* ''Film/HighlanderIITheQuickening'' started a DorkAge from which the ''Franchise/{{Highlander}}'' film series would [[FranchiseKiller never recover]]. [[Series/{{Highlander}} The TV series]] did all right for a time, until the end of the fifth season alienated many fans by introducing a demonic entity into the series (when no previous episodes foreshadowed it, or implied that such things existed in the ''Highlander'' universe), and [[DroppedABridgeOnHim killing off a popular character abruptly and anticlimactically]] in an IdiotPlot.
* The ''Franchise/{{Godzilla}}'' movies are claimed to have undergone a dork age starting with either ''Film/SonOfGodzilla'' in 1967 or (more commonly) ''Film/AllMonstersAttack'' in 1969 that lasted through TheSeventies, though one is hard-pressed to explain exactly ''how'' the '70s flicks were any sillier than the films that preceded them, given that Godzilla was already [[Film/KingKongvsGodzilla setting King Kong's crotch on fire]], [[Film/MothraVsGodzilla drunkenly tripping over buildings]], [[Film/GhidorahTheThreeHeadedMonster chatting up a storm with Mothra and Rodan]], [[Film/InvasionOfAstroMonster dancing in outer space]], and [[Film/EbirahHorrorOfTheDeep playing volleyrock with a giant shrimp]] during the '60s. It probably has more to do with the outlandishly low production values for a few of those films coupled with bad direction and poor acting. In fact, [[Film/GodzillaVsGigan only]] [[Film/GodzillaVsMegalon two]] of the '70s films are considered irredeemably bad, with [[Film/GodzillaVsMechagodzilla two]] [[Film/TerrorOfMechagodzilla films]] being considered almost on par with the '60s films and a [[Film/GodzillaVsHedorah fifth]] falling squarely into LoveItOrHateIt territory. Even the aforementioned bad films often fall into the SoBadItsGood category for some people, with ''Film/MothraVsGodzilla'' actually often considered the ''best'' Showa-era Godzilla film out of all of them.
** Lately, the Millennium series seems to be taking over this role, due to a lack of continuity and a perceived overuse of tropes [[FollowTheLeader lifted from]] popular {{anime}} of the time, though there is still some contention within the fandom on this.
* ''Franchise/StarWars'', due to an UnpleasableFanbase[=/=]BrokenBase, and having so many different projects going at one time, goes into a constant rotation of dork ages. In the mainstream stuff ''Film/ThePhantomMenace'' and ''Film/AttackOfTheClones'' were polarized in how they were received, and even the much more acclaimed ''Film/RevengeOfTheSith'' was divisive. It was only when ''WesternAnimation/StarWarsTheCloneWars'' re-established a cool factor that the franchise has managed to recover. Even still, many people feel over-saturated in the {{merchandise|Driven}}, which led to a CriticalBacklash against ''Star Wars: The Clone Wars''.
** There's also a true "Dark Age" between 1986 (when the comic [[ComicBook/MarvelStarWars published by Marvel]], and the animated series ''[[ThoseTwoGuys Droids]]'' and ''[[TheScrappy Ewoks]]'' were finished) and 1991 (when ''[[Literature/TheThrawnTrilogy Heir to the Empire]]'' was published). Creator/GeorgeLucas was uninterested in making new films, and both merchandise and the ExpandedUniverse stalled (notable during the period are only the ''Star Tours'' ride at Disney, the Star Wars RPG... [[AffectionateParody and]] ''Film/{{Spaceballs}}'').
** Likely the most unanimously agreed-upon DorkAge for the ''Star Wars'' franchise is the period where Troy Denning was head writer for the novels, spanning nearly nine years from July 2005 to April 2014. Denning's work was noted for being far DarkerAndEdgier than most other stories in TheVerse, with a level of gratuitous sex and violence unusual for the franchise, most infamously a scene in ''Literature/LegacyOfTheForce'' where a grown woman sexually tortures a teenage boy for information. Denning and his contemporaries also built up a bad habit of using characters created by other writers for their own books as CListFodder. When it was announced in 2014 that the franchise would have a ContinuityReboot, the response from Denning's considerable hatedom was a resounding "Meh."
* ''Film/{{Batman}}'' was in it deep during the late '90s. Creator/TimBurton left the franchise, as did leading actor Creator/MichaelKeaton. ExecutiveMeddling caused ''Film/BatmanForever'' to be [[LighterAndSofter campier]] and more [[MerchandiseDriven toyetic]] than its predecessors. Following that film, the new lead actor Creator/ValKilmer left as well, and then the camp factor went UpToEleven and we got ''Film/BatmanAndRobin''. That so-called "film" killed the Batman movie franchise for eight years until ''Film/BatmanBegins'' came out.
* ''Film/JamesBond'':
** While many fans consider Creator/SeanConnery to be [[FirstAndForemost the definitive Bond]], his last two films, ''Film/DiamondsAreForever'' and ''Film/NeverSayNeverAgain'', are considered a step down from prior ones. Connery initially left the series after ''Film/YouOnlyLiveTwice'', but when his replacement Creator/GeorgeLazenby met a poor reception in his lone Bond film, ''Film/OnHerMajestysSecretService'', Connery was very quickly brought back as Bond for ''Diamonds Are Forever'', which was widely panned as campy and boring. Connery departed the series for good afterwards, but came back years later for ''Never Say Never Again'', a loose remake of ''Film/{{Thunderball}}'' which, due to some complex copyright tangles, was made by a different production company than Eon Productions and was positioned as a [[DuelingWorks dueling movie]] with the official Bond film ''Film/{{Octopussy}}'' in 1983. The resulting film received a mixed reception; some liked the world-weary cynicism that the 52-year-old Connery brought to Bond, while others thought he was over-the-hill (though to be fair, the same complaint was lobbed at Creator/RogerMoore around the same time; see below).
** The Creator/RogerMoore era is usually considered a DorkAge among Bond fans, especially in comparison to the Connery films. Plots became weaker and campier, with more focus on gadgets and locations than characterization or action. Although this era did have its highlights (''Film/TheSpyWhoLovedMe'') it also had its dark abysses (''Film/AViewToAKill'', ''Film/{{Moonraker}})''. Of particular note was Moore's age; he was actually older than Connery by three years, and by the end of his run as Bond in the mid '80s, it was obvious. (He was genuinely {{squick}}ed out when he learned that he was older than ''the mother'' of his female co-star in ''A View to a Kill''.) ''Film/TheManWithTheGoldenGun'' is a BaseBreaker, with some considering it on par with ''Moonraker'' and other fans feeling it to be Moore's equivalent to ''Film/{{Goldfinger}}'' and much better than made out to be. ''Film/ForYourEyesOnly'' is unique in that it was a Roger Moore Bond film without gadgetry -- it was given a mixed reception in 1981, but thirty years later, even fans who didn't like Roger Moore seem to like it. For music fans, on the other hand, the era is most often fondly looked at as the golden age of Bond themes, from "Nobody Does it Better" (Music/CarlySimon) to "Film/LiveAndLetDie" (Music/PaulMcCartney and Music/{{Wings}}) to "A View to a Kill" (Music/DuranDuran).
** For a long time, the Creator/TimothyDalton movies were seen as a DorkAge, with ''Film/LicenceToKill'' being [[DarkerAndEdgier so gory and violent]] that many felt it barely resembled a Bond film. Nowadays, however, the Dalton movies are seen as prototypes for the Creator/DanielCraig era, having had the bad luck of hitting about [[BornInTheWrongCentury twenty years too early]]. In addition, the Bond that Dalton portrays is much closer to the Bond that Creator/IanFleming wrote: a stone-cold killer with a hinted-at lust for violence whose womanizing, used to paint him as a playa during the Connery era, made him come across as a sexual predator.
** The consensus on the Creator/PierceBrosnan age is that it got progressively worse as time went on. ''Film/GoldenEye'', the first film with Brosnan as Bond, is the only one with a Fresh score on Website/RottenTomatoes (even ''Moonraker'' has a Fresh score on RT, although just barely), and is Brosnan's equivalent of ''The Spy Who Loved Me'' or ''For Your Eyes Only'' as the film that even his critics tend to enjoy. (It also had [[VideoGame/GoldenEye1997 an absolutely kick-ass video game adaptation]], which makes it nostalgic for a whole generation of '90s kids.) On the other hand, it ended with ''Film/DieAnotherDay'', which fan consensus views as a rival to ''Moonraker'' as the worst film in the series. The fact that, around the same time, the ''Film/AustinPowers'' series was parodying Bond to great success didn't help matters. Even Brosnan doesn't seem to think fondly of his tenure as James Bond. In a documentary made to commemorate the 50th anniversary of the franchise, Brosnan said he can only remember filming ''[=GoldenEye=]'', and that the rest "blurred together."\\\
Whether or not the era as a whole was a Dork Age depends on one's opinion of ''Film/TomorrowNeverDies'' and ''Film/TheWorldIsNotEnough'', the two films in between ''[=GoldenEye=]'' and ''Die Another Day''. Some think that they were stylish and perfectly acceptable, while others think that they were too over-the-top and had some [[WTHCastingAgency questionable casting choices]] (most notably '90s bombshell Denise Richards as a [[HotScientist nuclear physicist]]).
** A large chunk of the fanbase was expecting this when Creator/DanielCraig was announced (there was a "Bond's Not Blond" movement after his announcement), but was averted when shown that Craig was actually pretty awesome. Like Dalton, his films hewed much closer to Bond's characterization in the novels, acting as an origin trilogy for him. That said, some Moore and Brosnan fans consider the Craig era to be a Dork Age, arguing that Craig-era Bond has taken so many pages out of [[Franchise/TheBourneSeries Jason Bourne's]] book that he no longer resembles Bond at all. Specifically, the plots are heavily toned down from past films, with few of their over-the-top villains, gadgets, or science fiction elements. Within the Craig series, ''Film/QuantumOfSolace'' is usually held to be the worst of the bunch, thanks to poor direction and a plot that tried to marry the DarkerAndEdgier style of ''Film/CasinoRoyale2006'' with a more conventional Bond SuperVillain, with mixed results ([[GreenAesop stealing Bolivia's water]] just doesn't measure up to past {{Evil Plan}}s).
* Creator/MaeWest lost a good chunk of her sex appeal when UsefulNotes/TheHaysCode was imposed, but her movies remained passable. ''Myra Breckinridge'' and ''Film/{{Sextette}}'', made after she was convinced to come out of retirement in old age, are not. ''Myra Breckinridge'' was a terrible film in its own right and only featured Mae in a single scene -- basically playing herself -- as a man-hungry talent agent-type who gives the eponymous hero/heroine (don't ask) lessons on mistreating the menfolk. Frankly, Mae is not the grossest thing in it -- not after you see the [[BlackComedyRape strap-on scene]]. ''Sextette''... well, it was based on her ''1926'' play ''Sex'', and having her be a sex symbol back when she was 32 was quite a different matter from having the movie treat her like one when she's a frail, overly made-up 84-year-old woman paired with men young enough to be her grandchildren (such as 32-year-old Timothy Dalton, for whom this is a major OldShame). Most people's reactions to the film are somewhere between a PrimalScene reaction and profound {{Squick}}.
* Depending on your opinion, either ''Film/{{Alien 3}}'' or ''Film/AlienResurrection''. While in popular culture, ''Alien 3'' is considered the turning point of the franchise, many fans of the franchise appreciate the Assembly Cut's character drama ([[RecycledINSPACE with an Alien...]]) approach, leading some to believe that the latter example is the true turning point. To support its quasi-popularity, many fans saw ''Alien 3'' as a return to the themes and atmosphere of the first film, where the second was a subverted gung-ho action flick.
** The ''Film/AlienVsPredator'' films are considered the nadir of [[Franchise/{{Alien}} both]] [[Franchise/{{Predator}} franchises]]. While the two have crossed over before, the films were considered inferior to previous team-ups and both films have the two lowest Rotten Tomatoes scores of all the films. [[note]]21% & 12% for the first and second film respectively[[/note]]. While ''Alien vs. Predator'' was criticized for its watered-down PG-13 rating, ''Aliens vs. Predator: Requiem'' was panned for trying too hard to go in the opposite direction. Both the Aliens and the Predators underwent severe VillainDecay and later films have rendered the spinoffs [[CanonDiscontinuity non-canon]].
* ''Franchise/TheCrow'' pretty much went into one after people realized that there was money to be made after [[Film/TheCrow the first film]] was successful (and Brandon Lee died). ''Film/TheCrowCityOfAngels'' was poorly received by most, not helped by the fact that Dimension [[ExecutiveMeddling cut out at least 20 minutes' worth]] of {{character development}} and important plot points, causing the film to feel rather disjointed at times. (And, of course, there's the ''[[BadBadActing atrocious]]'' performance by Lee's replacement, Vincent Perez, which, to paraphrase film critic Leonard Maltin, will cause you to wish his character had stayed dead.) ''Film/TheCrowSalvation'' was considered a definite improvement, while most people see ''Film/TheCrowWickedPrayer'' as SoOkayItsAverage. And now there's a remake in the works, and most people have ''very'' low expectations for how it will turn out.
* ''Franchise/FridayThe13th'' lost its edge when the seventh film, ''[[Film/FridayThe13thPartVIITheNewBlood The New Blood]]'' in 1988, was [[{{Bowdlerise}} butchered by the MPAA]] to avoid an X rating, though the film itself is still regarded as pretty good in spite of it. The true point of no return came with the eighth film, ''[[Film/FridayThe13thPartVIIIJasonTakesManhattan Jason Takes Manhattan]]'' the following year, which was a FranchiseKiller that convinced Creator/{{Paramount}} (who had always been [[SciFiGhetto ashamed of the series' success]]) to offload the rights to [[Film/FridayThe13th1980 the first film]]'s director, who in turn sold them to Creator/NewLineCinema. New Line proceeded to churn out [[FranchiseZombie two very poorly-received installments]] that are viewed as SoBadItsGood at best -- one where [[Film/JasonGoesToHellTheFinalFriday Jason turned out to be a demonic entity]] capable of {{body surf}}ing, and another where he [[Film/JasonX went to space]] -- before finally [[DevelopmentHell getting off their asses]] and making ''Film/FreddyVsJason'', a long-anticipated {{crossover}} with ''Franchise/ANightmareOnElmStreet'' that, [[BrokenBase by and large]], ended the Dork Age. The [[Film/FridayThe13th2009 2009 remake]] is also generally regarded as acceptable (or at least, better than most other horror remakes), though not great. The only redeeming value that many fans can universally agree on from the Dork Age is that Creator/KaneHodder, who played Jason from the seventh film through the tenth, was pretty damn awesome in the role.
* ''Franchise/{{Halloween}}''.
** The ''Halloween'' series fell into its first Dork Age with the fifth film, ''[[Film/Halloween5TheRevengeOfMichaelMyers The Revenge of Michael Myers]]'' in 1989, and sank further into it with the sixth film, ''[[Film/HalloweenTheCurseOfMichaelMyers The Curse of Michael Myers]]'' in 1995. The common denominator in both films was the Curse of Thorn storyline, which tried to tie Michael to prophecies and an ancient cult that had never been hinted at in prior films; the TroubledProduction on the sixth film in particular only made it that much worse. The series only got out of its Dork Age by way of a partial ContinuityReboot with ''Film/HalloweenH20TwentyYearsLater'' in 1998, which took only the [[Film/{{Halloween 1978}} first two]] [[Film/HalloweenII1981 films]] as canon and [[CanonDiscontinuity threw out everything that came after them]] (even if it meant that they also had to drop the popular [[Film/Halloween4TheReturnOfMichaelMyers fourth film]]). It was praised as a return to form and the best ''Halloween'' film since the first two, and the Dork Age seemed to be over, the series in good hands and back on track...
** ...only for it to fall right into a second Dork Age with ''Film/HalloweenResurrection'' in 2002, which featured a gimmicky (and [[UnintentionalPeriodPiece dated]]) internet[=/=]RealityTV story, [[spoiler:Laurie Strode getting [[DroppedABridgeOnHim unceremoniously killed off]]]], and the humiliating sight of Michael Myers getting smacked down (twice!) by Music/BustaRhymes, resulting in a film that many fans feel to be in the running with ''The Curse of Michael Myers'' for the title of worst entry in the original series. As a result, they hit the reset button for the next film, a [[Film/{{Halloween 2007}} remake]] by Music/RobZombie in 2007. That film received a [[BaseBreaker visceral]] LoveItOrHateIt reaction, and [[Film/HalloweenII2009 Zombie's follow-up]] two years later was a critical and commercial dud and a FranchiseKiller. Another reboot, tentatively titled ''Halloween Returns'', is in the works; time will tell if it ends the Dork Age.
* And the third of the "big three" '80s slasher franchises, ''Franchise/ANightmareOnElmStreet'', reached its commercial peak with the third and fourth films, ''[[Film/ANightmareOnElmStreet3DreamWarriors Dream Warriors]]'' in 1987 and ''[[Film/ANightmareOnElmStreet4TheDreamMaster The Dream Master]]'' the following year; ''Dream Warriors'' is generally regarded as the better film, but ''The Dream Master'' still has its fans. However, decay set in hard with the fifth film, ''[[Film/ANightmareOnElmStreet5TheDreamChild The Dream Child]]'' in 1989, a FranchiseKiller that convinced Creator/NewLineCinema to end the series with the next film. That film, ''Film/FreddysDeadTheFinalNightmare'' in 1991, was the point at which the series became completely impossible to take seriously. While the non-canon spinoff ''Film/WesCravensNewNightmare'' in 1994 didn't restart the series, it was very popular among fans and, at the very least, restored its pride, while ''Freddy vs. Jason'' in 2002 also got a decent reception. The poorly-received [[Film/ANightmareOnElmStreet2010 remake in 2010]], on the other hand, seems to have put Freddy to sleep for good.
* Notice how the above three entries all began falling into Dork Ages around the exact same year, 1989? The cumulative effect of that was that American horror films in general went dormant in the first half of the '90s. Between 1989 and 1996, very few horror films had much success, and the few that did (such as ''Film/TheSilenceOfTheLambs'' and ''Film/{{Se7en}}'') were typically closer to the PsychologicalThriller end of the spectrum. It wasn't until the [[SleeperHit sudden success]] of ''Film/{{Scream|1996}}'' in 1996 when mainstream moviegoers began seeing horror movies again in large numbers.
* The Franchise/DisneyAnimatedCanon has seen three Dork Ages. The first happened during UsefulNotes/WorldWarII and a little while afterward, where all films released were cheap "package" films rather than ones with coherent stories, and ended with the release of ''Disney/{{Cinderella}}''. The second happened between the late 1960s and the mid '80s due to the death of Creator/WaltDisney, and ended with [[TheRenaissanceAgeOfAnimation the Disney Renaissance]], while the third started in the early 2000s and ended with the release of ''Disney/ThePrincessAndTheFrog''.
* Franchise/{{Pixar}} seems to have entered a minor one in TheNewTens, possibly related to corporate owner Disney's current obsession with extending established franchises as opposed to creating original concepts for films.
** After the massive success of ''[[WesternAnimation/ToyStory Toy Story 3]]'', the studio's next effort was ''[[WesternAnimation/{{Cars}} Cars 2]]'', by far its weakest film, the first to earn a Rotten rating on Website/RottenTomatoes, and the first ''not'' to receive a nomination for Best Animated Feature Academy Award since that category's inception.
** ''WesternAnimation/{{Brave}}'' won the Animated Feature Oscar in 2012, but it did so over classic animation's ''Disney/WreckItRalph'', which was received considerably better[[note]] making this one of the most questionable choices on the Academy's part in recent years [[/note]], and ''Brave'' is one of the most divisive films in the canon, suggesting to many that the ''Cars'' films weren't just aberrations in the company's output.
** ''WesternAnimation/MonstersUniversity'' in 2013 was received rather well -- if not quite as rapturously as previous Pixar movies had been, and again went without any Oscar nominations.
** While ''WesternAnimation/InsideOut'' has received a near-rapturous reception, their other film for 2015, ''WesternAnimation/TheGoodDinosaur'' has been mostly regarded SoOkayItsAverage, just slightly worse than ''Brave'' and ''Monsters University'' although better than ''Cars 2'' (its '''extremely''' TroubledProduction probably doesn't help), and in addition, is on the way to become Pixar's first BoxOfficeBomb (a month after being released, it hasn't even made back its main budget). Also, the fact that most of their upcoming films are yet more sequels (''[[WesternAnimation/FindingNemo Finding Dory]]'', ''[[WesternAnimation/ToyStory Toy Story 4]]'', ''Cars 3'' and ''[[WesternAnimation/TheIncredibles The Incredibles 2]]'', although it should be noted that with the exception of ''Cars 3'', the films seem to be highly expected by most Pixar fans) suggests the company may not be out of the woods yet. Their only upcoming non-sequel film is ''Coco''.
* Some argue the Creator/MarxBrothers went through this after their switch to MGM. Zeppo got tired of acting and the studio forced the brothers to go from completely anarchic RapidFireComedy to more good-natured characters helping out a forgettable romantic lead between increasingly tedious musical numbers (Groucho called ''The Big Store'''s "Tenement Symphony" "[[CreatorBacklash the most godawful thing I'd ever heard]]"). Granted, there was still plenty of [[SugarWiki/FunnyMoments CMOF]], it was just more restrained than during their years at Paramount.
* Creator/EddieMurphy had one starting with his 1989 flop ''Film/HarlemNights'' that lasted into the [[TheNineties early-mid '90s]], with many unsuccessful movies including ''The Distinguished Gentleman'', ''Film/BeverlyHillsCopIII'', and ''Film/VampireInBrooklyn'' (all of which he has since disowned), before he made his comeback with his 1996 remake of ''Film/TheNuttyProfessor''. He entered another one in the 2000s, where, with the exception of the ''WesternAnimation/{{Shrek}}'' movies and ''Theatre/{{Dreamgirls}}'', his films like ''Film/TheAdventuresOfPlutoNash'', ''Film/TheHauntedMansion'', ''Film/{{Norbit}}'', ''Film/MeetDave'' and ''Imagine That'' were all massive failures (''Pluto Nash'' has become [[BoxOfficeBomb one of Hollywood's biggest flops]], and many feel ''Norbit'' torpedoed Murphy's Oscar hopes with ''Dreamgirls''). He got praised for starring in 2011's ''Film/TowerHeist'', but his 2012 follow-up ''A Thousand Words'' (although it was filmed in 2008) was universally panned, receiving a [[Website/RottenTomatoes Tomatometer]] score of ''0%'', so only time will tell whether he'll recover.
** ''Film/{{Bowfinger}}'' is another exception to his mid-career slump. It is generally considered some of the best material to come from both Murphy and Creator/SteveMartin in years. It was a box office success and currently holds an 80% on RT.
* ''Franchise/{{Hellraiser}}''
** ''Film/HellraiserIIIHellOnEarth'' is universally ignored, although there is more debate over ''Film/HellraiserBloodline'', which is either seen as at least a good step back to the spirit of the first two films despite its troubled production (which resulted in the movie getting the [[AlanSmithee Alan Smithee treatment]]) or as just ''Hellraiser [[RecycledINSPACE in Space]].'' Interestingly, the franchise's own creator Creator/CliveBarker has put both movies in a Dork Age on his own. His ''Hellraiser'' comics for Boom Studios serve as a direct sequel series to the first two movies, but so far [[CanonDiscontinuity have completely brushed aside the continuity from the other sequels.]]
** Then there's the [[DirectToVideo straight-to-video sequels]]. Well, as always YMMV, but generally when ''Hellraiser'' fans recommend the series to someone they're usually only talking about the first two films - and ''maybe'', ''possibly'' ''Bloodline.''
* Creator/DreamworksAnimation has gone through two:
** The first was from 2004 to 2007, where the company after ''WesternAnimation/{{Shrek 2}}'' had mostly box office successes but harsh critical reception, with the exception of ''WesternAnimation/OverTheHedge''.
** The second from 2012 to the present day. After ''WesternAnimation/RiseOfTheGuardians'' didn't do as well as they hoped despite good reviews and a cult fanbase, most of their output since then (with the exceptions of ''WesternAnimation/TheCroods'' and ''WesternAnimation/HowToTrainYourDragon2'') has had similar results: Good reviews (with the exception of ''{{WesternAnimation/Home}}'', which was graded Rotten), but disappointing box office grosses (except for ''Home'', although its critical thrashing didn't do it any favors), resulting on financial writedowns and re-estructuring.
* Filmmaker Creator/RidleyScott has gone through two in the course of his career:
** The first was in the 90's wherein, after the success of ''Film/ThelmaAndLouise'', his next film after that was the Christopher Columbus epic ''1492: Conquest of Paradise'', which was a financial and critical flop. His other two films that followed were ''White Squall'' and ''Film/GIJane'' and while they had their own wins (the former got good reviews while the latter made money), Scott didn't hit big until ''Film/{{Gladiator}}'' years latter.
** The second started in 2010 with ''Film/RobinHood2010'', a ''Gladiator'' retread in the form of the Arthurian legend. The films after that (''Film/{{Prometheus}}'', ''Film/TheCounselor'' and ''Film/ExodusGodsAndKings'') were divisive at ''best'' and downright hated at worst. However, things are looking bright for Scott again, with his [[Film/TheMartian adaptation]] of Andy Weir's ''Literature/TheMartian'' receiving some of the best reviews he's had in a while, so time will tell if he's out of it or not.
* The ''Franchise/RoboCop'' has been stuck in one since 1993 with the release of ''Film/RoboCop3'', which shifted focus to the target audience being children, being PG-13. It continued with ''Series/RoboCopTheSeries'', which likewise was targeted towards children and feature [=RoboCop=] using NonLethalWarfare against his enemies. The animated series ''WesternAnimation/RoboCopAlphaCommando'' also hurt the franchise, turning the title character into WesternAnimation/InspectorGadget. ''Series/RoboCopPrimeDirectives'' ''tried'' to move things back to the first two movies--and failed, featuring why many considered a nonsensical plot, and the casting of Page Fletcher as the titular cyborg was criticized, due to how he moved in the suit and being significantly shorter that most of the cast. [[Film/RoboCop2014 The reboot]] was met with mixed reactions, mostly due to it being PG-13, a decision to make [[MovieSuperheroesWearBlack RoboCop mostly black]], and a scene mocking the original design. Plus it bombed, keeping this franchise stuck in a DorkAge.
* Ask nearly any British film critic what they think was the defining Dork Age of the nation's film industry at large, and they will return with one simple answer: the 1930s. Just as Hollywood was entering its {{Golden Age|OfHollywood}}, British film was trying to respond... and flailing in the wind. In 1927, the UK passed [[https://en.wikipedia.org/wiki/Cinematograph_Films_Act_1927 a quota]] on foreign (i.e. American) films that, far from protecting British studios as was intended, merely led the Hollywood studios to establish British and Canadian subsidiaries to crank out "quota quickies" for the British market. These films were [[NoBudget dirt-cheap]], and often downright dreadful; an UrbanLegend claims that British cinema houses used the quota quickies as time to clean and even vacuum the theatres, as they so often showed to empty seats. British studios in turn had to cut costs if they hoped to compete.
** As for the law's effects on Canadian cinema... well, it wasn't the harbinger of a Dork Age so much as it was a GenreKiller. The entire Canadian film industry, already reeling from the high-profile flop of ''[[http://www.canada.com/ottawacitizen/features/remembrance/story.html?id=46d615a1-5dfd-4889-bb42-31f7ad406b2d Carry on, Sergeant!]]''[[note]]No relation to [[Film/CarryOnSergeant the 1958 British film]] of the same name.[[/note]], was overgrown by Hollywood studios churning out quota quickies for British consumption. Unlike British film, which soon recovered after the repeal of the quota in 1938, Canadian film took until the '70s to recover, and required direct government sponsorship of the arts to get the shot in the arm that it needed to do so.
** That said, [[http://www.screenonline.org.uk/film/id/1361819/ not all critics]] view the '30s as a Dork Age for British film. For some recent revisionists, while many of the quota quickies were indeed crap, the era also allowed many aspiring British filmmakers like Creator/MichaelPowell, Creator/AlfredHitchcock, and Creator/DavidLean to cut their teeth, using low-budget films to gain experience that they'd later put to use in much greater masterpieces. Furthermore, the decade also saw a boom in comedies, particularly with the importation of music-hall talent into cinema. Indeed, some have argued that, without the experience gained during the "Dork Age" of the '30s, the GoldenAge of British cinema that began in the late '40s and lasted through the '60s could never have happened!
* In any case, the British got their revenge when Hollywood plunged into a Dork Age of its own in [[TheFifties the 1950s]] and especially [[TheSixties the '60s]], during the UsefulNotes/FallOfTheStudioSystem. Hollywood spent the '50s struggling to keep up with mounting pressures from television, foreign (especially British) cinema, changing cultural norms, [[UsefulNotes/TheHollywoodBlacklist the Red Scare]], the collapse of the star system, and antitrust actions, and while they were still turning out quality films, a vast gap was emerging between the {{epic movie}}s that they hinged their box-office success on and the rest of their output. By the '60s, these pressures had collectively overwhelmed them and had started to impact the quality of their films. For every smash hit like ''Film/TheLongestDay'' or ''Film/TheSoundOfMusic'', there were a slew of copycats like ''Film/DoctorDolittle'' and ''Film/ToraToraTora'' that bombed, while old standbys like [[TheWestern Westerns]] and SwordAndSandal epics were hitting diminishing returns due to audience burnout. The Dork Age ended with [[UsefulNotes/NewHollywood Hollywood's creative renaissance in the '70s]], though it wasn't until UsefulNotes/{{the Blockbuster Age|OfHollywood}} in the '80s when the studios fully turned themselves around from a business standpoint.
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