History EarlyInstallmentWeirdness / Film

29th Aug '16 2:28:42 PM contrafanxxx
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* While there's technically only three "installments" in ''Film/ThePurge'' so far, the [[SequelHook sequel hooks]] in [[Film/ThePurgeAnarchy the second film]] all indicate that future additions will follow its lead. This means that a ''Purge'' movie about wealthy people, with a cast made up almost entirely of white actors, will stick out like a sore thumb.
23rd Aug '16 9:32:22 AM SunriseWarrior
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* Among DreamWorksAnimation's first films, ''WesternAnimation/ThePrinceOfEgypt'', ''WesternAnimation/TheRoadToElDorado'', ''WesternAnimation/SpiritStallionOfTheCimarron'' and ''WesternAnimation/SinbadLegendOfTheSevenSeas'' had 2-D animation instead of the now-omnipresent CGI. Also, ''Prince'' and ''Spirit'' were serious dramas, and ''Prince'' and ''Road'' are Disney-style musicals, both in stark comparison to the zaniness they developed by ''WesternAnimation/{{Shrek}}'' (even if later franchises like ''WesternAnimation/KungFuPanda'' and ''WesternAnimation/HowToTrainYourDragon'' showed that they could still be a litle more serious when called for).

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* Among DreamWorksAnimation's first films, ''WesternAnimation/ThePrinceOfEgypt'', ''WesternAnimation/TheRoadToElDorado'', ''WesternAnimation/SpiritStallionOfTheCimarron'' and ''WesternAnimation/SinbadLegendOfTheSevenSeas'' had 2-D animation instead of the now-omnipresent CGI. Also, ''Prince'' and ''Spirit'' were serious dramas, and ''Prince'' and ''Road'' are Disney-style musicals, both in stark comparison to the zaniness they developed by ''WesternAnimation/{{Shrek}}'' (even if later franchises like ''WesternAnimation/KungFuPanda'' and ''WesternAnimation/HowToTrainYourDragon'' showed that they could still be a litle little more serious when called for).
11th Aug '16 9:11:31 AM siberia82
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*** Charles Xavier sometimes acts like a cocky, womanizing ditz (which is a sharp contrast compared to his ''much'' more subdued and mature persona later on), Magneto doesn't hesitate to use a gun if he likes to (whereas in the previous films, he sneers at firearms with disdain), Mystique has undergone {{Chickification}} so that she's Charles' WomanChild sister instead of a lethal FemmeFatale, and Beast is socially awkward with severe self-esteem issues--you wouldn't have expected that the confident politician in ''Film/XMenTheLastStand'' had started his adulthood as an introvert.

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*** Charles Xavier sometimes acts like a cocky, womanizing ditz (which is a sharp contrast compared to his ''much'' more subdued and mature persona later on), Magneto doesn't hesitate to use a gun if he likes to (whereas in the previous films, he sneers at firearms with disdain), Mystique has undergone {{Chickification}} so that she's Charles' WomanChild foster sister instead of a lethal FemmeFatale, and Beast is socially awkward with severe self-esteem issues--you wouldn't have expected that the confident politician in ''Film/XMenTheLastStand'' had started his adulthood as an introvert.
18th Jul '16 3:41:50 AM fearlessnikki
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* The first ''{{Literature/Divergent}}'' film has Tris narrating the beginning and end portions. Starting with the second film, the series abandons this element.
15th May '16 8:55:16 PM SunriseWarrior
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* ''Film/TheBourneIdentity'' feels very different in tone to its sequels. ''Film/TheBourneSupremacy'' and ''Film/TheBourneUltimatum'' are contiguous to the point that there is no time-cut at all between the last scenes of the second film and the first scenes of the third film (not counting the Bourne-in-New-York-scene, a ''Supremacy'' note which is "also" tied up in ''Ultimatum''...). But when you have recently seen ''Supremacy'' and/or ''Ultimatum'', it can come as a bit of a shock to rewatch ''Identity'' and realise how different it is, though it was setting up all the Bourne tropes the later films played on. Notably, the soundtrack is a very different beast, employing techno-ish and poppy background music. Damon's Bourne is also surprisingly chatty and smiley compared to his later silent stoicism. The editing takes a different approach completely, and the camera work is free of the JitterCam that defined the sequels. Most of this change in tone has to do with the first film being made by a different director to its sequels, and the fact that there was several years' gap between its release and the release of its first sequel.

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* ''Film/TheBourneIdentity'' feels very different in tone to its sequels. ''Film/TheBourneSupremacy'' and ''Film/TheBourneUltimatum'' are contiguous to the point that there is no time-cut at all between the last scenes of the second film and the first scenes of the third film (not counting the Bourne-in-New-York-scene, a ''Supremacy'' note which is "also" tied up in ''Ultimatum''...). But when you have recently seen ''Supremacy'' and/or ''Ultimatum'', it can come as a bit of a shock to rewatch ''Identity'' and realise how different it is, though it was setting up all the Bourne tropes the later films played on. Notably, the soundtrack is a very different beast, employing techno-ish and poppy background music. Damon's Bourne is also surprisingly chatty and smiley compared to his later silent stoicism. The editing takes a different approach completely, and the camera work is free of the JitterCam that defined the sequels. Most of this change in tone has to do with the first film being made by a different director to its sequels, and the fact that there was several years' gap between its release and the release of its first sequel.sequels.
8th May '16 10:48:41 PM siberia82
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*** Charles Xavier sometimes acts like a cocky, womanizing ditz (which is a sharp contrast compared to his ''much'' more subdued and mature persona later on) and Magneto doesn't hesitate to use a gun if he likes to (whereas in the previous films, he sneers at firearms with disdain).

to:

*** Charles Xavier sometimes acts like a cocky, womanizing ditz (which is a sharp contrast compared to his ''much'' more subdued and mature persona later on) and on), Magneto doesn't hesitate to use a gun if he likes to (whereas in the previous films, he sneers at firearms with disdain).disdain), Mystique has undergone {{Chickification}} so that she's Charles' WomanChild sister instead of a lethal FemmeFatale, and Beast is socially awkward with severe self-esteem issues--you wouldn't have expected that the confident politician in ''Film/XMenTheLastStand'' had started his adulthood as an introvert.
6th May '16 9:18:08 PM siberia82
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* ''Franchise/ANightmareOnElmStreet''
** The first two films are much darker and more serious than the later sequels. Before [[Film/ANightmareOnElmStreet3DreamWarriors the third film]], Freddy Krueger was very much a monster, and he wasn't [[FauxAffablyEvil the least bit humorous]]; when he did speak, it was meant to scare his victims rather than have a laugh at their expense. The early films also have some strange quirks of their own:
** In [[Film/ANightmareOnElmStreet1984 the first film]], the characters and the credits identify the killer strictly as ''Fred'' Krueger (he's only called "Freddy" in the IronicNurseryTune), he only kills four people, and it wraps up with a GainaxEnding that raises the question of just how much of the film was real versus what was in Nancy's head.
** The second film, ''[[Film/ANightmareOnElmStreetPart2FreddysRevenge Freddy's Revenge]]'', is even weirder. The plot revolves around Freddy possessing a teenage boy (complete with a BodyHorror-filled [[TransformationOfThePossessed transformation scene]]) in order to re-enter the real world, something that never comes up again in later films. It also has mountains of HomoeroticSubtext in the protagonist Jesse's character, his "relationship" with Freddy, and some of the kills (most infamously the gym coach's death).
* For a monster that is now-infamous for its blinding-fast speed, the first ''Film/{{Alien}}'' is shown almost exclusively moving slowly and ominously. We only see it move quickly for brief instants when it strikes, just before the shot cuts away. Later films in the series establish the aliens hustling about.



* The first ''Film/MissionImpossible'' film: Despite the movie being the TropeNamer for MissionImpossibleCableDrop. which in turn would set the bar for the high concept scenes and stunts of the sequels, the first film is VERY different in tone from them. There's very little in terms of action scenes until the end - even the titular MissionImpossibleCableDrop scene is more tension than action or complex stunts. Ethan's character doesn't have that "larger than life" reputation and presentation the other films give him. It's a much more quiet and psychological film whose tone does clash with its sequels, who would become more known for their action and stunts, when watching the series back to back.
* ''Franchise/ANightmareOnElmStreet''
** The first two films are much darker and more serious than the later sequels. Before [[Film/ANightmareOnElmStreet3DreamWarriors the third film]], Freddy Krueger was very much a monster, and he wasn't [[FauxAffablyEvil the least bit humorous]]; when he did speak, it was meant to scare his victims rather than have a laugh at their expense. The early films also have some strange quirks of their own:
** In [[Film/ANightmareOnElmStreet1984 the first film]], the characters and the credits identify the killer strictly as ''Fred'' Krueger (he's only called "Freddy" in the IronicNurseryTune), he only kills four people, and it wraps up with a GainaxEnding that raises the question of just how much of the film was real versus what was in Nancy's head.
** The second film, ''[[Film/ANightmareOnElmStreetPart2FreddysRevenge Freddy's Revenge]]'', is even weirder. The plot revolves around Freddy possessing a teenage boy (complete with a BodyHorror-filled [[TransformationOfThePossessed transformation scene]]) in order to re-enter the real world, something that never comes up again in later films. It also has mountains of HomoeroticSubtext in the protagonist Jesse's character, his "relationship" with Freddy, and some of the kills (most infamously the gym coach's death).
* For a monster that is now-infamous for its blinding-fast speed, the first ''Film/{{Alien}}'' is shown almost exclusively moving slowly and ominously. We only see it move quickly for brief instants when it strikes, just before the shot cuts away. Later films in the series establish the aliens hustling about.



* Kitty Pryde (Shadowcat) appears in all three ''Film/{{X-Men}}'' films, is notably discussed in the US Senate in X1 and referenced by Xavier to the President of the United States in ''Film/{{X2|XMenUnited}}'', but her on-screen appearances are very brief, almost cameo-sized, and she's played by different actresses in each. In ''Film/XMenTheLastStand'', she finally becomes a main character with whole sequences from her perspective, and is portrayed by Creator/EllenPage. The first film also features a different actor as John Allerdyce (Pyro) in a brief cameo. John becomes a main character with a different, lasting actor for the next two films.
* In ''Film/XMenFirstClass'' Michael Fassbender's Magneto alternates between sounding ambiguously British and Irish in various scenes. Essentially Fassbender's NotEvenBotheringWithTheAccent. The film was envisioned as a ContinuityReboot, unconnected to the previous ones. In the [[Film/XMenDaysOfFuturePast next film]], which features CanonWelding with the series, Fassbender matches his accent with that of Ian [=McKellen=]'s Magneto.
* The first ''Film/MissionImpossible'' film: Despite the movie being the TropeNamer for MissionImpossibleCableDrop. which in turn would set the bar for the high concept scenes and stunts of the sequels, the first film is VERY different in tone from them. There's very little in terms of action scenes until the end - even the titular MissionImpossibleCableDrop scene is more tension than action or complex stunts. Ethan's character doesn't have that "larger than life" reputation and presentation the other films give him. It's a much more quiet and psychological film whose tone does clash with its sequels, who would become more known for their action and stunts, when watching the series back to back.

to:

* ''Film/XMen'':
**
Kitty Pryde (Shadowcat) appears in all three ''Film/{{X-Men}}'' films, is notably discussed in the US Senate in X1 ''[[Film/XMen1 X1]]'' and referenced by Xavier Professor X to the President of the United States in ''Film/{{X2|XMenUnited}}'', ''Film/X2XMenUnited'', but her on-screen appearances are very brief, almost cameo-sized, she only had cameos and she's was played by two different actresses in each. actresses. In ''Film/XMenTheLastStand'', she finally becomes a main an important character with whole sequences from her perspective, that are centered around her, and is portrayed by Creator/EllenPage. Creator/EllenPage.
**
The first film also features a different actor as John Allerdyce (Pyro) in a brief cameo. John later becomes a main character with a different, lasting actor for and is played by Aaron Stanford in the next two films.
* In ''Film/XMenFirstClass'' Michael Fassbender's
movies.
** ''Film/XMenFirstClass'':
*** Creator/MichaelFassbender's
Magneto alternates between sounding ambiguously British and Irish in various scenes. Essentially Fassbender's NotEvenBotheringWithTheAccent. The film was envisioned as a ContinuityReboot, unconnected to the previous ones. In the [[Film/XMenDaysOfFuturePast next film]], movie]], which features CanonWelding with the series, Fassbender matches his accent with that of Ian [=McKellen=]'s Magneto.
* The first ''Film/MissionImpossible'' film: Despite the movie being the TropeNamer for MissionImpossibleCableDrop. which in turn would set the bar for the high concept scenes and stunts of the sequels, the first film *** Charles Xavier sometimes acts like a cocky, womanizing ditz (which is VERY different in tone from them. There's very little in terms of action scenes until the end - even the titular MissionImpossibleCableDrop scene is a sharp contrast compared to his ''much'' more tension than action or complex stunts. Ethan's character subdued and mature persona later on) and Magneto doesn't have that "larger than life" reputation and presentation hesitate to use a gun if he likes to (whereas in the other films give him. It's a much more quiet and psychological film whose tone does clash previous films, he sneers at firearms with its sequels, disdain).
** ''Film/XMenApocalypse'': This prequel seeks to evoke this for the adolescent X-Men. Jean Grey is scared of her powers and isn't in control of them yet, Cyclops is a bad boy and isn't leadership material, Nightcrawler is afraid of his own shadow, and Storm is a morally dubious thief
who would become more known for their action and stunts, when watching sides with the series back to back.BigBad.
3rd May '16 12:28:34 AM erforce
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* The first ''Franchise/{{Terminator}}'' film is really weird compared to the ones that follow. Chief amongst the differences is that it's a Horror-Action hybrid with much greater emphasis on the Horror. It also has a much lower budget than the rest of the films, making it look somewhat dated in special effects. And finally, the TimeTravel plot mechanic uses a very closed and fatalistic StableTimeLoop while the rest of the movies run amuck with the TimeyWimeyBall.

to:

* The first [[Film/TheTerminator first]] ''Franchise/{{Terminator}}'' film is really weird compared to the ones that follow. Chief amongst the differences is that it's a Horror-Action hybrid with much greater emphasis on the Horror. It also has a much lower budget than the rest of the films, making it look somewhat dated in special effects. And finally, the TimeTravel plot mechanic uses a very closed and fatalistic StableTimeLoop while the rest of the movies run amuck with the TimeyWimeyBall.
23rd Apr '16 11:47:56 AM TVRulezAgain
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* The first film in ''TheLandBeforeTime'' series films is actually the only one that is not a musical. It also has significantly higher animation quality and a much darker tone. ''Creator/DonBluth'', anyone?

to:

* The first film in ''TheLandBeforeTime'' ''WesternAnimation/TheLandBeforeTime'' series films is actually the only one that is not a musical. It also has significantly higher animation quality and a much darker tone. ''Creator/DonBluth'', anyone?
18th Apr '16 3:53:28 AM Arivne
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* ''Film/TheBourneIdentity'' feels very different in tone to its sequels. ''Film/TheBourneSupremacy'' and ''Film/TheBourneUltimatum'' are contiguous to the point that there is no time-cut at all between the last scenes of the second film and the first scenes of the third film (not counting the Bourne-in-New-York-scene, a ''Supremacy'' note which is "also" tied up in ''Ultimatum''...). But when you have recently seen ''Supremacy'' and/or ''Ultimatum'', it can come as a bit of a shock to rewatch ''Identity'' and realise how different it is, though it was setting up all the Bourne tropes the later films played on. Notably, the soundtrack is a very different beast, employing techno-ish and poppy background music. Damon's Bourne is also surprisingly chatty and smiley compared to his later silent stoicism. The editing takes a different approach completely, and the camera work is free of the JitterCam that defined the sequels. Most of this change in tone has to do with he first film being made by a different director to its sequels, and the fact that there was several years' gap between its release and the release of its first sequel.

to:

* ''Film/TheBourneIdentity'' feels very different in tone to its sequels. ''Film/TheBourneSupremacy'' and ''Film/TheBourneUltimatum'' are contiguous to the point that there is no time-cut at all between the last scenes of the second film and the first scenes of the third film (not counting the Bourne-in-New-York-scene, a ''Supremacy'' note which is "also" tied up in ''Ultimatum''...). But when you have recently seen ''Supremacy'' and/or ''Ultimatum'', it can come as a bit of a shock to rewatch ''Identity'' and realise how different it is, though it was setting up all the Bourne tropes the later films played on. Notably, the soundtrack is a very different beast, employing techno-ish and poppy background music. Damon's Bourne is also surprisingly chatty and smiley compared to his later silent stoicism. The editing takes a different approach completely, and the camera work is free of the JitterCam that defined the sequels. Most of this change in tone has to do with he the first film being made by a different director to its sequels, and the fact that there was several years' gap between its release and the release of its first sequel.
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