!!Films -- Animated

* ''Disney/SleepingBeauty'' was a rather dark film at the time of its release, like Maleficent screaming "HELL!" (albeit not in a profane context, and with the word mostly drowned out by a fiery explosion). So was ''Disney/TheBlackCauldron'', which has been less fondly remembered for being ''too'' dark. Of course, it probably doesn't help that [[AnimationAgeGhetto people tended to think adults would have no business watching that stuff and still do]]. In ''Disney/TheHunchbackOfNotreDame'', released 37 years later, there is an ''entire song'' entitled "Hellfire," and in it the ''h''-word is sung several times.
* ''Disney/TheLittleMermaid'' - seems like a paint-by-numbers Disney flick these days. It holds up well but it was incredibly innovative at the time. It was literally the first Disney film to properly merge the fairytale theme with Broadway elements. As such the IWantSong, the animal sidekicks, the PluckyGirl lead, the LoveToHate villain etc. were all new and exciting at the time. What's also notable about the film that its successor ''Disney/BeautyAndTheBeast'' missed is that the clichés have good in-story reasons for being there. The heroine's beautiful singing voice is a plot point while most of the musical numbers come from a character who is a concert composer.
* ''{{Disney/Pocahontas}}'' is a variation. When it came out, a large amount of the dislike for it stemmed from the fact that it was adapting actual historical events (though the filmmakers stressed they were only adapting the ''legend'' of Pocahontas). Numerous other animated films adapted historical events or took place in notable time frames over the years. So the idea of audiences disliking a movie for {{Disneyfication}} of history seems rather extreme. Don Bluth's ''Anastasia'' likely took note of this and producers made sure to market it as simply a historical fairytale not to be taken as fact. It worked - they loved it in Russia.
* Creator/{{Disney}} and Creator/DreamWorksAnimation have an... odd history. When the first ''WesternAnimation/{{Shrek}}'' movie came out, it was considered a witty and refreshing break from the then-formulaic DisneyAnimatedCanon fare, despite the fact that, at that point, Disney was going through a different and experimental period with ''Disney/{{Dinosaur}}'', ''Disney/{{Fantasia 2000}}'', ''Disney/TheEmperorsNewGroove'', ''Disney/AtlantisTheLostEmpire'', ''Disney/LiloAndStitch'', ''Disney/TreasurePlanet'', ''Disney/BrotherBear'', and ''Disney/HomeOnTheRange''. The freshness still hadn't eroded by the time of ''Shrek 2'', which was considered an EvenBetterSequel by many. However, by the time of ''Shrek the Third'', [=DreamWorks=] Animation - and their competitors - had ran the formula into the ground harder than Disney's "[[{{Disneyfication}} Disneyfied]] musical adaptations of mythology/classic literature with spunky heroines and goofy sidekicks" did in the 90s. To add insult to injury, most of the Disney films criticized for following ''their'' formula (''Disney/TheHunchbackOfNotreDame'', ''Disney/{{Hercules}}'', ''Disney/{{Mulan}}'', ''Disney/{{Tarzan}}'') have been VindicatedByHistory by 90s kids, and the experimental films often became [[CultCLassic Cult Classics]]. ''Shrek'', on the other hand, is now often blamed for killing traditional animated films and starting a trend of [[AllCGICartoon CGI films]] that overdo AnachronismStew and ParentalBonus to painful levels, such as ''WesternAnimation/{{Hoodwinked}}'', ''WesternAnimation/HappilyNEverAfter'' and Disney's disastrous ''Disney/ChickenLittle''.

!!Films -- Live-Action

* The very existence of the MPAA rating system. Before its debut in 1968, the film industry was still following the outdated [[UsefulNotes/TheHaysCode Hays Code]], which severely limited the creative freedom of filmmakers with its heavy-handed censorship. The new rating system meant that films that would never have seen the light of day under UsefulNotes/TheHaysCode could now be released with cautionary "R" and "PG" ratings instead of being heavily censored or banned outright. Beginning in TheSeventies, movies such as ''Film/TheGoodTheBadAndTheUgly'' and ''Film/AClockworkOrange'', which would never have been possible under UsefulNotes/TheHaysCode, changed filmmaking forever with the boundaries that they were able to push under the new system. This isn't as obvious today, now that the organization has gained a reputation for stifling creativity instead of encouraging it. Studios now have a bit of a tendency to edit movies to get lower ratings, and the MPAA has attracted a lot of criticism for [[DoubleStandard giving independent films higher ratings than studio films with similar content]].
** Subsequently, the PG rating. Today, with PG-13 being the default rating for many family films and the R rating being a lot more prevalent in genres other than Action, it's hard to believe that PG was once considered somewhat edgy and a cause for concern among parents.
* Horror movies in general. Many horror movies that first came out in the late 1960s and 1970s were seen as incredibly over-the-top in their depiction of violence, and a lot of them received 'R'-type ratings in many countries. Compared to now, in which TorturePorn movies with ridiculously graphic depictions of being being tortured and murdered now being the norm in horror movies, many once cutting-edge horror movies of the 1960s would seem tame to a new viewer.
* ''Film/AceVentura: Pet Detective'', ''BillyMadison'' and ''HappyGilmore'': It seems hard to believe that movies such as these were actually considered raunchy, filthy films when first released in 1994, 1995 and 1996. Today, they seem pretty tame compared to most comedy films being released (which, really, is kind of sad [[FridgeLogic when you think about it]]).
* ''Film/{{Airplane}}'' was originally an intentionally corny, funny comedy, and was a huge hit in its time. However, its corny style of humor has been imitated and parodied so many times (often poorly) since that today it may be more likely to be seen as the bad kind of corny humor than the good kind.
** The film is also a parody of disaster movies of the time like Airport and Zero Hour, which because of this movie's camp and because of how much airplane travel has changed, contemporary audiences aren't likely to catch certain elements that are being spoofed, as they are no longer in public consciousness.
** On that note, up until 1980 Leslie Nielsen was a respected dramatic actor, and the whole joke with his character was seeing him bring his usual gravitas to this kind of material. And of course, afterward his career took a hard right turn into doing nothing but these kinds of films, until [[LeslieNielsenSyndrome they completely eclipsed his public image.]]
*** This is the case with so many actors from that film: Robert Stack, Lloyd Bridges, Peter Graves, etc.
** The film ''WrongfullyAccused'' can also suffer from this. At the time, it was actually part of the joke that the film cast such a wide net in the material that it parodied. Nowadays, every parody movie is like that, and the worse for it.
*** It also pokes fun at a lot of movies that were popular at the time it was made, so the audience would be able to easily recognize the subject of the joke. However, as time has past many of the movies in question have waned in popularity since then and may not be immediately recognizable.
* ''Film/{{Alien}}'' and its sequels. It looks like a clichéd movie, but invented or popularized most of the relevant tropes for that genre (though even at the time it was intended to do little more than ride the coattails of ''Franchise/StarWars''), as well as propagated its xenomorph alien designs throughout many other films.
** An interesting move on the part of the producers of ''Alien'', that served to heighten the tension at the end, but which cannot work now, was [[spoiler: to kill the characters off in reverse order of the fame of the actors playing them]]. It is difficult now to realize that John Hurt was probably the biggest box office name in ''Alien'', having just done ''I, Claudius'' for the BBC, and the film ''MidnightExpress'', and that both Veronica Cartwright, who had been acting since childhood (she was Violet Rutherford on ''Leave It to Beaver'', and the sister of Angela Cartwright of ''LostInSpace''), and Harry Dean Stanton, a well-established character, were both much more bankable than Creator/SigourneyWeaver, who, at the time, was unknown. She had a single film credit, other than a brief role in ''Annie Hall'', and a few TV appearances. ''Alien'' made her career. So, at the end, when [[spoiler: no one is left alive other than the actress the audience had never heard of, it seems very unlikely that she will survive at all, let alone heroically.]] However, now, in the 21st century, she is ''Creator/SigourneyWeaver'', Sigourney Weaver ''kicks ass'', and the film could not end any other way. [[ForegoneConclusion Knowing that she appears in all of the movies as the main hero also helps kill any sense of fear for her safety.]] [[note]]Though that didn't stop her in ''Film/{{Alien 3}}''.[[/note]]
** Perhaps most noticeable with the second film's [[UsedFuture seamy vision of the future]], which was (at the time) notable for being seen through the eyes of a platoon of cynical, working-class soldiers. Considering how popular the SpaceMarine trope has become since 1986 (thanks to the likes of ''Franchise/{{Halo}}'', ''Franchise/StarCraft'', ''VideoGame/{{Doom}}'' and ''TabletopGame/{{Warhammer 40000}}''), to the point that the trope now borders on cliché, this idea doesn't seem nearly as original as it once did.
* Creator/AlfredHitchcock. This trope could just as easily be called ''Hitchcock Is Not Suspenseful.'' Anything of his was '''the''' defining work in suspense when originally produced, but looks sad and overdone now that it's been copied to death.
** Creator/AlfredHitchcock's suspense films have had much of the suspense removed due to the rampant parody. On the other hand, the ''RearWindow'' trope has been parodied so many times that some viewers are taken by surprise when the old film plays it straight instead of turning into a case of StabTheSalad.
** ''Film/{{Psycho}}'' was groundbreaking for its time by essentially founding the slasher film genre, but now [[PsychoShowerMurderParody the infamous shower scene has been referenced (and often parodied) by other horror films to the point of saturation]]. When it was first released, the shower scene was an enormous shock - the idea of killing off the character played by the best-known actress in the film one-third of the way into the running time was quite literally unheard of.
*** Not only that- she was the main character in the film up to that point. Audiences initially didn't know who to identify with once Marion Crane was dead.
* ''Film/AmericanBeauty'' inspired so many other "dark heart of suburbia" dramas that the film has lost a lot of its initial impact. In particular, the "dancing plastic bag" scene has been parodied/taken out of context so many times that the original sequence can come off as {{Narm}}.
** Interestingly enough, American Beauty is quite similar to ''TheIceStorm'', another "dark heart of suburbia" movie, which came out two years before American Beauty. (The similarities between the two might be coincidental, though, as Alan Ball wrote the original version of ''The American Beauty'''s script before ''The Ice Storm'' – or the novel of the same name it was based on – had been released.) This would make ''The Ice Storm'' the original SeinfeldIsUnfunny example, except that ''The American Beauty'' is much better known, and therefore the likelier inspiration for the various films that followed.
* ''Film/AnimalHouse'' was the TropeMaker or TropeCodifier of many of the Frat House comedies that followed it. Nowadays, it seems horribly cliched, but it was doing a lot of these jokes for the first time. The falling-ladder scene has little effect for the children of Generations X and Y, who saw it copied in countless cartoons and teen movies.
* ''Film/AnnieHall'' is the TropeCodifier for American film, so much so that despite being in the ComedyGhetto, it won the Best Film Academy Award. Its use of NoFourthWall and non-chronological editing was mindblowing for 1970's audiences. Now, not so much, as many films have aped its style, FunWithSubtitles first and foremost.
* ''AustinPowers'', while not the first film to use an OverlyLongGag, was perhaps the first film to derive ''majority'' of it's humor from it. When it first came out, it was a sleeper hit that got VindicatedByCable and arguably became one of the most popular comedies in the 90's, primarily because it's humor was in such sharp contrast to the type of Slapstick Comedy that was popular at the time. Now in days, the OverlyLongGag has become such a staple to comedy it's become harder to tell why Austin Powers was such a big deal to begin with.
* Creator/TimBurton's 1989 take on ''Film/{{Batman}}'' was considered [[DarkerAndEdgier dark and edgy]] at its time: perhaps not compared to the Batman comic books of that era, which influenced it, but certainly compared to the {{camp}}y [[Series/{{Batman}} 1960s live action show]] or the 1970s animated ''{{Superfriends}},'' which was how most of the public was familiar with Batman. Now it seems tame, especially when compared with the [[Film/TheDarkKnightSaga Christopher Nolan films]]. Absurdly, Burton himself commented on the Nolan films by saying that things had changed from the days when he wasn't allowed to do a "dark" Batman as Nolan did, when in fact the whole point of Burton's version of Batman was that it ''was'' dark, and Nolan's interpretation would never have been possible if it hadn't been for Burton's!
* ''Film/TheBirthOfANation'' invented or popularized many features that are standard in modern cinema, such as cutting between different locations to increase suspense during action scenes. Someone watching the film nowadays won't think twice about these innovations, while the [[ValuesDissonance blatant racism and hero-worship of the Klan]] are unfortunately a lot more noticeable.
* ''Film/{{Blade}}''. The rebirth of the SuperHero movie genre also comes to mind. Most people credit ''Film/{{X-Men}}'s'' smooth cinematography and darker take...and completely forget that ''X-Men'' borrows heavily from it. At the time it was a sleeper hit and probably the film that truly revitalized the comic book movie market after ''Film/BatmanAndRobin'' single-handedly killed it.
* ''Film/BladeRunner'' popularised a [[FantasticNoir number]] of [[WhatMeasureIsANonHuman sci-fi]] [[CyberpunkWithAChanceOfRain conventions]], and as a consequence, the impact can be somewhat lost on audiences who have already seen the many imitators and their intellectual androids, ugly dystopias and drunken, future cops.
* ''Film/TheBlairWitchProject'' was the film that proved that internet-based ViralMarketing could work, allowing the micro-budgeted indie horror flick to become a box-office smash and a cultural touchstone for the late '90s/early '00s. Between the many, many, ''many'' [[FoundFootageFilms found-footage]] horror films that have employed similar conceits, and the fact that the passage of time has distanced the film from its revolutionary marketing campaign, this can be lost on modern viewers. While it still enjoys a decent reputation, watching it today, without having been exposed to the torrent of hype in 1999, can make one wonder what was so scary about it.
* ''Film/BlazingSaddles'' is rumored to be one of the first, perhaps the first film ever, to include a fart joke.
** It wasn't, since there were fart jokes as early as the Great Depression era. ''Blazing Saddles'' was simply the first film to ''blatantly'' do a fart joke, without bothering to [[GettingCrapPastTheRadar Get Crap Past The Radar]].
* ''Film/BroadwayMelody'', the second film to win the AcademyAward for Best Picture and the first all-sound musical, was a '''huge''' deal when it was released. However, its look at the goings-on on a Broadway musical became clichéd by the mid-'40s, thanks to nearly every movie about Broadway copying its basic set-up. Add the fact that as it was the first movie musical, Hollywood still had a lot to learn about blocking musical numbers to avoid looking 'stagey'.
* ''Film/{{Bullitt}}'' was considered the definitive car chase movie in its time, but was soon supplanted by ''Film/TheFrenchConnection'' and others.
* ''Film/TheCabinetOfDrCaligari''. A lot of stuff regarding it. Many modern audiences have never even heard of it, but they've certainly felt its presence through imitation.
* The ending of the 1976 version of ''Film/{{Carrie|1976}}'' is often ranked up there with some of the greatest scary moments of all time. Many people, not knowing that ''Carrie'' was the first horror film ''ever'' to have a shock ending like that, wonder why, seeing as how it's become practically expected of a horror film to shock the audience one last time. Nowadays, the final scene doesn't seem so scary anymore.
** On the other hand, the shock ending of ''Film/FridayThe13th1980'', which blatantly ripped off ''Carrie'', is still considered quite scary to modern audiences.
* {{Website/Cracked}}'s list of the [[http://www.cracked.com/article_18664_5-annoying-trends-that-make-every-movie-look-same.html "5 annoying trends that make every movie look the same"]] shows us how once clever and innovative cinematography techniques have been copied to death in the past 10 years to the point that they're almost in every movie.
* ''Film/CitizenKane'', often times trumpeted as "The Greatest Movie of All Time," tends to inspire "What's the big deal" responses from first time viewers, especially since PostModern movies have become the norm and the Cinematography has influenced so many other films.
* ''Film/CrouchingTigerHiddenDragon'', the first truly successful (in western markets) Chinese {{Wuxia}} (periodic Kung-Fu) movie, suffers from this. It's much harder to screen such a movie nowadays because people can't look past the "tacky" kung-fu with its flying about and running on walls - which has been imitated repeatedly in many "Hollywoodian" action films for the past 10 years. Of course, it wasn't original per-se, as Wuxia films were already seen as tacky in their homeland (China), but in the west this was regarded as a new phenomenon and therefore taken with more respect. It won an Academy Award and still lingers around the middle of the IMDB's Top 250 list - and for many good reasons other than the dazzling fights.
* ''Film/{{Daredevil}}'', the 2003 film, despite its shortcomings and disappointing box office performance, compared to each of its predecessors which gives out a varying degree of surrealism throughout each scene as if telling the viewers that they should never forget that they're watching a superhero movie, viewers who enjoyed watching ''Daredevil'' in the theaters noted that certain scenes made you almost forget that this is a superhero movie. This apparently became a measuring stick for the superhero movies that followed, which used higher levels of realism, thus overshadowing this movie that, so to speak, took a dare.
* ''DebbieDoesDallas''. To modern eyes it watches like a porno ClicheStorm. That's because it was more or less the comedic template for the porn industry. Likewise, ''The Devil In Miss Jones'' for more [[strike:artsy-fartsy]] dramatic fare.
* ''Film/LesDiaboliques'' was widely considered to have one of the most shocking original {{twist ending}}s of all time when it was first released. But after fifty years of films copying this ending, modern audiences are often able to predict what will happen.
* ''Film/DieHard''. In the eighties, action films perferred invincible heroes who slaughtered mooks by the dozen with casual disdain. ''Die Hard'' popularized grittier and more realistic action, with heroes who are more vulnerable and suffer from character faults. It also popularized the concept of action movies confined to a limited space: "DieHardOnAnX." For example, ''Film/{{Speed}}'' is "Die Hard on a bus."
** Like the ''{{Film/Airplane}}'' example with Leslie Nielsen above, at the time it came out, people were shocked at the idea of a comedic actor like BruceWillis being an action star. Nowadays, what with TomHanksSyndrome, comedic actors doing serious roles aren't nearly so amazing. Plus, like with Nielsen, some people don't even know that Willis got his start in comedies.
* ''DirtyHarry'' and ''Film/TheFrenchConnection'' are notably responsible for many tropes relating to the CowboyCop and the genre in general.
* ''Film/TheExorcist''. At the time it was released, it was considered to be the most shocking and horrifying film ever created. There were stories of audience members fainting and having to leave the theater due to being so disturbed by the movie. Nowadays, many of the scenes in the film come across as more comical than scary, especially with how subdued later films with similar premises would take the idea.
* ''Film/LaDolceVita'' is a film where the "hero" is an amoral CasanovaWannabe journalist type who hangs around lots of decadent celebrity parties and [[Music/TheRollingStones can't get no satisfaction]]. Precisely what made it seem so racy and different in 1960 and so long and ordinary now. Indeed, film buffs were complaining about how tame it had become as early as the '70s.
* Creator/FritzLang. Ditto the sci-fi tropes in ''Film/{{Metropolis}}''. And the criminal mastermind/underworld tropes in the ''Film/DrMabuse'' films. And the backwards countdown in ''Film/WomanInTheMoon''. In fact, this might as well be called Creator/FritzLang Is Unoriginal.
* ''FinalDestination'': The first film was considered genuinely frightening with audiences in suspense at what would finish off the characters or whether they would survive at all. Nowadays everyone knows that the ''Final Destination'' characters are going to get bumped off creatively and, while there are still some films in the series that can create suspense (2 and 5 especially), they can't replicate the suspense of the original which in turn is less scary these days because everyone knows what to expect from a ''Final Destination'' film.
* ''[[Film/{{Gojira}} Godzilla]]'', the original 1954 film. At the time of its release, it was groundbreaking for the Japanese film industry. Many people today ridicule older Franchise/{{Godzilla}} films for the reason of them being "[[PeopleInRubberSuits Man-in-suit!!!]]" made films. What they fail to realize is that had it not been for suitmation, most special effects as we know them today (such as motion capture CG, which utilizes similar techniques to suitmation) would not exist. This is despite the fact that Godzilla actually contained very few suitmation shots. Like other films at the time, it mostly made use of stop-motion and clever editing. (Although later films in the series were almost entirely suitmation.) That said, the original may still shock modern audiences who expect something akin to the LighterAndSofter versions of the creature that were often aimed at children.
* ''Film/{{Grease}}'' is today considered almost unwatchably corny, or at the very least SoBadItsGood, where as in TheSeventies it helped start a [[TwoDecadesBehind huge wave of Nostalgia]] for TheFifties. It also counts musically. At the time, the idea of mixing (then) current music like disco, with older styles (1950s rock), was unheard of. It was also one of the first movies to both portray the Fifties sympathetically ''and'' to depict people living in that era as a lot more "cool" than they're usually credited.
* ''Literature/GreatExpectations''. Modern viewers watching Creator/DavidLean's adaptation of the Dickens classic might roll their eyes upon seeing [[JumpScare Magwitch pop out of the frame at Pip in the graveyard like a cheap horror movie jack-in-the-box]], genuinely startling though it is -- because they won't know that this was the first time that ever happened in a movie. The same thing might occur with [[spoiler: a seemingly dead Alan Arkin [[OnlyMostlyDead suddenly lunging out]] at Audrey Hepburn]] in ''Film/WaitUntilDark''. It shocked everyone at the time because they weren't used to [[spoiler: the villain doing that after he'd been apparently killed off]], but today most people will likely see it coming.
* ''Film/{{Halloween 1978}}'' seems today a clichéd, formulaic slasher film. But it created the clichés and established the formulas.
** Ditto for ''Film/FridayThe13th1980'' which came out before slashers became predictable. According to the filmmakers, people watching it on the big screen would literally be shouting "don't go in there!" and "don't open that!" in genuine fear for the characters. These days anyone exposed to slasher films knows that of course they're going to go in there and of course they're going to get killed in a clever and creative way.
** See also: ''Film/{{Scream 1996}}''. It {{lampshaded}} every horror movie cliche while still paying loving tribute, creating a tongue-in-cheek slasher/comedy genre that has been aped multiple times over nearly two decades.
* ''Film/HouseOnHauntedHill1959'' was terrifying when it came out in 1959, and its ending gimmick was revolutionary. Now the film can come across as just another old haunted house flick that's boring and/or campy and has inspired a Podcast/RiffTrax parody commentary. However, VincentPrice keeps the film holding up decently, and its (very loose) [[Film/HouseOnHauntedHill1999 remake]] 40 years later was a critical failure in part for not living up to it.
* When ''Film/HouseOfGames'' came out in 1987, the idea that [[spoiler:everything that happens in the movie is [[MassiveMultiplayerScam a huge con]]]] was still relatively fresh. (Though similar plots had been used in earlier movies, such as [[spoiler:''{{Sleuth}}'']].) Since then it has become such an established cliche of con artist movies that the viewers pretty much expect it, which is why [[spoiler: the PlotTwist]] is much easier to guess now than it was in 1987.
* JackieChan. Through the 1970s, Chinese martial arts films were a deadly serious business, with grim plots and frequent {{Downer Ending}}s probably best known today from the films of BruceLee. Then Chan came along with the idea that you could make a martial arts film that was supposed to be fun, or even a straight-out ''comedy''. Chan's autobiography gives a fascinating view of just how powerful a mindset he was up against when making his early comedy films like ''HalfALoafOfKungFu'', with the public at large pretty much calling him a heretic. Today, these films can be pretty disappointing to people used to his later works where he felt much more comfortable throwing in jokes and wild stunts.
** Jackie Chan's style came as a direct result of being compared to Bruce Lee after Lee's death. After getting of being touted as "the next Bruce Lee" he instead aimed to become "the first Jackie Chan", mostly by being the exact opposites of Bruce Lee. Lee's motions were long and smooth; Chan's were short and choppy. Lee almost never got hit; Chan gets the crap kicked out of him regularly. Lee was always in control of the fight, counting on his skill to win fights; Chan was never in control and had to rely on luck and improvisations to win fights.
** Also, Jackie Chan pioneered many filming techniques to add excitement to the action scenes. The majority of these techniques have been used so much they are considered horrible cliches at this point.
* Film/JamesBond. When the movies starring SeanConnery first appeared in the early '60s, they were the sexiest mainstream movies at the time. Coming out of [[TheFifties the uptight Fifties]] and years before the sexual revolution in the later part of the decade Bond was incredibly risque. The credits sequences alone were hotter than most movies during that period. The first, ''Film/DrNo'' premiered in 1962 and made a big impact with Bond having casual sex and [[BestKnownForTheFanservice that famous -- and much-parodied -- scene of Ursula Andress coming out of the surf in the white bikini]]. ''Film/FromRussiaWithLove'' had a {{catfight}} between two scantily clad gypsy girls. In ''Film/{{Goldfinger}}'' one Bond girl was found dead, naked and covered in gold paint, and another was named "Pussy" Galore! Now while Bond still does sleep with many women in each movie, [[SexyDiscretionShot all that's ever shown is the lead-in kiss and then cut to the next morning]]. As the years have gone by and sex scenes become more graphic, the seduction scenes in even the more recent Bond movies seem almost chaste. Also all the sexual innuendo and jokes that were part of Bond from the beginning now seems corny.
** Bond was even receiving this treatment by the late '60s, thanks largely to countless parodies and ripoffs. When reviewing ''Film/YouOnlyLiveTwice'' in 1967, a critic for ''Time'' magazine not-so-ironically compared the Bond franchise to that of ''Franchise/{{Frankenstein}}'', saying that "there have been so many flamboyant imitations that the original looks like a copy".
** With Creator/DanielCraig's portrayal of Bond, it's difficult to appreciate TimothyDalton's portrayal in ''Film/TheLivingDaylights'' and ''Film/LicenceToKill''. At the time, Dalton's portrayal was the darkest Bond had ever been. Especially since his predecessor, Roger Moore, had been [[LighterAndSofter the lightest of all the Bonds]], in addition to [[LongRunners having the longest tenure]]. Audiences had grown so accustomed to a light, wise-cracking Bond that they were taken aback by Dalton's performance.
** Pierce Brosnan's portrayal of Bond. Better SpecialEffects. More subtle villains. Less camp. Self referential humor. More of a focus on the geo-political fallout of a mission. This legacy is fatally undermined by the Daniel Craig version doing all this better than the Brosnan version.
* ''Film/{{Jaws}}'': The [[CrowningMusicOfAwesome so awesome]], but now sadly [[StandardSnippet so clichéd]] use of the movie's theme. In addition, it's now become a tradition of monster movies to not show the creature much until the end to increase suspense. Nowadays, everyone knows what a shark looks like.
* Creator/JohnHughes. When he was making teen films, it was rather rare for there to be films based purely on teenagers and their inner angst. It was actually unique to take the usual school archetypes and see what makes them tick. Nowadays, with at least three generations of teen dramas (as well as countless parodies and homages) that have replicated or even advanced from the analysis of such films as ''SixteenCandles'' or ''TheBreakfastClub'', Hughes's bite doesn't seem as sharp. [[Film/FerrisBuellersDayOff Ferris Bueller]] doesn't seem much like a suave troublemaker when compared to recent characters such as [[Series/{{Skins}} Tony Stonem]].
* JohnWoo. In similar vein to JackieChan, back in the 80s some guy from China created an entirely new genre labeled 'GunFu/gun ballet' and similar. He pioneered the idea of choreographed two-gun action scenes, popularized slow motion gun fight sequences in the west, and generally brought GunsAkimbo style into the mainstream. Nowadays films like ''Film/FaceOff'' and ''Film/MissionImpossibleII'' are criticized as copying ''Film/TheMatrix'' style of gun fights (even though ''Face/Off'' is '''older'''). Hang on, who was that guy who the Wachowskis were hugely influenced by when making ''Film/TheMatrix''?
* ''Film/JurassicPark''. First, this is often considered ''the'' movie that introduced CGI creature effects to its audiences on such a large scale. Before this time, CGI in movies tended to be one or two scenes out of a whole two-hour movie due to its expensive nature, with the rest being taken up by puppetry, stop motion animation and miniature work. JP was one of the first movies to use CGI in the majority of its creature special effects. Now-days, with films like ''Film/{{Avatar}}'' and ''Film/SkyCaptainAndTheWorldOfTomorrow'' being more CGI than real, a few of the effects look dated (though it still holds up better than in even earlier films, such as ''TheAbyss''). Second, this was one of the very first feature films with a wide audience to do away with a lot of old dinosaur tropes, having bipedal dinosaurs stand horizontally and having them act more like birds and less like lizards. However, the film gets hit by a bad case of ScienceMarchesOn (most glaring of all, the Raptors lack feathers, which scientists are now certain they possessed.) A dinosaur fan might go back to watching that movie and laugh (or [[ArtisticLicensePaleontology cry]]) at the errors.
* ''Film/KingKong'' (the 1933 original). At the time of its release, people thought it had the greatest effects in film. Now, with 80 years of technology advancement, two remakes of which used it, the power is somewhat lost on most people.
** On the other hand, the trope is reversed if you try to view ''Kong'' as a typical 1930s film. Most aficionados of Thirties cinema are more familiar with the mid-'30s and late '30s classics, made after UsefulNotes/TheHaysCode against portrayals of sex and violence in American movies began to be officially enforced. As such, it can be shocking for modern-day viewers to see things like Fay Wray being stripped nearly nude by Kong and blood gushing from the bodies of the dinosaurs after Kong kills them. Indeed, quite a few viewers of pre-Code (1930-1934) Hollywood films have felt their jaws hit the floor at what they are seeing.
* ''{{Koyaanisqatsi}}''. SlowMotion / TimeLapse footage of things like factories and traffic and clouds, put to music, was a new thing in the early '80s.
* ''TheLongestYard'' (1974) or ''Film/SlapShot'' (1977). Anyone who sat down and watched these today would immediately groan. "Oh no, not another [[UnderdogsNeverLose scrappy]] [[RagtagBunchOfMisfits underdog team]] struggling to overcome their personal issues as emphasized by their chosen sport and antagonized by [[OpposingSportsTeam a wealthier, better-equipped team]] of entitled (but excessively-pressured) jerks. I can't wait for the second act, when the team falls apart due to the captain's arrogance/the coach's inadequacy/[[TooManyCooksSpoilTheSoup the stars' rivalry]] and, in order to [[TeamSpirit fix]] [[SaveOurTeam everything]] and win the BigGame, the team needs to call in a ringer/go on a vacation/listen to a RousingSpeech/use the PowerOfFriendship."
* ''Film/TheLostBoys'' (1986) and ''Film/NearDark'' (1987) were notable for contemporizing the vampire. Before these films, vampires were almost always either [[OurVampiresAreDifferent erudite seducers or grotesque monsters]]. In ''Lost Boys'', the vampires are a bunch of hip punk teens, while in ''Near Dark'' they're vagabond badasses in a van. By bringing modern culture into the vampire mythos, these films paved the way for such properies as ''Series/BuffyTheVampireSlayer'', ''Series/TrueBlood'' and ''TheWorldOfDarkness''.
* ''Mad Max 2'' aka ''TheRoadWarrior''. Pretty much every post-nuke movie since has featured crazed marauders on motorcycles and dune buggies fighting it out in the desert.
* ''Film/TheMagician'', a silent film from 1926 featuring a MadScientist Hypnotist. At the end of the movie, when the BigBad's castle blew up, you may think to yourself, "Hey, they stole that scene from ''Bride of Frankenstein''", but then you realize that ''Bride'' wouldn't be made for another nine years. While ''The Magician'' may seem like a hopeless ClicheStorm now, (borrowing liberally as it does from Creator/MaryShelley, Svengali, and Victorian Melodrama,) it ''did'' go on to influence many horror films that were to follow in the coming years.
* ''Film/TheMatrix'', heavily influenced by anime, religion and the western, caused such a major shift in culture -- and SpecialEffects, with the proliferation of WireFu and BulletTime in action sequences, as well as stoic action heroes wearing black dusters and shades. It also reversed the decades-old trend of science-fiction films depicting a future full of colorful "futuristic" gimmicks and {{Zeerust}}. Looking at many sci-fi/fantasy films from as recently as TheNineties, it's amazing how hokey many of them already look, and ''The Matrix'' deserves the credit (or blame, depending on your attitude) for that. One reason the ''Matrix'' sequels were poorly received was that they continued playing all this stuff like it was just as revolutionary, after the first film had inspired so many imitations.
* ''Film/NightOfTheLivingDead'', ''Film/DawnOfTheDead'' and ''Film/DayOfTheDead'', George Romero's original "Dead" trilogy.
** The series is credited with pretty much inventing, or at least solidifying, the modern ZombieApocalypse story: the Dead rising to feast on the flesh of the living, the total breakdown of society as a result, a small group of humans forced to work together to survive but generally failing due to HumansAreBastards, and fairly bleak endings stressing the InferredHolocaust, etc. Zombie films that don't follow this pattern are generally viewed as subverting the expectations of the audience. However, the film did not originate all aspects of the common Zombie Apocalypse playbook. For example, ''ReturnOfTheLivingDead'' was the originator of zombies eating brains.
** The fact that the first film's protagonist is black was very unusual for its day, which can be lost on modern audiences.
** The fact that the origin of the zombie apocalypse is never explained and the problem is never resolved was highly unusual for the day. Usually B-movies would end with some sort of technobabble summation assuring everyone that the problem had been solved. ''TheBirds'' was another example of a film around this time that subverted the trend. Films with such open endings are much more common in recent days.
* Pee-wee Herman. In 1985, the notion of having a child - or ManChild - character who [[TheUnfettered is completely uninhibited and does whatever he wants without regard to how annoying or disrespectful his behavior comes across]] was still pretty novel. Traditionally, this type of character had been cast either as a villain or as extremely unsympathetic (Lampwick in Disney's version of ''Disney/{{Pinocchio}}'', for example); the most heroic (or at least sympathetic) such character up to that time had probably been [[ComicStrip/DennisTheMenaceUS Dennis the Menace]]. Now, after [[WesternAnimation/TheSimpsons Bart Simpson]], [[HomeAlone Kevin McAllister]], [[MaxKeeblesBigMove Max Keeble]], and just about every character AdamSandler has played, Pee-wee is par for the course.
* ''Film/{{Porkys}}'' once had a reputation for being a definitive sex-comedy, with its "shower scene" having a memetic level of hotness ascribed to it. In retrospect though, the film isn't really that funny or that sexy. This is strange as some of its contemporaries (eg ''AnimalHouse'') have held up very well.
* ''Film/ThePoseidonAdventure''. Just try to watch a DisasterMovie and ''not'' spot any scene, plot, or subplot that hasn't either been spoofed, homaged, recreated, or otherwise by even ''any'' action movie. It can be quite hard to believe that this movie was so novel back in the 70s (even today, it's an unlikely premise), or that several scenes in ''Film/TheToweringInferno'' had people on the edge of their seats. Heck, nowadays, people can probably point out how the elevator scene in ''The Towering Inferno'' is actually quite silly.
** Another potentially off-putting thing in ''Poseidon'' would be the presence of LeslieNielsen in one of his many dramatic roles, as mentioned above.
* ''Film/PulpFiction'': The Tarantino-style dialogue, in which characters have long conversations about trivial, pop culture-laden topics that don't seem to relate to the plot, was virtually unknown and highly influential. TheNineties were littered with irreverent crime films heavily borrowing from ''Pulp Fiction'''s tone.
* ''{{Rashomon}}''. RashomonStyle is always ''exactly the same trope'' they used in that other damn movie.
* ''Film/RevengeOfTheNerds''. Being a nerd used to mean something. Originally seen as the first movie that was made specifically with the intention to empower nerds. Now the movie is seen as a weak analogy of nerdy social ostracism to the genuine prejudice faced by racial minorities. One could understand questioning how the films most memorable characters (the openly gay Lamar and the pothead pervert Booger) actually qualify as nerds. With passing time, it's been realized that "true nerds" (as opposed to the caricatures in this film) are still not considered any cooler. All of the so-called cool nerds were never true nerds to begin with.
** In almost a bizarre case of LifeImitatesArt and thanks to computers and the internet becoming not only mainstream but a way of life, it's this caricature of "nerds" that 'has' become cool. Unfortunately for "true nerds", this caricature is closer to being HollywoodNerd (Type 1) than an accurate depiction. The entire image of a shy, skinny pale guy with glasses doing cool things has started to get a bit of romanticism attached to it; however, even in those cases, those with that view fail to realize that the reason why a nerd can do all these cool things, is because of the sheer amount of time spent on learning and working on those things.
* ''Film/SaturdayNightFever''. There was a time when this movie's dance with the diagonal pointing was actually a new idea.
* Creator/JohnFord's ''Film/{{Stagecoach}}'', to paraphrase the ''Halloween'' review above, "seems today a clichéd, formulaic Western film. But it created the clichés and established the formulas."
* ''[[Film/{{Solaris1972}} Solaris]]''. "Oh, so the aliens make clones of dead people and the guy decides to live in a [[LotusEaterMachine flawed fantasy world]]? What's the big deal?"
* ''Franchise/StarWars'' both exhibits and inverts this:
** After having seen LukeIAmYourFather parodied a million times, experienced the [[Franchise/StarWarsExpandedUniverse Expanded Universe]], and gotten to see villains like Exar Kun or [[VideoGame/KnightsOfTheOldRepublic Darth Revan]], and particularly after the two-plus decades of pulp sci-fi blockbusters that the film (directly or indirectly) inspired, coupled with the largely underwhelming response to the prequel trilogy, how many younger people are still able to watch the original movies completely seriously and see Darth Vader as an awesome villain?
*** With the prequels and the animated [[WesternAnimation/StarWarsTheCloneWars Clone Wars]] series, kids now see him as a TragicVillain, which is ultimately what Lucas wanted.
** [[InvertedTrope In the other direction]], the original trilogy in particular had this effect on many of the older SpaceOpera tales that inspired them, such as ''Film/FlashGordon'' and ''BuckRogers''. It didn't help that both of those series were revived (the former as a movie, the latter as a [=TV=] series) to [[Main/FollowTheLeader cash in]] on the post-''Star Wars'' sci-fi craze.
** At the time, it was so controversial that the first Star Wars film, ''Film/ANewHope'', didn't have opening credits. The Director's Guild of America let it slide for Creator/GeorgeLucas [[ItWillNeverCatchOn only because they thought it would tank in the box office]]. [[AndYouThoughtItWouldFail It obviously didn't]], but despite this, when Lucas did it again for ''Film/TheEmpireStrikesBack'', he got a huge fine from the DGA, which he paid before he quit the guild altogether. Today, many filmmakers forgo traditional opening credits or even opening titles that now, it looks as though [[DisproportionateRetribution the DGA overreacted]].
* ''Film/{{Superman}}: The Movie'' was the first superhero blockbuster and its sequel, ''Film/SupermanII'' set the template for a superhero sequel. And yet, not only is it likely that younger audiences might find them boring, but many fans of the modern comics and animations blame the films -- which create "the Donnerverse" -- for the entirety of Superman's {{hatedom}}.
** It also wasn't too long ago that ''Film/SpiderMan2'' was seen as the benchmark for what Superhero movies should try to achieve; mixing the fantasy/campiness of the comics with realism. Much like ''Superman'' before it. With the release of even more realistic and serious superhero movies (such as ''Film/IronMan'', ''Film/TheDarkKnightSaga'', and ''Film/CaptainAmericaTheWinterSoldier''), or less realistic but with ''huge'' action set pieces and witty dialogue like ''Film/TheAvengers'', the Sam Raimi trilogy has started to [[{{Narm}} show its age]], and is no longer held in as high esteem as they once were.
* {{Documentary}} ''Film/TheThinBlueLine'' was one of the first documentaries to actually dare to produce reenactments in order to provide greater information about events, not to include narration, and not to identify people speaking on camera. While revolutionary in its time (and, more importantly, its effect of having the case reviewed and eventually overturned) even the most basic of television non-fiction programs have since adopted many of its techniques making it seem trifling to some modern audiences. An acknowledged groundbreaking classic of the genre is now made to seem almost amateurish.
* The twist in Orson Welles' ''Film/TheThirdMan'' has been done so many times that it's impossible for a remotely film-savvy person to watch it today and not see it coming from very early on, which is a shame because it's nonetheless a well conceived and sharply written film. In these days when writers feel the need to constantly pull the rug out from under the viewers, such a twist is usually just one part of a [[GambitPileUp Gambit Pile-Up]].
* ''{{Tron}}'' introduced the concept of cyberspace (a virtual world) to most audience members for the first time, something that subsequently became entirely routine, such that by the time of ''Film/TheMatrix'' (1999), it only needed to be explained THAT Neo was inside a virtual world, not what a virtual world was. Tron's use of computer-generated graphics was revolutionary, and served as midwife to the modern visual effects industry. The film even helped popularize the word "user" for a computer operator. (There was no consensus of terminology at the time; the word "computerist" was another popular term.)
* [[ThreeDMovie 3-D Films]]. For many early ones the plot was poor or non-existent, and many scenes were shoehorned in just to show off the 3D. They wouldn't be at all worth watching in 2D, and those flaws are jarring now that 3D is becoming popular again after ''Film/{{Avatar}}''. Thankfully, a lot of modern 3D movies tend to be quality on their own rights, since 2D versions are often released alongside. Even ''Avatar'', the trend-setter for modern 3D Films, is perfectly enjoyable without 3D.
** This is evidenced by {{SCTV}}'s mockery of 3D movies, with John Candy (as the inimitable Dr. Tongue) and Eugene Levy (as Woody Tobias, Jr.) constantly moving any old object that they happened to have in hand towards and away from the camera, accompanied by appropriate soundtrack noise and a sudden, inexplicable break in the action.
** This is actually the third time it's happened, there's been a 3D boom about every thirty years since the 50s.
* ''Film/TwoThousandOneASpaceOdyssey'': Similar to ''Film/{{Jaws}}'' the [[CrowningMusicOfAwesome so awesome]], but now sadly [[StandardSnippet so clichéd]] uses of "''Music/AlsoSprachZarathustra''".
** One would be hard-pressed to find a scene from ''any'' Creator/StanleyKubrick film that hasn't been parodied/homaged to death.
** The famous "Star Gate" sequence, in which brilliant colors flash past the screen as the main character travels deep into space, required some extremely tricky cinematography and caused jaws to drop when the film was released in 1968. Thanks to the incredible advances in special effects since then, modern audiences often find the scene rather ''boring'' (not helped by the fact that the sequence goes on for something like ten minutes).
* ''Film/WarGames''. More than half the world's hacker films are sons of this one. Yet, some of those who see it now thinks "another hacker-boy-saving-the-world movie". No, he was '''the''' hacker boy who saved the world. ([[UnbuiltTrope After nearly precipitating its destruction]]. Way to save on major characters.) It doesn't help that much of what gave ''Film/WarGames'' its punch [[TheGreatPoliticsMessUp is fading from collective memory]]. Having a plucky young hacker almost precipitate WorldWarIII was an allegory on how nonsensical the ColdWar was to the average person.
* The first two ''Film/XMen'' movies have largely been overshadowed in recent years by more bombastic fair like ''Film/TheAvengers'', but at the time, the [[Film/XMen1 first movie]] was a surprise hit that proved vital in convincing Hollywood that {{superhero}}es could be viable again after ''Film/BatmanAndRobin'' had [[GenreKiller killed the genre several years earlier]].
** It's also easy to forget that alongside ''Film/{{Blade}}'', the original ''X-Men'' movies were massively influential in terms of tone and costuming, arguably becoming the TropeCodifier for MovieSuperheroesWearBlack.
* ''Film/{{Zombi 2}}'', after thirty years of zombie movies about scientists looking for the source of the zombie outbreak (and possibly [[FindTheCure a cure]]), people holed up in buildings with an assortment of guns and melee weapons, and {{Downer Ending}}s, can come off as derivative of every zombie movie ever made... even though this film, together with ''Film/DawnOfTheDead'' (which ''Zombi 2'' was an [[SpiritualSuccessor unofficial sequel]] to) helped [[TropeCodifier codify]] all of the tropes listed above. On the other hand, the [[SugarWiki/VisualEffectsOfAwesome gore effects]] still hold up after all this time (the film wasn't released uncut [[VideoNasties in Britain]] until 2005).
* The ''Franchise/{{Rambo}}'' movies seem almost cliched by this point, having seen all the action movies inspired by them.
** The second film did copy an arealdy common cliche. Gene Hackman had made ''Film/UncommonValor'', which saw release in 1983, two years before ''RamboFirstBloodPartII''. (This film in turn resembles J.C. Pollock's novel Mission: MIA and a point in The Shadow Unmasks). Tom Laughlin introduced Vietnam Veteran Billy Jack in the late 1960's. Don Pendleton introduced Mack Bolan in 1969.
** The irony of the sequels is that they were made in response to the shift in the way that action movies were made in the 80's. ''Film/FirstBlood'' was nothing like them, and in fact is more of a thriller than an out-and-out action movie. The creators of ''RamboFirstBloodPartII'' and ''RamboIII'' found themselves competing with films like ''Film/{{Commando}}'' and ''Film/{{Predator}}'' and tailored their movies according to audience expectations. It can be odd to see Rambo as a trauma-wracked veteran on the run from an unjust pursuit, rather than the WeDoTheImpossible OneManArmy he became in later movies.
* The scene in ''Film/TheWizardOfOz'' where Dorothy opened the front door of her house to the Land Of Oz, which brought the film from a sepia tone to color for most of the rest of the movie, was radical for its time in 1939. Although the color comes out crude by today's standards, the fact that it was there ''at all'' was quite an achievement for the late [[TheThirties '30's]]. Remember that only a decade before, movies started to be released [[TheJazzSinger with sound]].
** Also, some of the effects and makeup used in the film were complex and realistic for its time, but can be [[SpecialEffectsFailure laughable]] by the standards of what could be achieved even in TheSeventies. Some effects such as the tornado still do hold up today, though.
* Creator/BruceLee's martial arts movies. Today, his fights against opponents who [[MookChivalry attack one at a time]] can look hokey and cliche until you remember that at the time, he was pioneering not only the tropes of the genre, but the genre itself. ''Film/EnterTheDragon'' was ''Film/TheMatrix'' of its day.
* ''Film/InTheHeatOfTheNight'' comes off like a ClicheStorm these days: BuddyCops, [[DiscOneFinalBoss Decoy Antagonist]], VitriolicBestBuds in the DeepSouth. At the time, not only were all of these unique concepts, the storyline was contemporary, yet included such unbelievably edgy moments as a black man slapping a white man.
* ''Film/BreakfastAtTiffanys'', one of the earliest "chick flicks," now appears passé compared to its numerous successors.
* Many of the original UniversalHorror movies, particularly ''Film/{{Dracula 1931}}'', with its {{Melodrama}}tic style filled with SilentMovie conventions (despite being a talkie).
* ''Film/RebelWithoutACause''. In addition to being arguably the first true "teen movie" ever made, the film was also unique for being among the first to do away with the [[ChildrenAreInnocent utterly wholesome depictions of children and teenagers that were so prevalent in movies before then]] (the movie was, in fact, made in response to the youth counterculture movement that was bubbling at the time - which, of course, would be more fully realized in [[TheSixties the following decade]]). James Dean's teenaged character gets caught up in a gang and takes on a life of crime to rebel against his highly conservative (but loving and supportive) parents. What's more, the film actually demanded the audience to ''sympathize'' with his character and question some of his mother's and father's parenting practices. While some of the things he does are quite shocking even today, the lack of swearing, sex, etc. certainly diminishes its impact when compared to more recent films depicting troubled teenagers. A matter not helped by the fact that the "rebellious music" he and his friends listen to is... swing and jazz music!
** Certainly the (slight) suggestion that the father may be somewhat attracted to, and thus feel threatened by, his teenaged daughter was ''very'' unusual for a 1950s movie.
* Most of Creator/MNightShyamalan's early movies count as this, in some way or another. Before his reputation as a director took a nosedive, and before a whole generation of moviegoers got their kicks by pointing out the logical flaws in his famous {{Mandatory Twist Ending}}s, his movies actually did get a lot of well-deserved praise for their unconventional retellings of popular Hollywood stock plots. And before everyone knew to expect them, the {{Twist Ending}}s in his movies were half of what made them popular.
** ''Film/TheSixthSense'': A supernatural horror movie that successfully masquerades as a psychological thriller for the first half, ends with a genuinely shocking TwistEnding that no one had any reason to expect, and manages to turn a ghost story into a heartwarming tale of an IntergenerationalFriendship. When it came out, that was notable. But when the twist became [[AllThereIsToKnowAboutTheCryingGame the most well-known thing about it]], many people forgot that its story actually had many other merits.
** ''Film/{{Unbreakable}}'': A superhero movie that successfully hides the fact that it's about superheroes for most of its running time, makes real-world superheroes seem plausible (doing it well before the 2000s superhero movie craze started, no less), manages to turn a superhero's origin story into an understated family drama about ignored potential, and ends with ''another'' genuinely shocking TwistEnding that no one had any reason to expect. Since 2000, though, superhero movies have become such a regular attraction at the box office that many people forget what an unconventional portrayal of superheroes ''Unbreakable'' was.
** ''Film/{{Signs}}'': An AlienInvasion movie that takes place almost entirely on a remote farm, manages to keep its aliens [[NothingIsScarier almost entirely unseen]], and successfully juggles family drama and religious dilemmas with the possible extermination of humanity. For all its flaws, it truly ''was'' unlike any other sci-fi film that audiences in 2003 had ever seen. And before its many plot holes were widely spread by word of mouth, its unconventional take on the AlienInvasion was the most well-known thing about it.
* A lot of slapstick comedy from the first half of the 20th century like Creator/CharlieChaplin, TheKeystoneCops, HaroldLLoyd,... Back then it floored many audiences across the world with laughter. Today most of the gags, comedic archetypes and situations have been used by later comedians. As a result many of these slapstick comedies now look dated, old-fashioned, bland and corny by comparison, not to say unfunny. Chaplin in particular is admired more for his skill and talent as a mime and a director than filling movie theaters with crowds of fans roaring with laughter. It says a lot that the most iconic and recognizable comedian of all time isn't considered to be ''that'' hilarious anymore.
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