• Things You Hate in Movies/TV Shows v2 - "The power was inside you all along!"
    40 replies, posted
• Most movies that take place in the far future that disappear up their own assholes with technical/made up garble. "Sir, we haven't found anything in the Zylon 8 sector, we'll need to upgrade our drill to an M4!" "Good call, make sure you have enough Jelorite to stabalize the-" Yes, we get it. We're in the future. Thank you. • Two protagonists following the "one's smart and critical and the other is dumb and funny" mechanic. • Movies that teach us that the universe will unload good karma on the good guys while punishing all the bad people. Yeah, life really works that way. • Pets that have really boring, generic names. "This is my dog, Spot!" • 10% plot, 90% love interest mush. • People who get bitten by zombies stay perfectly still instead of using their free hands to do something about it. • People who are sharing a hiding spot, trying to avoid some killer, but talk at full volume. Or whisper with a bullhorn. Your turn.
"You know how to fly this thing?" "Fly it? I BUILT it!"
I absolutely hate a lot of Hollywood fight scenes because of cutting to another shot with every single god damn move.
When in cartoons people make fun of a character for having something ridiculous/silly and then at the end of the episode they have fun with someone else who has the ridiculous/silly thing and still make fun of the character who had it to begin with.
The trailers. Or rather, the trailer. The one single trailer that each genre uses.
That always incredibly boring "sad" bit where the main character mopes about and does pretty much nothing, generally cause of some misunderstanding. Pretty much every animated movie has that goddamn bit
Whenever comedy movie trailers use that overused fair-use Opera music in their trailers.
[QUOTE=Nick Mason;50785979]The trailers. Or rather, the trailer. The one single trailer that each genre uses.[/QUOTE] [video=youtube;6vnm5qq0gCA]https://www.youtube.com/watch?v=6vnm5qq0gCA[/video]
- When two characters talk to each other and they sound completely unnatural. Like, I get it. You're obviously not going to get two random people off of the street and ask them to do a scene, and dramatic long pauses can have a point. But when I try to imagine a similar conversation happening in the real world, it hurts to think about it. Video games are also very bad offenders of this. - Exposition in conversation. Yes, exposition can be a good thing, but it ties in with the above point in how conversations seem so unnatural in film and TV. Some do it well, but it seems for most of the time that it's there because of poor writing. - Aliens who speak English. I obviously understand that it is useful for the audience in some scenarios, such as when a human and an alien are having a conversation, but it is just so illogical especially when the audience is aware that the alien wouldn't have had enough time to learn English (I liked how Contact explored the idea of communicating via Mathematics). Often there's some kind of explanation for how, but that often ruins the immersion even more. Or what about aliens in general? Aliens are often depicted as being bipedal, having two eyes, two ears, a nose, and communicating with each other through vocalisation. Our brains are why we're the dominant species on Earth, so how come aliens often coincidentally share so many of our other traits? - Predictable storylines. It is common form for movies to be structured with an introduction, a problem happening, a sequence of events leading up to a setback, development of the protagonist to solve the problem, then actually facing the problem and almost losing until luckily winning at the last moment, then a conclusion set a period of time after that. It happens every time, to the point where you can often predict plot twists before they actually happen. This is why I really liked the French movie [i]Holy Motors[/i]. It takes our entire understanding of narrative and throws it out of the window. The movie keeps you trying to discover a common theme throughout the entire movie, but you're still thinking 'what the fuck' from the first ten minutes all the way until after the movie is over.
"I am explaining the entire plot while we are speed-walking through this hallway"
Evil villain kidnaps the good guy's family/girlfriend
When a sequel leaves so many good things from the previous movie unmentioned. Or when a fantastic character doesn't return for reasons unknown.
Whenever the said movie is the very tip of the iceberg compared to the book. :cry:
Blondes Whenever there's an attractive leading woman in a Hollywood movie, they always make it a blonde, without exception
[QUOTE=jp_rsardeto;50790659]Evil villain kidnaps the good guy's family/girlfriend[/QUOTE] *Evil laugh* if Steven Seagal doesn't give me the thing that I want I will murder his love interest! But he will have to kill all of the nameless guards that work under me first!
Commercials/Trailers that you later learn spoiled the final scene or the ending. I said this in one of the other threads like this, but its still aggravating. How the "teen aged prodigy/chosen one/only one with a brain" cliche is overused now a days. Trailers/Commercials that flip flop between how they are representing a film. One shows a film as a horror movie, another for the same film shows it as a teen empowerment flick where they do dangerous stuff to "get more out of life". Or how one shows a raunchy comedy, then another pegs it as "a flick for a night out with the girls!".
When the main protagonist of the story becomes completely useless/captured and ends up fully relying on secondary characters in order to be saved instead of demonstrating his wit and ingenuity to get out of the problem himself. The above was very much a problem with Doctor Who for me, I always felt that we never given enough material which demonstrated the true intellectual and physical abilities of The Doctor. It was also sort of my problem in some of the latest James Bond movies, and potentially in Harry Potter. I do not like situations where a main protagonist becomes completely helpless.
Protagonist will kill millions of henchmen, but refuses to kill the antagonist because "that'd make me just like him"
[QUOTE=sb27;50786497] - Aliens who speak English. I obviously understand that it is useful for the audience in some scenarios, such as when a human and an alien are having a conversation, but it is just so illogical especially when the audience is aware that the alien wouldn't have had enough time to learn English (I liked how Contact explored the idea of communicating via Mathematics). Often there's some kind of explanation for how, but that often ruins the immersion even more. Or what about aliens in general? Aliens are often depicted as being bipedal, having two eyes, two ears, a nose, and communicating with each other through vocalisation. Our brains are why we're the dominant species on Earth, so how come aliens often coincidentally share so many of our other traits? [/QUOTE] Cinematography wise it is done so that the audience would be capable of feeling human emotions towards them, because it is remarkably difficult to make a human being care for a four legged plasma blob that communicates through morse code. However at the same time people love R2D2 and BB8 so... In terms of science fiction it could be explained through convergent evolution, and how a planet with carbon based lifeforms comparable to Earth would have a potential probability of evolving a race of humanoids that are fairly similar to us. The part about speaking English also has to do with relatability and how alien languages create a massive barrier when it comes to forming a bond with those characters.
Character explains something 'complex' Someone replies with "IN ENGLISH, PLEASE"
[QUOTE=imMonkeyGOD;50796038]Character explains something 'complex' Someone replies with "IN ENGLISH, PLEASE"[/QUOTE] When in Star Trek Beyond [sp]Uhura rephrased their plan to "we have to kick its ass"[/sp]my eyes rolled up so far up their sockets that I could see my own brain.
[QUOTE=genkaz92;50795931]Cinematography wise it is done so that the audience would be capable of feeling human emotions towards them, because it is remarkably difficult to make a human being care for a four legged plasma blob that communicates through morse code. However at the same time people love R2D2 and BB8 so... In terms of science fiction it could be explained through convergent evolution, and how a planet with carbon based lifeforms comparable to Earth would have a potential probability of evolving a race of humanoids that are fairly similar to us. The part about speaking English also has to do with relatability and how alien languages create a massive barrier when it comes to forming a bond with those characters.[/QUOTE] I get all of those things, I really do. But they ruin the suspension of disbelief. Man of Steel was an awful offender of this.
[QUOTE=sb27;50796209]I get all of those things, I really do. But they ruin the suspension of disbelief. Man of Steel was an awful offender of this.[/QUOTE] How would they do it without creating a huge pile of chaotic insanity consisting of wildly different sentient races being in close proximity to each other in large numbers? How could a show pull it off and not give everyone a giant headache?
[QUOTE=Darth_Kris;50786126]That always incredibly boring "sad" bit where the main character mopes about and does pretty much nothing, generally cause of some misunderstanding. Pretty much every animated movie has that goddamn bit[/QUOTE] And pretty much every romantic comedy. Shit always happens because of some misunderstanding and the main character is too stupid to explain what's going on like a normal human being.
[QUOTE=kloaz;50798029]And pretty much every romantic comedy. Shit always happens because of some misunderstanding and the main character is too stupid to explain what's going on like a normal human being.[/QUOTE] That can definitely be kind of infuriating. There is a crapton of movie cases where a character gets shut down by the other one's retorts and just sort of "accepts" it. "but I.." "You either stop doing this or we are done ok?" and then they just sulk. It would have been nice to see a passionately aggressive defense where the person explaining takes none of the other person's bullshit and doesn't stop until they completely get it and forgive them for example.
"Art" films that end up being pretentious.
This scene: Bad guy has kidnapped something important (daughter, secret briefcase, etc) to the protagonist. The protagonist finally confronts the bad guy. The protagonist asks for what he's looking for, and the bad guy reveals that he has it but doesn't wanna give it straight up. He then offers this: "Give me [something else valuable in the plot] and I'll/we'll give you what you're looking for." In an ideal world, the protagonist can't risk (or is stupid) to even consider accepting the trade, because he is, in fact the BAD GUY, and can curve his ass at any given point. But instead, he mindlessly accepts the trade out of pressure, and the bad guy SURPRISINGLY REVEALS that he wasn't gonna hand over what the protagonist was looking for after all and just pces the fuck out.
[QUOTE=chemo;50798543]"Art" films that end up being pretentious.[/QUOTE] You just ~don't get it~
- Rich people are bad and poor people are saints. - Bullies are all football players or physically fit guys and treat the protagonist like shit for absoutely no reason in cliche ways like putting them in lockers and pushing them. The protagonist is a special snowflake who never defend themselves under any circumstances. - All women are selfless beings who have never done anything bad to anyone in their lives and are all interested in the personality and goals of men rather than their looks. The world treats women badly all time. Mexican soap operas are all built around this. - Virgin Mary can revive dead people, cure aids, turn gay people into straight and make suddenly batshit insane characters act completely normal. - The main character's love interest is a generic girl/boy. I mean there is little to no room for originality. Every character could have an interesting feature or unique personality but nope, gotta pick the most bland choice because nobody ever likes to meet interesting people. - All mexicans use "ese" when in real life the only ones who use it are mexicans who where born in in the US and live in ghettos. (People from the north of mexico don't use "ese" neither people from the south). - The protagonist is a special snowflake. I mean, there are movies that do portray the adversity that people face in real life from being different, but sometimes the concept is exploited and exaggerated to the point where the protagonist literally never does anything to defend their arguments or push their ideas and then they suddenly succeed because faith or love. - Teenagers are all stupid. They never go to school or do anything productive even if they live in a 1st world country because that's obviously what all teenagers do in real life. All they care about is about love, sex and their problems. Literally no teenager ever has a moment of lucidity or considers they future, directors are right, every single teenager is stupid. The concept of a single kid thinking about anything beyond social life is highly unrealistic and even laughable to put in a movie. - All politicians are bad, all cops are bad, CEOs, people who think about corporations, people who want money (which in real life make the majority of the population) and anyone who might represent an authority is an evil person and the only good type of government is anarchy and rebellion because the only way a country can be ruled is through love and morals, money is not needed at all and is a bad thing. All things created by humans are tools of oppression.
A moment where the character has a fake death extremely early in the movie, or where the character is threatened by a highly lethal situation really early in the movie, with the audience being fully confident that the character is actually alive, especially if the movie is a part of a series. It could instead be a good idea to have a situation with really high stakes instead of nearly certain death, something that matters to the narrative but doesn't try to pull off an obvious fakeout.
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