[QUOTE=BananaFoam;49162777]Lol you used Inglorious Bastards as an example. It's the epitome of screaming Nazi stereotypes.
I have yet to see an American production that protrays the Germans in an even slightly sympathetic or humanistic way. Even Fury, which started out that way, ends with a big "fuck yeah murica" tank shootout against hordes of generic evil Nazis.[/QUOTE]
Generic evil Nazis who don't really do anything evil and [sp]spare the sole survivor? [/sp]
[editline]22nd November 2015[/editline]
The only screaming generic Nazi in Inglorious basterds is Hitler
people having a perfect conversation together
Movies that shove symbolism in your face
[QUOTE=MyBumBum;49163984]Movies that shove symbolism in your face[/QUOTE]
[img]http://puu.sh/lv84g/221465cf96.jpg[/img]
[img]http://puu.sh/lv84L/d014121bd8.jpg[/img]
i get the feeling that they're trying to compare superman to someone here, but gee i'm really not sure
must be my imagination
When movies heavy-handedly try to combine the styles of Judd Apatow and Wes Anderson and it becomes a weird rural offensive mess that takes place in the 2000s even though everything looks like the 70s.
More concisely, Napoleon Dynamite ripoffs that copy all the wrong things
I don't believe that I am fond of moments where the protagonist gets himself into an inescapable situation, and then has to be saved by someone else, especially if the movie explicitly demonstrates the previously existing competence of the character.
The scenes in Casino Royale always bothered me because Bond is supposed to be this badass flashy operative that knows how to get himself out of virtually any situation. The scene where he was poisoned and would have literally died if the girl didn't come over painted him as being overly vulnerable. It would have been a great bond moment if he instead saved himself at the last second and then came out of the car while adjusting his suit to then kick some ass.
That's also one of the things that I never liked about the Doctor Who series. And how instead of being more cerebral and demonstrating how the Doctor saves problems more independently, the show extremely frequently relies upon other people in order to bring a hyper intelligent time lord out of surely fatal trouble.
I also do not like it when movies attempt to create a sense of suspense by showing the protagonist possibly dying in a ridiculously early part of the film, which completely ruins everything due to the audience being already aware that the movie is not only much longer than that, but also that he will surely survive. It could be argued that there are better plot devices for creating suspense than to go for a cheap jab like that.
Or even if you do, give the character some kind of a consequence, such as him getting his arm broken or getting seriously hurt in some other way.
[QUOTE=genkaz92;49168867]I don't believe that I am fond of moments where the protagonist gets himself into an inescapable situation, and then has to be saved by someone else, especially if the movie explicitly demonstrates the previously existing competence of the character.
The scenes in Casino Royale always bothered me because Bond is supposed to be this badass flashy operative that knows how to get himself out of virtually any situation. The scene where he was poisoned and would have literally died if the girl didn't come over painted him as being overly vulnerable. It would have been a great bond moment if he instead saved himself at the last second and then came out of the car while adjusting his suit to then kick some ass.
That's also one of the things that I never liked about the Doctor Who series. And how instead of being more cerebral and demonstrating how the Doctor saves problems more independently, the show extremely frequently relies upon other people in order to bring a hyper intelligent time lord out of surely fatal trouble.
I also do not like it when movies attempt to create a sense of suspense by showing the protagonist possibly dying in a ridiculously early part of the film, which completely ruins everything due to the audience being already aware that the movie is not only much longer than that, but also that he will surely survive. It could be argued that there are better plot devices for creating suspense than to go for a cheap jab like that.
Or even if you do, give the character some kind of a consequence, such as him getting his arm broken or getting seriously hurt in some other way.[/QUOTE]
i haven't seen it in a long time, but that's kind of the point of casino royale though. that bond is still a rookie who makes plenty of mistakes. he's not at the height of his skill like in other bond movies
[QUOTE=Zukriuchen;49170599]i haven't seen it in a long time, but that's kind of the point of casino royale though. that bond is still a rookie who makes plenty of mistakes. he's not at the height of his skill like in other bond movies[/QUOTE]
Wasn't aware of that actually, thanks for letting me know. In that respect the whole vulnerability element does definitely play a role.
[QUOTE=genkaz92;49168867]That's also one of the things that I never liked about the Doctor Who series. And how instead of being more cerebral and demonstrating how the Doctor saves problems more independently, the show extremely frequently relies upon other people in order to bring a hyper intelligent time lord out of surely fatal trouble. [/QUOTE]
The idea behind this one is that ~[I]even regular people can be heroes[/I]~
but yeah it's dumb
[QUOTE=BigJoeyLemons;49172796]The idea behind this one is that ~[I]even regular people can be heroes[/I]~
but yeah it's dumb[/QUOTE]
Sure I guess, however it's done absurdly frequently up to the point of making the Doctor be a placeholder just to prove that point instead of balancing it so that he gets to be a complete badass too.
When Government = super-competent smart people using super efficient, high-speed sci-fi-level technology.
Hollywood has clearly never had to deal with shitty, cluttered websites or equipment running off of Windows XP (yes) or the number of colossal shitbags who can never be fired because blah blah blah
fucking hell
[QUOTE=Psychokitten;49173280]When Government = super-competent smart people using super efficient, high-speed sci-fi-level technology.
Hollywood has clearly never had to deal with shitty, cluttered websites or equipment running off of Windows XP (yes) or the number of colossal shitbags who can never be fired because blah blah blah
fucking hell[/QUOTE]
I'll bet the government [I]loves[/I] being portrayed like that too, it's basically free propaganda. To this day I still subconsciously think of DC as being, like, lined with titanium
[QUOTE=BigJoeyLemons;49174253]I'll bet the government [I]loves[/I] being portrayed like that too, it's basically free propaganda. To this day I still subconsciously think of DC as being, like, lined with titanium[/QUOTE]
[B]Half[/B]-lined with titanium. Why? Because funding for the project got diverted into buying refreshments for the next congressional assembly.
Guys we heard a supernatural sound come from this old house. Let's go closer to it for a positive outcome.
my only real serious gripe is movie logo intros... they're all crap, distracting and over-extravagant (99% of the time anyway).
For example...
I'm watching Rear Window ([B]made in 1954[/B]), I'm geared and ready to watch this great classic, and this is what it starts with:
[media]https://www.youtube.com/watch?v=eXRsNYKc-Xk[/media]
why....
I was pleasantly surprised when Young Frankenstein used the 20th Century Fox logo from the 30's
Also Rear Window is fuckin classic man, one of my favorite movies
And Jimmy Stewart is just the coolest fuckin guy
[QUOTE=Sharker;48999961]Quiet moments where something eventually extremely loud happens. So fucking predictable and obnoxious.[/QUOTE]
Star Trek Into Darkness did this [I]really badly[/I] when cumberdick's spaceship comes literally fucking [I][B]SCREECHING[/B][/I] past the Enterprise. It was so sudden and unexpected.
-victory music as enterprise shows it did recover- (they get bonus points for showing RCS thrusters along the saucer. Nice touch)
[I][B][U]BWOOOOOOOOOAAAAAAAAAGHHHHHH[/U][/B][/I]-i immediately shit all bricks and eardrums shatter-
And then Sulu is just all 'that was close'
Its like [I]Jesus Christ[/I] Sulu you guys almost got fucking infiniwrecked by that thing and thats all you can muster??
When a movie ends up making it on a channel that censors the shit out of it. Where it's so bad that it can completely ruin the context of a scene and make things confusing. When Austin Powers 2 made it on TV, they called "Fat Bastard" just "Fat". Okay.
[QUOTE=AK'z;49262582]my only real serious gripe is movie logo intros... they're all crap, distracting and over-extravagant (99% of the time anyway).
For example...
I'm watching Rear Window ([B]made in 1954[/B]), I'm geared and ready to watch this great classic, and this is what it starts with:
[media]https://www.youtube.com/watch?v=eXRsNYKc-Xk[/media]
why....[/QUOTE]
[media]https://www.youtube.com/watch?v=xF0cGt5-69k[/media]
[QUOTE=xZippy;49282348]When a movie ends up making it on a channel that censors the shit out of it. Where it's so bad that it can completely ruin the context of a scene and make things confusing. When Austin Powers 2 made it on TV, they called "Fat Bastard" just "Fat". Okay.[/QUOTE]
Imagine trying to censor Full Metal Jacket.
[QUOTE=xZippy;49282348]When a movie ends up making it on a channel that censors the shit out of it. Where it's so bad that it can completely ruin the context of a scene and make things confusing. When Austin Powers 2 made it on TV, they called "Fat Bastard" just "Fat". Okay.[/QUOTE]
One of my childhood friends back in middle-school, whom transferred from America: told me back then that he once saw Bad Boys 2 as censored :v: So almost every second word was a beep.
[QUOTE=Psychokitten;49282487]Imagine trying to censor Full Metal Jacket.[/QUOTE]
Entire scenes will play out like the south park episode on censoring Mohammed. The entire speech the kids made at the end was one giant censor beep.
I used to like the Christopher Nolan style of splicing flashbacks quietly into recollection dialogue, buy now I'm seeing it in a bunch of "artsy" films, and I'm starting to hate it. I find my favorite movies don't use flashbacks at all.
When action scenes are all shaky and dark as shit so you can't tell whats going on.
When an entire movie is so dark you can't see anything through the entire movie, the most insulting example of this is AVP 2, can't see fucking shit.
[QUOTE=Unique_mask;49294168]When an entire movie is so dark you can't see anything through the entire movie, the most insulting example of this is AVP 2, can't see fucking shit.[/QUOTE]
Try telling Fincher that.
the "i just saved you" quips
you know what i'm talking about, when the hero gets saved by the sidekick/love interest/friendly rival and they just [I]have[/I] to make a witty remark that references something earlier in the movie
ie, the hero makes fun of the sidekick for not being good at baseball. later in the movie, the hero is knocked down and about to get killed, but at the last second, the sidekick hits the bad guy in the head with a pipe, knocking him out, and says some idiotic one liner like "batter up"
[QUOTE=ichiman94;48856678]Protagonist is in danger. Moments before meeting death, someone else comes and saves him/her at that last moment.[/QUOTE]
Imagine if at the end of [I]Empire Strikes Back[/I] the Millenium Falcon flying through the clouds building up to Luke's rescue, but instead it turns out they're in completely different regions of the sky and we just get Luke hanging for 2 minutes before slipping off. :v:
Villains that are evil to be evil and have no motivation besides that the script calls for it
[QUOTE=RedBaronFlyer;49300181]Villains that are evil to be evil and have no motivation besides that the script calls for it[/QUOTE]
This is actually really great when they're self-aware about it though
Like when there's a dialogue along the lines of "why are you doing this" "because i'm evil lol"
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