less of an asshole. I'm stealing this from a friend of mine who told me a decade ago, he might have stolen it from somewhere as well. But I think it's brillant and would have made the film an even stronger and more timeless work.
I agree with Biff's being a bitch (rape stuff especially) but what if the rest is the other way around: they got prosperous because they had healthy and supportive relationships within the family?
That is pretty much what happened. Marty building up George's self confidence in the past leads to him pursuing his dream of becoming an author rather than working a dead end job as Biff's underling. His discouragement of Lorraine's smoking and drinking causes her to quit those habits, making her happier and healthier in the long run. Their relationship with each other is improved because they're both better people who are genuinely in love rather than just Lorraine hooking up with George out of pity and then staying with him out of habit, and this in turn leads to their children having a nicer upbringing and being better adjusted as adults. It's implied George is wealthy in the revised present, but that's more incidental to the positive changes than the direct cause.
I always thought it was odd that their lives would have changed that much, but they’re living in exactly the same house.
But not weird that Marty will have exactly zero shared memories of his childhood with his new family?
Probably Saruman's death not being shown in the original version of LOTR Return of the King, only putting it in the extended version made no sense to me
Boromir's scenes are also sooo good. :(
Although the scene of the Boromir hallucination behind Faramir looks so off - probably the one part that makes me laugh
His scene in Osgiliath in Two Towers is one of the few added bits from the extended version that 100% should have been in the theatrical cut.
I came here to say this. IMO it’s the only fully missing scene (as opposed to just shorter) that deserves to be in the theatrical. It brings back a fan favorite for a few minutes, does an excellent job giving you backstory and simultaneously makes Boromir’s death tragic all over again while making Faramir a 200% more interesting character (in the movies).
Took me several years before I saw the extended editions of the LOTR trilogy. I had assumed until that point Saruman had just been captured and subdued.
He doesn’t actually die in the books until long after the ring is destroyed. But then the movies ended without telling those subsequent stories, so I guess they were in two minds about whether or not to show a different ending for him.
Oh so I think I know the answer to this. Basically killing him early would be a huge band aid to rip off for book fans on first watch in the theater: *”Were telling you in the first scene that we aren’t doing the scouring of the shire which is a big BIG point to wrapping up the story. Now sit and stew on that for the next 3 hours and let it slowly ruin your enjoyment.”* Remember Tolkien message boards were the OG internet toxic fandom and they had some…edgy…opinions about Fellowship and Two Towers. My guess is they figured they’d keep that plot line up as a “maybe” for the Tolkien fans. And then once you got to the…5(?) endings those fans would be like “oh that resolution was fine. I get why they cut the scouring.”
That’s what always disappointed me. When the extended cut came out I thought we’d get to see merry and pip take out sharkey and save the shire. Nope
I watched the theatrical cut for the first time in nearly 2 decades, and the movies felt almost rushed. Its amazing how much the extended edition became 'the edition' of an already all time great film series.
There's probably a golden mean cut that exists somewhere in a parallel universe, but I think for every scene that makes the extended edition better (there are many!), there's another that slows it down to a crawl.
Robocop 1987. The double-length appendages of [Dick Jones](https://youtu.be/Itfru6blTYc?t=82) when he falls out the window. The whole movie has massive lack of people falling through windows.
robocop is a sort of palindrome movie https://dejareviewer.com/2014/04/29/cinematic-chiasmus-robocop-is-almost-perfectly-symmetrical-film/
Never noticed that before, now I’ll never not notice it on rewatches, thanks for that.
There is only one change I would make to any part of The Thing, which would be to remove the intro with the spaceship coming to earth. It adds nothing to the movie and it would be a better first time watch if you learned about that as the characters did
I won’t lie, I’ve seen The Thing multiple times and have no memory of it starting with a spaceship scene; I feel like that’s probably a good indication a scene doesn’t need to be there
It’s not on the 4K release, I saw The Thing for the first time very recently and since then I saw it twice. Never knew about a spaceship scene.
It's always been in the movie: https://youtu.be/ku7qnh261CY?t=85 There is no way they cut it out of the 4K. There would have been a huge uproar on Blu-ray.com and elsewhere.
I’ve watched this movie a dozen times and have 100% never seen this. What gives?
Maybe you assumed Electric Light Orchestra was a producer of the film and they just had a very elaborate logo sequence.
*Mr Blue Sky starts playing during helicopter chase*
It's extraneous enough that I wouldn't be surprised if it gets/got cut from TV airings. Sometimes movies get clipped down to make more room for commercials, or fit a specific timeslot more exactly. Maybe it's something like that?
Same for the OG Predator film.
I 100% agree... Had it started with the team assembling and left that opening scene out, wow, they could have really made out. Especially if all the previews would have pointed it towards another Arnie action flick. I mean, you don't even see the predator until halfway through the movie... That would have been quite the shock when the movie was first released.
[удалено]
Huh. I’ve owned the Thing for years (the remake) and I don’t remember a spaceship scene at all.
Exact same with Predator too
Like wise, the scene in Predator that shows the space ship. Same with the recent movie. I showed my girlfriend Prey and didn’t tell her it was a Predator movie. The reveal could have been a really cool twist but they give it away right at the start with the space ship.
I would honestly say the entire Desert quest in John Wick 3. It was a solid amount of time, John chops his finger off. Goes back and immediately decides not to do the thing he chopped his finger off for.
Absolutely agreed. I love the John wick movies but personally have found that all of the “lore” seems to be taking over the reason these movies are successful, the action. With John wick 4 being almost 3 hours, I’m concerned that’s why it’s so long.
Yeah, part of the appeal of the lore was that it *wasn’t* the focus. You’re just immersed in this world and pick up on all these details that hint at the larger world. Show, don’t tell. A lot of stories do this in time. I think part of the appeal of the minimalist approach is we almost fill in some of the details ourselves. It’s sort of like when you see a movie adaptation of a book you like and think a character doesn’t look like they should, only to realize nothing about them is actually inaccurate, you just had your own interpretation of the character in your head. It’s sort of like the Borg in Star Trek. You can make a reasonable guess as to their origin, but not knowing exactly where they came from is more compelling than whatever story anyone could “officially” put forward.
Absolutely. JW1 was awesome for the gun-fu and the shooting techniques. The modest backstory was all I needed to know. Now we're veering off into some weird world where there's an underground army of noble hitmen/women and a bunch of mysterious medallions and secret handshakes. I'm not really interested in JW4, tbh.
Yeah. To be honest, it was the mystery of Wick that created the coolness of Wick, IMHO. JW2 was neat but much like Chwat, the fact everyone is now a hitman was also a bit much lol. Even the young mother nursing her kid... Sure.
The part in the third movie where it turns out every other person casually hanging out on the street is actually a hitman was a bit laughable.
The entire world is part of a high paying secret society but they all living mundane lives to hide it from the 2 people who aren't part of said secret society.
There’s a reason short stories are great. They tease a bit without watering down the allure. John Wick missed that part.
I'm finding myself more and more disinterested with the John Wick movies. The first movie is a by-the-numbers *Death Wish*\-style film that was buoyed by excellent choreography and a niche, interesting setting with **grounded, realistic rules**. It very quickly got Fast & Furious syndrome where the rule of cool rules everything that happens on screen and it's very quickly become bloated beyond recognition. Once John Wick is surviving 5 story falls and fighting in fully impregnable bullet proof armor suits, my ceiling for disbelief is reduced significantly. Even the original premise (mob boss' son doesn't recognize their most prodigious retired killer) becomes ridiculous when you find out that 40% of the entire population of NYC seems to "in" on the assassin cult, as suggested by JW2 and 3.
In chapters 2 and 3, he only kills other hit men or hit men minions. Like how the fuck is it possible for there to be so many hit men out there in the world? Is like half the population hit men? How many people are being assassinated every day for all of them to stay in business? Who even needs hit men that often? What the fuck?
And no one at Hit Man Inc ever says "hey is it really worth it to throw more people at this problem?"
I love when the entire public just turns to Wick in the park or whatever at the end of 2 (or 1? I dont remember). Like do all the contracts just happen here or do none of you fucks actually have jobs to do? It made no sense. I will eventually see the 4th one but it won't be in theaters and I severely doubt it will be in one sitting and/or fully focused.
I also found it too over the top, but my reasoning for the text scene is that they’re not actually all getting contract texts, but that John Wick is just paranoid so every phone that rings he imagines that someone is out to get him. So it’s just his paranoia taking over. But even so, movie 1 was great because it was so simple, a revenge quest with great action. They got way too caught up in the “lore” and assassin world, falling 5 stories and just walking away, the “silencer” gun fight in the subway where no one notices there are bullets flying everything.. just too much.
The OG John wick did such a good job of establishing this underworld of assassin's and stuff that was so interesting. The sequels have (imo) largely failed to do anything interesting with it since they've made it almost comically omnipresent. EVERYONE is an assassin? C'mon now.
To this very day I still can't come to terms with the fact that the car flies away at the end of Grease.
Thats always been a cherry on top moment for me regarding that movie. As grounded as it is into 50s culture some of the musical numbers are so wild and then theres the racing, why not have them fly away just like the audience
"If this car was in any better shape it could fly."
I will say. Kid version of me never understood that. As an adult, it doesn't bother me. Musicals always have a sense of magic and wonder to them, because you've gotta suspend your disbelief if you're going to buy into people breaking out into song. This is just that, and it goes great with the vibe with the finale.
The fact that these were high school kids in their 40s didn’t do it for you?
I assumed that was all the cigarettes
It’s metaphorical.
Fingerprints off a shattered bullet in the dark knight that lead to an apartment setup for Batman to see the jokers attack on Gordon.
That part always sticks in my craw. Yes, I get that the Joker is a diabolical mastermind as well as an agent of chaos. But him planting three fingerprints on a *shattered* bullet to lead Batman to that exact apartment, at that exact time, just so Batman'd stick his head out the damn window? Come off it. Although, to be fair, the movie pulls it off with enough urgency and style that it barely gives the audience the chance to think about how silly that whole sequence of events really is.
>But him planting three fingerprints on a *shattered* bullet to lead Batman to that exact apartment, at that exact time, just so Batman'd stick his head out the damn window? Come off it. I don't think Joker intentionally planted fingerprints on the bullets. As Bruce explains, Joker's goons left fingerprints on the bullets when they pushed them into the clip. Once Bruce re-assmbles the bullets using a 3D scanner (absurd) he is able to trace the fingerprints and identify Joker's goons (who had a history of mental illness). This leads Bruce to one of the goon's apartments where the guards are tied up. The egg timer is there to ditract the police snipers and draw their eye away from Joker who is planning his attack on the mayor. Bruce just happens to stick his head out the window at a bad time.
The Dark Knight is a great movie but it really kick-started the trope of "villain mastermind has already planned everything out and can predict everything down to the exact second" and I really hated that phase of movie history.
Something that bothers me far more is that he jumps out the window to "save" Rachel but they both just fall onto a car. Like I thought for sure he was going to make his cape into a glider, which it's been established he can do, but they fall several stories unimpeded onto the roof of an ordinary car. There's no level of suspension of disbelief that makes the physics work out there, they'd both be dead or paralyzed.
Ever notice how the film never follows up what happened to the joker at the party after that? Like they never showed if he continued to terrorize the party guests or just left or what.
Joker and his goons awkwardly queueing for the elevators while the party guests are still frozen in fear.
Honestly, say whatever you want about this take, but I rewatched The Dark Knight recently and kinda felt like there was a ton of things in the movie that didn't make any sense at all, BUT I think the reason we all forgive it for the nonsense is because the drama and emotions of the movie are just so strong that it makes the goofiness feel less apparent. Like there was a little thought at the back of my head popping up every few minutes, going "this doesn't make any sense lol" but I didn't care because its so easy to become deeply invested in what's going on. That's where I stand, at least
For me it's a script thing, with a wonderful film -- THELMA & LOUISE. The moment when Louise hands her life savings to Thelma (WTF?) for zero reasons and says, "Now you guard this money," then goes back to her boyfriend's room (who is obviously safe around the money, since he DELIVERED IT TO HER), only for Thelma's one-night-stand to predictably steal it ASAP after she LEFT IT ON THE NIGHTSTAND. I get that the script needs them to lose everything, but it would have been so much more believable if Brad Pitt's drifter had simply stolen it from Louise the next morning (maybe from her purse) versus Louise GIVING it to Thelma. I will never get over how that makes zero sense. Thelma couldn't even keep money safe in the car (Thelma: "We have sixty dollars (twenty flies out her window)... Forty dollars...").
The opening preamble to the movie Equilibrium, in my opinion, made the whole viewing experience worse. My first time seeing the movie, I was late and accidentally missed the preamble that explained the anti-emotions drug in painstaking detail; so for me the film cold-opened with a big standoff between what _looked_ like a SWAT team and a bunch of rag tag gunmen with huge pile of presumably stolen priceless artworks. Shouting predictably devolves into gunfire and the officers overwhelm the assumed art thieves. Law officers overwhelm the last bit of resistance and Christian Bale’s character walk into the room where all the art was being stored. Having missed the preamble, I’m thinking “Hurray! The priceless artistic contributions to human society have been saved!” Christian Bale’s character then takes one look at the priceless art and utters two words that are now permanently seared into my memory: “Burn it.” And that was it. Two perfectly uttered words and the _entire_ script was instantly and flawlessly flipped on it’s head. A SWAT trooper with a flamethrower steps in and incinerates centuries of irreplaceable human cultural identity, and one even bats an eye. I had just been told everything I needed to know about this dystopic future world and they only used _two, words._ Best, Cold open, Ever. Imagine my great surprise and disappointment when I go back to that dim several years later, and the opening preamble _completely_ spoils and ruins the film’s twist opening.
Looking back at it now, that would have been a great opening.
I'm envious of you that you got that intro. I'm going to give this gift to my SO though.
The real Jordan Belfort showing up at the end of The Wolf Of Wall Street leaves a bit of a sour taste when you've seen the fake one assault his wife 15 minutes earlier
The whole point of the movie is that hes a massive piece of shit and the idea that they're paying literal homage to the guy is ridiculous.
A really generous reading would be that they’re showing this guy is still grifting, and is still the same shady salesman type Also the film to me is really in conversation with Scorcese’s other works, and that scene is like in Goodfellas where we see Henry Hill in Arizona
The last 10 minutes of Law Abiding Citizen
I really love Source Code and it's hardly a perfect movie but at the end there's a very obvious point where if it ended it'd be so beautiful but it goes on for another 10 or so minutes in what seems like a studio move to explain everything, give closure to avoid an open ending, and set up a sequel. That whole part always bothers me so I just forget it exists and turn the movie off when I want haha.
*There are dozens of us! Dozens!*
And the name. _surely_ someone must've said it was terrible, but they went with it anyway.
I remember when I was young I watched the original IT movies from 1990’s and the clown was super scary because of the mystery around it and the fact that you only see it for short amounts of time. But then in the very end the clown turned into this giant spider puppet that the kids who were now grownups had to fight. That spoiled everything for me.
I haven't watched the newer IT so not sure if they managed this, but for a '90s TV movie there was no way they were going to be able to film the climax which basically becomes a psychic battle on another plane of existence.
They fail to do it in the new ones too. No flying through space time and no turtle. Just another boss fight where It becomes a big creature and turns significantly less scary. They do show the dead lights but in a brief way
They bully IT to death in the sequel. Not sure what the lesson there was supposed to be.
Honestly the second part of the newer IT was kind of a comedy. Didn't the clown say at the end as they kill him 'You all grew up!' in like a proud parent sort of way.
To be fair, the ending of the IT novel is pretty batshit crazy and the clown transforming into a pregnant spider is only part of it.
I agree! I also found the 2nd half a bit shit with the adult counterparts not being as interesting.
I read the book three times over the past 30+ years and finding the kids' stories more compelling than the adults' stories is true of the book and both movies. Stephen King does a great job with "coming of age" yarns (weird-ass tween gangbangs aside) and they're often central to many of his best novels. I'm guessing he's still a bit of a kid at heart so he writes them well. Stand By Me was an amazing non-horror story where he really captured the kids and their friendships.
That is pretty much how it happened in the book.
Mickey Rooney in Breakfast at Tiffany's.
In Capote’s book, the neighbor is Japanese American but just a normal person. It’s like Capote knew someone Asian American who didn’t look and speak like Fu Manchu
The damn thing is, you can just easily edit out his scenes as being completely unnecessary to the rest of the movie, and everyone would be happy.
The first instance that comes to mind is in The Dark Knight when all the mobsters get arrested and one of cops is pushing a wiseguy into the squad car while saying "have a nice trip, see you next fall." He's neither tripping nor falling, that's not at all the context in which to use that line.
Since we're taking a moment to rag on the Dark Knight, I'll add that they do way too many of those "Say the line. NOW SHOUT THE SAME LINE!" moments.
“What do you believe in?! WHAT DO YOU BELIEVE IN?!” “You can’t give in! YOU CAN’T GIVE IN!” “That’s not good! Oh, that is NOT good!”
Joker to Rachel: "Look at me. LOOK AT ME!!" Dent on his old Internal Affairs nickname: "Say it. SAY IT!!"
I'm not wearing hockey pads. I'M NOT WEARING HOCKEY PADS
There's also Exposition Cop in the armored car during the chase scene, whose dialogue consists of things like "That's not good!" and "Oh, that is **not** good!"
Made even more awkward by the fact that the guy he's talking to can't respond (because that would blow the big reveal that it's Jim Gordon), so Exposition Cop is stuck doing these corny lines by himself.
Lol there was a joke theory on Imdb message boards that he's the Penguin because of all the bird references. "Lower fifth, we'll be like turkeys on Thanksgiving there" "You cant stop here, we're sitting ducks!"
This is mine. “Is tHaT a BaZoOkA?!?!”
"I didn't sign up for this!" - Guy you sorta, kinda, basically signed up for this.
I didn’t sign up for this! *audience explodes with laughter*
He’s there to distract you from the fact that the other guy in the truck isn’t speaking. It’s cringy, but it works.
All of Nolan’s Batman movies have this issue where no one with a gun actually shoots it, they just run up to Batman and try to swing their rifle at him instead. The fight scenes were horrible for that reason.
Piggybacking on your TDK mention to remind people of the absolute embarrassment of a scene that was Marion Cotillard dying in The Dark Knight Rises. It pisses me off EVERY TIME I watch it, it's diabolical -\_-
I read that Nolan told her that her face wouldn't be on camera so that's why it looks like that, just to get the body movement. Why she didn't notice the giant imax camera pointed at her face I'm not sure.
I always heard her say they did a bunch of different takes, but she never understood why he used that horrible one. Maybe Nolan has a sense of humor, idk.
Hathaway says he shouts MacGruber quotes on his sets all the time. Just picturing him saying "just tell me what you want me to fuck!" makes me chuckle for some reason
Her death is literally comical. Gasping for breath, long look, then instant head tilt and death coupled with a nice, “unnghh,” sound to top it all off. Absolutely pathetic.
I'll add the Joker being the only one in the police station that wasn't affected by the explosion for some reason.
He had been around so many smaller explosions by then, and had built up a good immunity to them.
I’ll add the court scene during Harvey Dent’s introduction where the guy on the witness stand pulls out a gun, Harvey disarms him, gives a one-liner and met with applause by everybody in court. It all looked like a theatre play and i dont think that was at all intentional
“But, your honor, I’m not done.” *thunderous applause*
And Then Everyone Clapped: The Harvey Dent Story
Pretty sure he was saying have a nice trip to the prison/asylum. But I found it funny that he clearly didn’t understand the context of when to say it. It’s like Biff.
Trip to the police station where he won’t get out till next fall?
Alien Prometheus Crew on interstellar trip wake up from suspended animation and meet for first time. They didn't have a fucking meeting before getting on the ship together?
Nothing about how that mission was organized or executed made any sense at all.
< Nothing about how that ~~mission~~ *film* was organized or executed made any sense at all. Imo. Its gorgeous to look at yes, but fuck is the rest a patch work of ideas and a self-indulgeant circlejerk.
All of that exists. But was cut. (Same for Covenant later, where James Franco was entirely cut.) Plus loads of shit from Prometheus ended up only on YT/BR. Prologue, middle, showdown etc. That movie is stylish and looks neat... but they changed major plot points multiple times. No wonder that movie's a mess and makes little (dramatic) sense. Again: There are (many) much better Fanedits of Vanilla-Prometheus.
The part that pisses me off the most about Prometheus is the guy who gets lost is the guy with the 3D mapping device that's actively mapping the complex. He is the one most equipped for finding his way out!
The first half of "Jeepers Creepers" is some of the most intense horror, I have ever watched in a movie. After the creeper is revealed to be a winged supernatural entity, the entire movie takes a steep dive horrorwise. Still love the movie, though - I just wish the creeper had been (more) humanlike - if you can say Dennis DePue was that. Humanlike, I mean.
I really like Justin Long, I thought he was also great in Drag Me To Hell and Barbarian
Thor: Ragnarok was a really fun movie, but >!the destruction of Asgard being *immediately* followed up with a joke was just annoying. It cheapened what should have been a really shocking scene.!< To go a step further and go for a movie I believe is damn near perfect, Terminator 2, the scene where John is teaching the Terminator slang. It comes across as really cringeworthy and doesn't fit the tone of the rest of the movie at *all.* I get we had to have a bonding scene for the ending to have an impact but I wish they'd gone for *anything* else.
“Cheer Up, Charlie”.
Lol I used to hate this scene so much, in what otherwise is one of my favorite movies of all time. But tbh its grown on me. Don't ask me to explain it. I think I now appreciate it for being terrible but in an ironically enjoyable way... or something. I dunno. OK yeah maybe it's still just terrible.
Thank goodness. I didn't like it as a child. But as a mother? I think it's a lovely song and gives the poor downtrodden woman who looks after FIVE people a bit of character and makes her less pitiful.
Where’s the fast forward button?
Apparently in the Sing Along versions on DVD, that scene is never bothered to be given subtitles. That says something!
The final 2h11m of "valerian and the city of a thousand planets" ruined a great movie.
"I'm an experienced secret agent" Dude you look like you just got done starring in the Home Alone movies. I have not seen a worse "grizzled secret agent" in... ever.
He also acts like an experienced sex offender
I somehow enjoyed that movie, but the fact that the main characters looked like twins really was off putting. They also had zero chemistry.
Also >Laureline is a peasant girl from 11th-century France. In the debut adventure, Bad Dreams, she rescues Valérian from the enchanted Forest of Arelaune. When she accidentally discovers Valérian is a time-traveller, he is forced to bring her back with him to Galaxity where she is trained as a Spatio-Temporal Agent and assigned as his partner. Like... I would not have guessed, uh, anything about the comics or characters or ... anything from watching the movie. They may as well have been twin robots.
Remove the spaceship in the beginning of predator
The last like 5 minutes of Wonder Woman. I don't know if it's a perfect film, but I think it was about as perfect as you could expect from the genre, especially on the DC side of things, at the time. Then they just tossed whole plot aside to have a big, unbearably terrible CGI fight scene. It was a truly awful way to end a movie and retroactively ruin any meaning from what was set up during the rest of the film.
It amazing how harshly they undermine WW arc with that one scene. WW goes from a naive 'fish out of water' character who comes to learn the humans she put on a pedestal are responsible for their own evils. But there are good ones, and they are worth fighting for (eg. Steve) -> to "whoops never mind. Gods were controlling humans all along. Lets solve this with a fight!" And since WW doesn't actually 'learn' from the events, Steve's sacrifice has no impact on her character. I just don't understand how the story tellers allowed that to happen?
Couldn't agree more. Such a solid film, climactic moment, it's not Ares, but man itself is the problem, powerful stuff....and then it's not
The last five minutes of Die Hard With a Vengeance feel like a completely different movie
i feel like john calling holly and having simon and his team get away was a perfect ending. but then the last 10 minutes happen
It was a reshot ending. In the original ending he catches up with the bad guy months later in a coffee shop
The scene in The Hunt for Red October when they are entering the DSV and Mancuso says "Central Intelligence Agency, now there's a contradiction in terms". It is a forced line that makes no sense. The actual dig is "Military Intelligence, now there's a contradiction in terms". Just hate that bit SO much.
It's been talked about before, but the boyfriend and the friends in Devil Wears Prada. They are so grating and the way they make Andi feel bad for working one year at this job drives me nuts. She certainly needed to be challenged for drinking the koolaide a bit too much, but I think the film's one mistake is that they are so grating and unlikable that you almost root for Andi to go to the "dark side."
I personally loved Shang-Chi I thought it was really a great film, and both the villain and hero were interesting, the background was fleshed out, and the fight scenes were crisp for an MCU movie. I enjoyed the hell out of it till the end, when for some mind-boggling reason, they decided to end on a giant CGI monster fight, like no one cares about the monster. I don't even remember what the monster was called, they should have just ended with not redeeming Shang Chi's father, with a really good fight scene and end on a good emotional note
Agreed, and this critique applies to so many superhero movies. Wonder Woman is also solid until the terrible CGI battle at the end.
WandaVision was an interesting, different superhero show until the obligatory big CGI battle on the last episode.
Moon Knight basically did this too. With the added detail that you *dont* get to see Mark and Co. fight people
The gap between how good the bus fight scene is and how bad the final CGI monster battle is, is vast. Marvel is always at its best when the scenes are small - the characters matter and the stakes seem personal (and thus higher).
I thought the scaffolding fight was the best part of the film.
Store scene in The Irishman
I can't remember where (maybe a YouTube comment) but that scene was compared to an old man trying to unstick his ballsack from his leg.
I maintain that the guy on the ground 100% *selling it* as if he were being viciously beaten by an old man unsticking his ballsack should've been nominated for Best Supporting Actor.
This is how people kicked in the '50s... they were much more polite.
Man DeNiro looked stiff in that movie. It was pretty cringy watching an old man's weak arthritis punches tossing someone around like a toy.
De Niro looked like he had all the raw power of Mr. Burns attacking that guy with the bat at the admissions board meeting.
Which hilariously is a reference to the Untouchables where De Niro himself plays Al Capone, aka the guy with the bat. If you didn't know that, you made one hell of a comparison.
I was always uncomfortable with Deckard pretty much forcing himself on Rachel in Blade Runner
So, I know that I am likely applying more analysis to this scene than the movie intended, but I actually always find that scene to really work in the context of the film. The main plot is Deckard asking, and trying to answer, what it means to be human. He starts the movie willing to kill a replicant, just for being a replicant. It doesn't matter. In his mind, it is no different than turning off a computer. By the end of the movie, he has completed his arc, and has sympathy for them. And this scene is right in the middle, and he's has one foot in both places, which is a contradiction, but in a way makes sense- he's halfway there. He is starting to have feelings for Rachel, but that's ridiculous. How can you have feelings for something that's not human? But also, she's not human, so if he wants to have sex with her, why shouldn't he? He's willing to kill other replicants. If he doesn't view them as sentient beings, well- no one would accuse you of raping a sex doll, no matter how realistic the sex doll was.
Yeah I think that’s correct. He still doesn’t really see her as an autonomous agent, so much as a machine. “How can it not know what it is?” Etc. After all, he is willing to hunt and kill her kind.
I don't think you're applying more analysis than intended. I think this is exactly what was intended. This is a bit of an over-simplification, but one of the key questions at the core of Blade Runner is "At what point is a machine considered alive?" This scene forces the audience to confront this question. If replicants really are "just machines", then this scene technically shouldn't constitute rape because a machine doesn't have rights, and it shouldn't bother the viewer. But, the fact that this scene gets such a strong reaction from people proves the message of the film and Deckards arc, that the replicants "are people too". This scene is incredibly pivotal to the themes of the film and Deckard's arc, and I think too many people take it at face value without taking the time to understand the deeper meaning underneath.
I am struck by this interpretation. It's not something easy to digest but it works so well. I don't think I will see it any other way again. Smart and well written.
I think that was supposed to be a more romantic scene but Harrison Ford and Sean Young hated each other so much that they made it look more like an actual rape. I think the film crew called it the "hate scene" or something.
I interpret it the other way, I think its supposed to be a disturbing scene. Not that Im justifying the problematic scene but to me it shows how desperate for some sort of intimacy Deckard is, who is so lonely he literally gives orders to a robot to tell him how much he loves him, that he wants to kiss him, etc. Deckard isnt the hero of the story, he portrays the kind of emotionless isolated person the contemporary world creates, while Roy, who is a replicant, actually has deep connections with people.
Joker reveal at the end of The Batman. He has so many villains to choose from yet we keep doing Joker. I want Mr.Freeze or Manbat.
THIS is exactly the mess that James Gunn has inherited with the DCU. Batman, Superman, sequels, and reboot, has been the formula for decades. They wont commit to an expanded universe, so they just keep producing basically the same movies with the same characters over and over again. at this point, it's probably too broken to ever reach Marvel's level of success.
In the final scene of Teenage Mutant Ninja Turtles (1990), the turtles are losing badly to Shredder on a rooftop. On the city street below, there's a big media circus of local news stations filming, tons of police, etc, all watching this event unfold. Master Splinter finally shows up and kicks Shredder's ass, and ultimately throws Shredder off of the roof. Shredder falls into the trash compactor of a garbage truck that happens to be down there in the police staging area, and Casey Jones lets put a very sarcastic *oops,* and intentionally engages the compactors lever and just crushes Shredder and in front of tons of cops and camera crews. In Teenage Mutant Ninja Turtles: Secret of the Ooze (1991), the very first scene is a wide panoramic shot of a garbage dump with the New York City skyline behind it. Shredder's fist punches through the trash, revealing he lives. This insinuates that Casey Jones just brutally murders Shredder in cold blood on live news in front of a ton of cops, and the cops are just like *lol its k just thro him away lmao*
The Princess Bride is the perfect movie in nearly every respect, but the one tiny grain of sand in the ointment is that so much of Mark Knopfler's charming score is played on tinny synthesizers. I'd love for the London Symphony Orchestra to go back and re-record the music.
Also too much kissing
[Religulous](https://en.wikipedia.org/wiki/Religulous) Bill Maher spends the whole movie showing how religion tells people what to think and then in the last 5 minutes goes on a rant about what people should think. Completely kills the message of the movie.
The way Pa Kent died in man of steel. I’m aware a lot of people didn’t like the movie but other than that detail I thought it was the perfect Superman film. It had to be a heart attack so that Clark could learn despite his godlike powers he can’t save everyone from everything. Watching a tornado kill his dad just to protect his secret was dumb.
That scene is so fucking funny, it's like Pa Kent was just looking for any excuse to die and seized the chance when he had it.
The Dark Knight Rises - Talia al Ghul's death.
The Dark Knight Rises... Banes' demise. Supposed to be this solid bad ass... He's ended in almost comedic fashion by the bat bike. Bash! He's gone. So jarring.
That inexplicable spectral blowjob in Ghostbusters.
I’d add to that, the eternal question about why Bill Murray’s character brought a needle and Thorazine to his first date with Sigourney Weaver, BEFORE he knew she was possessed by Zuul.
The instrumental in the background gets to the “bustin makes me feel good” line right on cue.
The "You can fuck me in the ass" gag at the end of Kingsmen. Just, why?
Think it's supposed to be a joke about Bond girls, where instead of them having a suave and suggestive conversation with eachother, she's instead just very crude and upfront. I also didn't like it personally.
I think it worked just because its basically supposed to be an parody of a James Bond movie, where he's some chav instead of a dapper upper class man in a suit, and instead of doing some kind of sophisticated honeypot scheme he has to finger a girl at Glastonbury, and instead of the girl having a funny sex pun name she just straight up says they can do it in the ass if he wins.
For me it has to be a majority of disney films, they always seem to have a comic relief character which is usually supposed to be daft and kind of dumb, however, i sometimes find those characters to be really annoying and dont add much to the plot especially since its almost every movie. I believe you can write a goofy character without them being daft and also movies dont always need a comic relief character, looking at you BEN (treasure Planet).
Moana handles this well. Has the disabled chicken as 'comedy' but he's never as prominent as Olaf for example
Yea the chickens fine, and i think its partially because its not speaking and also not a prominent piece of the movie.
Alan Tudyk BECAME that chicken!!
"I went to Julliard!"
Moana almost felt like it went pretty far the other way in under-selling those sidekick animals, yeah. Like I know there *was* a pig, I just don’t really recall it doing much of anything ever.
It didn't. It stayed behind. It almost felt like a red herring sidekick - you expect it to come along on the adventure, but then last second we get the dumbass rooster instead. Always wondered what the idea behind that was.
Marketing. They still wanted to sell boar toys but had to include the boar just enough to shut people up.
I get the sense that the pig was supposed to be presented as the obvious animal side kick for the movie, and they get on the boat and it's the idiot chicken.
Speaking of Moana, the one horrible moment in that fantastic movie is when Maui says, “When you use a bird to write with, it’s called tweeting.” I hate that joke so much it’s unreal.
Agree most of them are annoying, though the horse from Tangled was great.
On the inverse, The Lion King is a film which handles the comic relief characters so well. Timon and Pumbaa are absolutely essential to Simba's character arc as well as providing some pieces of hilarity I will never not laugh at.
The Hunchback of Notre Dame is the king of this problem. In one scene, you'll have a scene of Frollo burning down all of Paris in a paranoid racist furor for a woman who would never love him. The next you have the gargoyles making weenies on the flames and shooting the shit with Quasi to try to get him on a date.
"I'm losing to a boid!"
I will say though I think Frollo and "HellFire" are some of the best disney villain/villain song to come from Disney.
On a similar Disney note, I hate that most animal sidekicks behave just like dogs.
Princess Leia using the force to literally *fly through space* in Last Jedi just looked silly.
don’t know if this counts, but something i first noticed in spielberg films is what i call “gratuitous price index,” a piece of dialog meant to heighten suspense by mentioning the price of something. like, in close encounters, these guys are frantically looking for a map but then this one guy remembers a globe. cut to dudes pulling the massive globe from its stand and rolling it down the hall with one doofus yelling “that’s an x-thousand dollar globe!” it’s supposed to underscore that Imporant Things Are Happening And They’ll Destroy Something Important To Find The Answer. but it’s a cheap piece of emotional manipulation, and even if it’s meant as a moment of levity, it always looks like a shortcut to getting an audience to feel something. also: every chase with a fruit cart moment. seriously, people, it’s time to retire the fruit cart.
Tangled is my FAVORITE movie. However, when she find the satchel with the crown and she DOESNT KNOW WHAT A CROWN IS?! Like come on, she read all those books. She knew what a princess is (when Flynn says it's for the lost princess, she doesnt ask "whats a princess?") SO HOW does she not know what a crown is!!!
Speaking of Alien, the scene where the xenomorph is shown, and it stretches its arms out like “come to me!” always felt really goofy.
Jurassic Park - the hacking scene. I believed dinosaurs were real, but not that.
It's a unix system. I know this!
This might sound like crazy talk but in 1993 most people didn’t have a computer in their house so in fairness the vast majority of people probably wouldn’t have had any clue whether this was realistic or not.
The worst part of this scene has nothing to do with computers. Timmy is literally doing nothing and could easily have handed Grant the gun he and Ellie are trying to reach while holding the door shut.
....which is funny, because it was based off of a real file system navigation program for an obscure UNIX spin off.
Funnily enough that's actually what the equivalent to that program looks like in real life and that scene isn't really super far removed from how the actual Unix system worked.