History EarlyInstallmentWeirdness / Film

17th Feb '17 7:56:09 AM LordKeane
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***This behavior returned in the prequel film ''RogueOne''


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***The more primitive Vader suit is also visible in ''RogueOne''
26th Jan '17 8:47:31 AM akaun6899
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** On the CGI side of the library, their very first release, ''WesternAnimation/{{Antz}}'' is clearly aimed more towards older audiences, featuring mature themes, and petty swearing, among other things, while later DWA films are clearly aimed toward family audiences.
19th Jan '17 11:57:38 AM GeniusInTheLamp
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* The earliest ''Bowery Boys'' movies were still comedies, but had more serious plotlines, with a number of scenes being straightforward melodrama. It wasn't until the series gained traction that the movies became DenserAndWackier.
18th Jan '17 5:02:04 AM akaun6899
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** On the subject of Pixar, ''Toy Story'' doesn't have their VanityPlate shown before the film (although it does appear after the credits). Instead, the Walt Disney Pictures logo, rather than fading to black, actually transitions into the movie proper, by having the camera pan away from the castle until it fades into the wallpaper of Andy's room.

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** On the subject of Pixar, ''Toy Story'' doesn't have their VanityPlate shown before the film (although it does appear after the credits). Instead, the Walt Disney Pictures logo, rather than fading to black, actually transitions into the movie proper, by having the camera pan away from the castle until it fades into the wallpaper of Andy's room. Retconned with the 3D re-release in 2009, as it opened with the current Disney logo ''and'' the Pixar logo.
4th Jan '17 7:08:46 AM TrueBlue170
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* Watching ''WesternAnimation/ToyStory'' 15 years after it was originally made, while the composition of the elements is still impressive, it is noticeable how certain textures (hair and fabric) are left rather ambiguous and that the faces of human characters other than Sid are often out of frame. This was due to the technology not yet being at point where it could render organic things realistically: it wasn't until ''WesternAnimation/TheIncredibles'' that they took the plunge and made a film about people. The film is also remarkably low-key compared to the bombastic flourishes of later films in the series.

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* Watching ''WesternAnimation/ToyStory'' 15 over 20 years after it was originally made, while the composition of the elements is still impressive, it is noticeable how certain textures (hair and fabric) are left rather ambiguous and that the faces of human characters other than Sid are often out of frame. This was due to the technology not yet being at point where it could render organic things realistically: it wasn't until ''WesternAnimation/TheIncredibles'' that they took the plunge and made a film about people. The film is also remarkably low-key compared to the bombastic flourishes of later films in the series.
22nd Dec '16 12:29:50 PM Morgenthaler
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* The original ''Film/TheEvilDead1981'' is more a {{Gorn}} horror film, rather than the horror comedy of ''Film/EvilDead2''. Also none of the other cabin members besides Linda is mentioned in the other films. Ash is far from the CatchPhrase spouting, BadAss and JerkAss we see in the sequels, instead being a rather bland FinalGirl played by a guy. The Necronomicon doesn't have that name and the look of it is completely different from the other films. And lastly, in a subtler example, the Deadites (which aren't named as such until the second movie) are originally just pissed off that the teenagers awoke them from their eons-long sleep, whereas in the sequels they implicitly want to TakeOverTheWorld.

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* The original ''Film/TheEvilDead1981'' is more a {{Gorn}} horror film, rather than the horror comedy of ''Film/EvilDead2''. Also none of the other cabin members besides Linda is mentioned in the other films. Ash is far from the CatchPhrase spouting, BadAss badass and JerkAss we see in the sequels, instead being a rather bland FinalGirl played by a guy. The Necronomicon doesn't have that name and the look of it is completely different from the other films. And lastly, in a subtler example, the Deadites (which aren't named as such until the second movie) are originally just pissed off that the teenagers awoke them from their eons-long sleep, whereas in the sequels they implicitly want to TakeOverTheWorld.
9th Dec '16 9:14:05 AM Pichu-kun
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* ''Disney/{{Maleficent}}'' started, or at least inspired, Creator/{{Disney}}'s trend of making LiveActionAdaptation's of their Franchise/DisneyAnimatedCanon. Despite this, it is extremely different from the other titles. ''Maleficent'' is obviously an AlternateUniverse PerspectiveFlip take on ''Disney/SleepingBeauty''. It contradicts the original film in location (Scotland instead of England), [[AdaptationNameChange names]] (Diablo's name, and all the fairies have different names, in ''Maleficent''), and most of all the characterization of both [[AdaptationalHeroism the title character]] and [[AdaptationalVillainy King Stefan]]. Starting with ''Film/{{Cinderella 2015}}'', the films instead became more straighter adaptations. They follow the original films more accurately while still being more realistic than the original's and having their fair share of differences.
6th Nov '16 12:15:22 PM fearlessnikki
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** Carrie Fisher's infamous trans-Atlantic accent ("slip through your fingers") as Princess Leia, which she seems to drop halfway through the first film. It can be passed over for Leia [[BriefAccentImitation imitating her captors]] who are mostly British actors.

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** Carrie Fisher's infamous trans-Atlantic accent ("slip through your fingers") as Princess Leia, which she seems to drop halfway through the first film. It can be passed over for Leia [[BriefAccentImitation imitating her captors]] who are mostly British actors. According to the lady herself, it was a goof on her part left over from her training in England - where she lapses into an English accent whenever she's asked to be angry.



* If your knowledge of ''{{Literature/Twilight}}'' comes from PopCulturalOsmosis, you'll find the first movie awfully strange. It's essentially a low-budget indie ([[SleeperHit a very successful one]]) and it feels like it. There are only the most basic special effects and it generally just feels "small". In contrast, the sequels had higher budgets, so they feel bigger and have a blockbuster "sheen" which the original lacked.

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* If your knowledge of ''{{Literature/Twilight}}'' comes from PopCulturalOsmosis, you'll find the first movie awfully strange. It's essentially a low-budget indie ([[SleeperHit a very successful one]]) and it feels like it. There are only the most basic special effects and it generally just feels "small". In contrast, the sequels had higher budgets, so they feel bigger and have a blockbuster "sheen" which the original lacked. The first film also features no gratuitous {{Fanservice}}.



** Mystique also disguises herself as a statue while the X-Men infiltrate Liberty Island. This is the only film in the series where she demonstrates the power to turn into inanimate objects.
** Halle Berry gives Storm a hint of an African accent in the first film. Realising that it didn't sound very good, she uses her normal voice in subsequent films.



*** 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.

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*** Invoked, as the prequel versions of the characters display characteristics that they're implied to grow out of. 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 is more of a lethal FemmeFatale, shy shrinking violet who desires to fit in, 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.
3rd Nov '16 10:16:43 AM 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.

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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" 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.
27th Oct '16 12:38:08 PM Kervinle2500
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* The 1954 film ''Film/{{Gojira}}'', which kick-started the ''Franchise/{{Godzilla}}'' franchise, is a surprisingly dark (and seriously scary) horror film rather than a campy monster movie. Because Godzilla is the only monster appearing in the film, the focus is on the humans' response to his rampage rather than on a battle between opposing monsters. Also, Godzilla is a metaphor for the horror of nuclear weapons and is unambiguously presented a villainous monster incapable of reason or sympathy, rather than the NobleDemon and defender of humanity that he evolved into as the series went on.

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* The 1954 film ''Film/{{Gojira}}'', ''Film/Godzilla1954'', which kick-started the ''Franchise/{{Godzilla}}'' franchise, is a surprisingly dark (and seriously scary) horror film rather than a campy monster movie. Because Godzilla is the only monster appearing in the film, the focus is on the humans' response to his rampage rather than on a battle between opposing monsters. Also, Godzilla is a metaphor for the horror of nuclear weapons and is unambiguously presented a villainous monster incapable of reason or sympathy, rather than the NobleDemon and defender of humanity that he evolved into as the series went on.
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