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Renamed trope


* Like Rocky Horror listed above, ''Film/RepoTheGeneticOpera''is another send up to sci-fi B-movies. A rock opera set in the future where people's organs are repossessed, complete with over-the-top performances and [[WTHCastingAgency the most bizarre casting choices imaginable.]] (including '''Creator/ParisHilton''', of all people). And yet, that's exactly why it's fans love it.

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* Like Rocky Horror listed above, ''Film/RepoTheGeneticOpera''is another send up to sci-fi B-movies. A rock opera set in the future where people's organs are repossessed, complete with over-the-top performances and [[WTHCastingAgency [[QuestionableCasting the most bizarre casting choices imaginable.]] (including '''Creator/ParisHilton''', of all people). And yet, that's exactly why it's fans love it.
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* ''Film/GodzillaKingOfTheMonsters1956'', the American version of ''{{Film/Godzilla 1954}}'', has completely ''pointless'' scenes[[note]]Pointless within the film itself; the reason was to add an American actor and market him as the star of the film, in order to garner an audience who would have likely otherwise discounted it as a foreign film not worth seeing[[/note]] of Creator/RaymondBurr adding running narration and commentary to the film which, while quite silly and even arguably out of place, actually makes a version which indeed has some merit. While the original plays out more like a FilmNoir, the dubbed version begins with the aftermath of the incident and then cuts to before feels more like watching a televised broadcast of a real event as if Godzilla actually happened and you're watching the aftermath on TV, which for better or for worse makes it work on an entirely different level.

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* ''Film/GodzillaKingOfTheMonsters1956'', the American version of ''{{Film/Godzilla 1954}}'', has completely ''pointless'' scenes[[note]]Pointless within the film itself; the reason was to add an American actor and market him as the star of the film, in order to garner an audience who would have likely otherwise discounted it as a foreign film not worth seeing[[/note]] of Creator/RaymondBurr adding running narration and commentary to the film which, while quite silly and even arguably out of place, actually makes a version which indeed has some merit. While the original plays out more like a FilmNoir, the dubbed version begins with the aftermath of the incident and then cuts to before feels more like watching a televised broadcast of a real event as if Godzilla actually happened and you're watching the aftermath on TV, which for better or for worse makes it work on an entirely different level. This is aided by Burr's absolute committment to the role due to him greatly respecting Godzilla's haunting metaphor for nuclear weapons.
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* The live-action 2007 ''Film/{{Transformers}}'' film. "I SMELL YOU, BOY!"

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* The live-action 2007 ''Film/{{Transformers}}'' ''Film/{{Transformers|2007}}'' film. "I SMELL YOU, BOY!"
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** 2020's ''Film/SonicTheHedgehog'' is an amazing modern example of this. The idea of ThePowerOfLove and ThePowerOfFriendship normally would be a finger-gagging saccharine overdose that would make any filmgoer groan. However, what makes this so effective is that Sonic has been running for his life and his existence ever since he was 3-4 years old, and '''never''' on any world he has gone to has he been able to make any friendships or connections with any of the inhabitants, so he is understandably extremely lonely, which he shows early in the movie when he plays baseball ''by himself'', and when he hits a home run,... no one is in the stands to see it. Cue the tears when he starts to run around the bases at increasing speed in sheer heartbroken fury. Plus, at the end of the movie, Tom Wachowski gives Robotnik a short but satisfying TheReasonYouSuckSpeech about how cold and heartless he became only having his robot creations as companions.

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** 2020's ''Film/SonicTheHedgehog'' ''Film/{{Sonic The Hedgehog|2020}}'' is an amazing modern example of this. The idea of ThePowerOfLove and ThePowerOfFriendship normally would be a finger-gagging saccharine overdose that would make any filmgoer groan. However, what makes this so effective is that Sonic has been running for his life and his existence ever since he was 3-4 years old, and '''never''' on any world he has gone to has he been able to make any friendships or connections with any of the inhabitants, so he is understandably extremely lonely, which he shows early in the movie when he plays baseball ''by himself'', and when he hits a home run,... no one is in the stands to see it. Cue the tears when he starts to run around the bases at increasing speed in sheer heartbroken fury. Plus, at the end of the movie, Tom Wachowski gives Robotnik a short but satisfying TheReasonYouSuckSpeech about how cold and heartless he became only having his robot creations as companions.
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* General Zod in ''[[Film/{{Superman}} Superman The Movie]]'' and ''Film/SupermanII'' is ''made'' of this. He's a titanic ham with lots of dialogue that could have been very painful, but he tends to come of as genuinely deranged and dangerous rather than goofy considering on that Earth, he can cataclysmically make good on his threats with his bare hands, or simply by blowing. It also helps that he can bounce back and forth between LargeHam and dangerously understated almost at will, as his introductory scene shows.

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* General Zod in ''[[Film/{{Superman}} Superman The Movie]]'' ''Film/SupermanTheMovie'' and ''Film/SupermanII'' is ''made'' of this. He's a titanic ham with lots of dialogue that could have been very painful, but he tends to come of as genuinely deranged and dangerous rather than goofy considering on that Earth, he can cataclysmically make good on his threats with his bare hands, or simply by blowing. It also helps that he can bounce back and forth between LargeHam and dangerously understated almost at will, as his introductory scene shows.
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* ''Film/ThePrinceOfTides'' contains a climactic scene where Tom recalls an extremely traumatic childhood memory to Susan, causing him to break down into tears as she tries to comfort him. It's certainly very melodramatic and the contrast between Creator/NickNolte's ChewingTheScenery and Music/BarbraStreisand's attempt at a more restrained performance can add some unintentional hilarity, but it still manages to be utterly heartbreaking. Plus, the childhood memory that Tom recounts is [[spoiler:him and his mother and sister getting raped by three men who escaped from a nearby prison and broke into their home]], which is such a horrible ordeal that some viewers are willing to forgive any of the cheesiness of the overall scene.
** After Tom finishes his retelling to Susan, he breaks into a line of song, which is so abrupt and comes out of nowhere that it can cause some unintended laughs, but it still fits into Tom's characterization as a SadClown who has spent his whole life repressing a very traumatic childhood instead of facing his problems directly.

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This just sounds like someone who really hates the movie forcing their own interpretations onto it.


* ''Film/FirstBlood'':
** Rambo's increasingly deranged behaviour is vaguely pathetic and funny, dressing himself in a tarpaulin, building a fort out in the forest and spearing wild pigs for food, and screaming in confused, inarticulate misery when he gets caught in a pool full of rats. In much of the movie, he comes across more like a child playing pretend in the woods. It actually works, as part of the movie's theme about aggrieved masculinity - Rambo's macho theatrics don't come across as the manliness of adulthood but as a regression into a realm of childish fantasy. Considering how young he would have been when he was fighting in the war, this has a real FridgeHorror about it.
** The movie ends with Creator/SylvesterStallone, a DullSurprise actor with a speech impediment, having to give a dramatic monologue about having bits of his exploded comrade all over him, before bursting into tears and grabbing his father figure who pats him and wraps him in a blanket. It is as funny as it sounds, but the ugly indignity works as part of what is essentially a HeroicBSOD from a man who keeps ruining his life and knows it, as well as the end point to his regression into childhood.

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* ''Film/FirstBlood'':
** Rambo's increasingly deranged behaviour is vaguely pathetic and funny, dressing himself in a tarpaulin, building a fort out in the forest and spearing wild pigs for food, and screaming in confused,
''Film/FirstBlood'': Stallone's inarticulate misery when he gets caught in a pool full of rats. In much of InelegantBlubbering at the movie, he comes across more like a child playing pretend in end sounds ridiculous, but considering the woods. It actually works, as part of the movie's theme about aggrieved masculinity - Rambo's macho theatrics don't come across as the manliness of adulthood but as a regression into a realm of childish fantasy. Considering how young he would have been when he was fighting in the war, this has a real FridgeHorror about it.
** The movie ends with Creator/SylvesterStallone, a DullSurprise actor with a speech impediment,
man's having to give a dramatic monologue about having bits full-on emotional breakdown while recounting the horrific death of his exploded a comrade all over him, before bursting into tears and grabbing his father figure who pats him and wraps him in Saigon (who was blown to pieces by a blanket. It is as funny as it sounds, parcel bomb, but the ugly indignity works as part of what is essentially a HeroicBSOD ''didn't'' die right away from a man who keeps ruining his life and knows it, as well as the end point it), most viewers are willing to his regression into childhood.cut Rambo some slack.
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Per TRS, this was renamed to Sex Starts Story Stops
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* ''Film/{{Troy}}:'' Achilles' captive Briseis wakes him up with a [[SwordOverHead sharp knife]] to the throat. After imploring her to "[[KillMeNowOrForeverStayYourHand do it]]" ''("[[TheFatalist we all die some time]]")'' he grabs her and [[CoitusEnsues has his way with her]], prompting her to drop the knife slowly out of her hand... Yeah. As one reviewer said: ''"[[EvenTheGuysWantHim Only Brad Pitt]] could do this (old-style Hollywood) scene and not have the audience burst into laughter."''

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* ''Film/{{Troy}}:'' Achilles' captive Briseis wakes him up with a [[SwordOverHead sharp knife]] to the throat. After imploring her to "[[KillMeNowOrForeverStayYourHand do it]]" ''("[[TheFatalist we all die some time]]")'' he grabs her and [[CoitusEnsues has his way with her]], her, prompting her to drop the knife slowly out of her hand... Yeah. As one reviewer said: ''"[[EvenTheGuysWantHim Only Brad Pitt]] could do this (old-style Hollywood) scene and not have the audience burst into laughter."''
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* ''Film/TheyThem2022'': Respect, Renew, Rejoice, REVENGE!"

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* ''Film/TheyThem2022'': Respect, [[spoiler:Molly]]'s "Respect, Renew, Rejoice, REVENGE!"REVENGE!" is cheesy as all hell, but it's immensely satisfying to hear the Whistlers' motto be completely turned against them.
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* ''Film/HeritageMinutes'': Part of what's made them such cultural touchstones for Canadians.
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* The ''Film/StreetFighter'' movie, due in large part to Creator/RaulJulia's performance as General M. Bison. "[[MemeticMutation OF]] [[Website/ThatGuyWithTheGlasses COURSE!]]"

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* The ''Film/StreetFighter'' movie, due in large part to Creator/RaulJulia's performance as General M. Bison. "[[MemeticMutation OF]] [[Website/ThatGuyWithTheGlasses [[WebVideo/TheNostalgiaCritic COURSE!]]"
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* ''Film/TheyThem2022'': Respect, Renew, Rejoice, REVENGE!"
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* The most memorable scene of ''Film/{{Hereditary}}'' has Toni Collette's character having a breakdown on the dinner table and yelling at her son. One line, "[[DepartmentOfRedundancyDepartment that fucking face on your face]]" does ruin the mood just a bit, but it is also [[RealisticDictionIsUnrealistic the kind of thing someone would say when flustered and angry]], and does not detract at how startling and intense the whole moment gets.
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Up To Eleven is a defunct trope


* ''Film/GIJoeTheRiseOfCobra''. Over two hours of [[{{Troperiffic}} every action movie cliche]] turned UpToEleven and Creator/ChristopherEccleston and Creator/JonathanPryce, clearly enjoying themselves. Creator/JosephGordonLevitt ''embodies'' HamAndCheese in that movie, apparently deciding to play Cobra Commander as "[[WesternAnimation/TheTransformers Starscream]], by way of [[VideoGame/KnightsOfTheOldRepublic Darth Malak]], with a touch of Film/DrStrangelove." The cast gets in on this, Creator/RayPark manages to do it without ever saying a single word, ''that's'' impressive.

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* ''Film/GIJoeTheRiseOfCobra''. Over two hours of [[{{Troperiffic}} every action movie cliche]] turned UpToEleven up to eleven and Creator/ChristopherEccleston and Creator/JonathanPryce, clearly enjoying themselves. Creator/JosephGordonLevitt ''embodies'' HamAndCheese in that movie, apparently deciding to play Cobra Commander as "[[WesternAnimation/TheTransformers Starscream]], by way of [[VideoGame/KnightsOfTheOldRepublic Darth Malak]], with a touch of Film/DrStrangelove." The cast gets in on this, Creator/RayPark manages to do it without ever saying a single word, ''that's'' impressive.
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* In ''WesternAnimation/SpiderManIntoTheSpiderVerse'', [[spoiler:having ''Spider-Ham'' deliver the hard truth about superheroism that "you can't always save everybody" to Miles shouldn't have worked, but the fact that it adds more depth to Ham and Creator/JohnMulaney's delivery makes it work anyway.]]
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There's a bit of a lisp in Tony's quote. :P


* ''Film/{{Scarface 1983}}'': '''"SAY HELLO TO MY LEETLE FRIEND!"'''

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* ''Film/{{Scarface 1983}}'': '''"SAY '''"SHAY HELLO TO TU MY LEETLE FRIEND!"'''FRIEN'!"'''

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* 2020's ''Film/SonicTheHedgehog'' is an amazing modern example of this. The idea of ThePowerOfLove and ThePowerOfFriendship normally would be a finger-gagging saccharine overdose that would make any filmgoer groan. However, what makes this so effective is that Sonic has been running for his life and his existence ever since he was 3-4 years old, and '''never''' on any world he has gone to has he been able to make any friendships or connections with any of the inhabitants, so he is understandably extremely lonely, which he shows early in the movie when he plays baseball ''by himself'', and when he hits a home run,... no one is in the stands to see it. Cue the tears when he starts to run around the bases at increasing speed in sheer heartbroken fury. Plus, at the end of the movie, Tom Wachowski gives Robotnik a short but satisfying TheReasonYouSuckSpeech about how cold and heartless he became only having his robot creations as companions.

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* ''Franchise/SonicTheHedgehog'':
**
2020's ''Film/SonicTheHedgehog'' is an amazing modern example of this. The idea of ThePowerOfLove and ThePowerOfFriendship normally would be a finger-gagging saccharine overdose that would make any filmgoer groan. However, what makes this so effective is that Sonic has been running for his life and his existence ever since he was 3-4 years old, and '''never''' on any world he has gone to has he been able to make any friendships or connections with any of the inhabitants, so he is understandably extremely lonely, which he shows early in the movie when he plays baseball ''by himself'', and when he hits a home run,... no one is in the stands to see it. Cue the tears when he starts to run around the bases at increasing speed in sheer heartbroken fury. Plus, at the end of the movie, Tom Wachowski gives Robotnik a short but satisfying TheReasonYouSuckSpeech about how cold and heartless he became only having his robot creations as companions.companions.
** The emotion continues in ''Film/SonicTheHedgehog22022'': Same deal, but this time Sonic wants to be someone, something great, but he is being irresponsible in trying to look for it and force it. He finds friendship with Tails, and later, Knuckles. The connections? The beneficial oddities with Sonic and Tails (Super Speed and Twin Tails, respectively), and Knuckles losing his entire family/civilization, much like Sonic lost his guardian, Longclaw. The film also never forgets to treat the main trio like children, unlike other movies that treat the child heroes as adults in a child's body. Plus, again, what would normally become a finger-gagging cliché actually becomes FridgeBrilliance when one considers the circumstances: At the climax of the movie, the Master Emerald shatters, with Sonic being unable to use its power. [[spoiler:Just when all hope seems lost, the Chaos Emeralds that were once contained inside react to Sonic's love for his friends and family, allowing him to transform into Super Sonic. In the games, the power of the emeralds indeed are enhanced by ThePowerOfLove.]]
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Rambo isn't the bad guy in First Blood except in the novel. He spends the course of the film trying to deescalate the conflict


** The movie ends with Creator/SylvesterStallone, a DullSurprise actor with a speech impediment, having to give a dramatic monologue about having bits of his exploded comrade all over him, before bursting into tears and grabbing his father figure who pats him and wraps him in a blanket. It is as funny as it sounds, but the ugly indignity works as part of what is essentially a VillainousBreakdown from a man who keeps ruining his life and knows it, as well as the end point to his regression into childhood.

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** The movie ends with Creator/SylvesterStallone, a DullSurprise actor with a speech impediment, having to give a dramatic monologue about having bits of his exploded comrade all over him, before bursting into tears and grabbing his father figure who pats him and wraps him in a blanket. It is as funny as it sounds, but the ugly indignity works as part of what is essentially a VillainousBreakdown HeroicBSOD from a man who keeps ruining his life and knows it, as well as the end point to his regression into childhood.
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* In ''Film/AlitaBattleAngel'', the scene where, after Grewishka [[KickTheDog impales Alita's dog]], she crouches down, takes its blood and ''uses it as war paint''. Alita's TranquilFury turns what could have been over-the-top melodrama into a legit HarbingerOfAsskicking.
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* ''Film/TheFiveYearEngagement'' has Violet and Suzie get into a heated argument over whether Violet and Tom should get married while both of them are speaking in the voices of Cookie Monster and Elmo, respectively, in front of Suzie's five-year-old daughter. It's absolutely ridiculous, but it's that sheer ridiculousness that makes it one of the funniest scenes in the entire movie.
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* ''WesternAnimation/ToyStory'': "YOU ARE A TOY!" It [[MakesSenseInContext Makes Perfect Sense In Context]]

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* ''WesternAnimation/ToyStory'': ''WesternAnimation/ToyStory1'': "YOU ARE A TOY!" It [[MakesSenseInContext Makes Perfect Sense In Context]]
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-->'''Mater:''' McQueen Let go!\\

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-->'''Mater:''' McQueen Mcqueen Let go!\\
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-->'''Mater:''' [[Stay back if you get close to me, you're gonna get hurt real bad!]]

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-->'''Mater:''' [[Stay Stay back if you get close to me, you're gonna get hurt real bad!]]bad!



-->'''Mater:''' [[McQueen Let go!]]\\

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-->'''Mater:''' [[McQueen McQueen Let go!]]\\go!\\

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