Big things are happening on TV Tropes! New admins, new designs, fewer ads, mobile versions, beta testing opportunities, thematic discovery engine, fun trope tools and toys, and much more - Learn how to help here and discuss here.
The following Big Lipped Alligator Moments were producer- and director-approved. One has to wonder just how many takes it took for them to "get it just right"...
open/close all folders
Films - Animated
Trope Namer: All Dogs Go to Heaven includes a bizarre and nonsensicalmusical number with a big lipped alligator near the end of the film. The two main characters fall into a cave where they are brought by a Wacky Wayside Tribe to meet their leader, King Gator, who breaks into an Esther Williams tribute. The scene not only comes out of nowhere with only very little build-up beforehand, but it violates the rules of the movie: animals can only speak to members of their own species, with Anne Marie being the only being who can communicate with everyone. Yet the Gator and Charlie can share a cross-species musical number. Ironically, the trope namer is Not an Example: while it certainly comes out of nowhere and is strange even in-context, it actually sets up a couple important plot elements - Anne Marie gets sick as a result of being in the water for too long, and Charlie's musical-sounding howl that makes King Gator fond of him (and kicks off the musical number) ends up coming back in the ending, his pained howl summoning back the alligator at the end to save Charlie and kill Carface. It is more of a Random Events Plot moment than this trope.
In an interview with Don Bluth on All Dogs, he uses this song as an example of his principle that "No song could be just stuck in without a purpose. Every one had to advance the plot or enlighten the audience in some way."
Final Fantasy VII: Advent Children seems to start with one of these. After a bit of introductory text, the very first scene is a bunch of strange red furry animals running up a cliff overlooking a ruined city in a scene that seems more at home in The Lion King than this movie. It's only a BLAM in the context of the movie, since it's a shot-for-shot rerendering of the last cutscene of Final Fantasy VII itself (and in that context it was more of a Gainax Ending). Without that context, a new viewer will have no idea what it has to do with the movie. Presumably, Square Enix assumed that everyone watching Advent Children would have already played through Final Fantasy VII; given that the game was almost a decade old by the time of the movie's release and considered a Killer App from the moment of its release, this is a safe assumption.
It's a BLAM within a BLAM. About halfway through the film, the appliances find themselves beside a small pond where they meet some animals, including a singing fish who gives an epic performance on par with the original Big Lipped Alligator. In the middle of this, the Toaster runs off to be alone and has a very awkward encounter with a lone daffodil. Neither incident ever comes up again.
Though the incident with the poor daffodil is why Toaster starts treating Blanky nicer.
A nightmare Toaster has in which he is menaced by a Monster Clown who is dressed as a firefighter, and wields a firehose that sprays forks.
This sets up his/her fear of heights and water, though.
In The Brave Little Toaster Goes to Mars, during the characters' flight into outer space, they encounter a cloud of singing balloons that floated away from Earth.
Moreover, The Brave Little Toaster to the Rescue has these...vaguely cow-like...things with disc-drives that break down the door, with other stuff trailing behind in order to break into a song about The Information Superhighway. Then they leave and the movie goes back to the plot.
The direct-to-video The Secret Of NIMH 2: Timmy to the Rescue had this as well, though Don Bluth was not involved in the film. Jeremy the Crow and his new sidekick Cecil the anthropomorphic insect are found running a scam in the woods, with Jeremy disguised as the Great Owl and posing as an oracle giving fortunes for money. The musical number that ensues is over-the-top with bizarre animal dancing. At the end, Jeremy's Paper-Thin Disguise falls off, and the forest animals chase him and Cecil away. Jeremy and Cecil rejoin the main storyline, and the whole sequence is never mentioned again.
The Death Coach chase scene from A Christmas Carol. Especially jarring considering the rest of the movie is almost faithfully accurate to the book, and then you have this...thing...come out of nowhere, with Scrooge shrinking for no reason, providing an action/comedy scene in the middle of a drama...and then everything continues on as normal.
The coach itself, by the bye, is in the book, but in a different place (the stairs of Scrooge's house...yeah, it's kind of a BLAM all its own) and without the inexplicable shrinking thing going on either.
In Tom and Jerry: The Movie, there is a musical number when Tom and Jerry are being threatened by a singing gang of alley cats. After sending the cat gang into a sewer, Tom and Jerry apparently blocked it from their memories, because the cat gang is never mentioned again.
Rock-A-Doodle has the main protagonist Edmund run into his brain (?) and hallucinate the other characters berating him for being a "scaredy-cat", a character flaw only brought up like once previously. (Cause he got turned into a cat, get it?) As per the usual, it is never mentioned again.
An American Tail has one, when Fievel is walking in the sewers. He gets chased by a swarm of creepy cockroaches, and then swings over a chasm, causing the bugs to fall as they attempt to follow Fievel. And at the bottom of this chasm is this... reptilian thing, that eats the bugs as they fall into its mouth. Fridge Logic denotes that such a thing should not exist at the bottom of a sewer. It's never referenced again.
There's a scene where Fievel travels across the desert in a bouncing tumbleweed as random animals sing "Raw Hide".
There's also a part where Tiger is captured by Native American mice. That works into the plot decently, but what doesn't is the hilariously randomdance they do right before they nab him (to the tune of "Puttin' On the Ritz," of all things!). A possible example of a BLAM being used as something between a Batman Gambit and Cassandra Truth. "Dancing buffalo bones... nah!" *Tiger turns his back*
In Grandma Got Run Over by a Reindeer, during a scene in which the grandpa interrupts one of the villain's evil tricks with the song "Grandma's Spending Christmas with the Superstars."
There's also a BIGGER one where the villainess and her lawyer dress in Carmen Miranda outfits and sing "Grandpa's Gonna Sue the Pants Off of Santa" to a Latin rhythm.
An animated version of A Christmas Carol has, near the beginning, a small song sung by Scrooge and his nephew. There are no other songs, and this is actually the only time the nephew appears in this version.
The first part of the song is used during the fight between the Autobots and the Junkions, who see the Autobots only as unknown invaders at that time. As the Junkions' society is built upon what they learn from TV broadcasts, the song is a fitting theme for them. What makes the BLAM is what follows; after Kup and Hot Rod show up (with the Dinobots and Wheelie in tow), they make nice with the Junkions, which results in an utterly random dance number set to the ending of the song, and Grimlock getting kissed by a random Junkion.
The sequence where the Rugrats briefly visit the hospital's nursery (or as they call it, a "baby store"). The newborns, all of them caricatures of pop artists, then engage in a song titled "This World is Something New to Me", which immediately puts them in a stark contrast with Tommy's non-speaking brother Dil, who is also born in this movie. During the song, they also use their pee to form the image of a rainbow in the middle of the nursery. Eventually, Tommy's grandpa comes in to take the Rugrats out of there, and the scene is never brought up again.
The movie has another BLAM, though this scene is cut and can only be seen when the movie airs on TV. One of the scenes is a random nightmare that Stu and Didi have. It's an extremely odd musical number with Lipshitz in diapers talking about how they're bad parents, and it feels like it could have easily been made when the producers were on a substance.
We're Back! A Dinosaur's Story is, to say the least, a bizarre film all round. However the climactic scene in which the villain is eaten alive by his own hitherto unmentioned crows is particularly jarring. There was a cut scene, explaining how the crows related to the villain's missing eye, and why he kept them around in terms of 'mastering his fear'. It was considered too disturbing (the villain talks candidly about how a bird plucked his eye out in an accident) and hence cut.
There's also a scene where Cecilia's hat lands on a girl who's wishing for an identical hat, but this serves no importance to the plot. The girl does show up again, and her desire for a hat is mildly foreshadowed, but these still don't serve any purpose to the plot.
In the Horton Hears a Who! movie there was an over the top anime sequence. And also the cast singing REO Speedwagon's "Can't Fight This Feeling" after Horton saves the speck of Whoville from getting killed.
In Brother Bear, Kenai and Koda come across two rams who butt heads to try to impress some girls, and then they start yelling back at their echoes when Kenai tries to ask them for directions. They continue to do it as Kenai and Koda leave, and the rams are never referred to again with the exception of a brief cameo during the end credits.
In Felix the Cat the movie there are many scenes that could qualify, like the circus, the singing undersea creatures, and when the Duke's henchmen chase the heroes a monster pops up and randomly starts quoting from On The Waterfront and A Streetcar Named Desire!
"Stella, Stella come back!, I could've been somebody!".
The first BLAM moment in the movie occurs when Felix hides under his bag while a fox family prances about to the musical number "Sly as a Fox." The foxes leave after kicking dust on his bag and are only acknowledged with the waving of Felix's fist. They are not seen or mentioned again and, similarly, the song has no bearing on the plot.
In Raggedy Ann & Andy: A Musical Adventure, at one point Ann, Andy, and the Camel fall into a pit and meet a gigantic sentient lake of taffy and candies who can't stop eating himself, called The Greedy. While the other animated characters can easily be explained to be living toys, he is really out of place. After escaping him, he is never brought up again.
The frog hunters, of The Princess and the Frog, unless you designate their scene as the first time Tiana and Naveen start getting along (there's actually debate among fans over whether or not it is).
To the people on that riverboat, this trope would certainly apply. Think about it: You're on this riverboat having a great time. Then, out of nowhere, an actual big-lipped alligator hops up onto the deck, whips a trumpet out of hammerspace, and joins right in with the band. You'd never be able to tell anyone about it because it's just too crazy, even by New Orleans standards.
The Big Lipped Alligator is a reptilian shout out to the late great "N'awlans" trumpeter Louis Armstrong. Just in case you didn't know........
Despicable Me has a particularly ridiculous scene wherein Gru goes to the lab to check on the "cookie robots". Thanks to Dr. Nefario's hearing, he instead gets a dance number performed by "boogie robots". Gru's expression says it all.
Near the beginning of Disney's Dinosaur, during the scene where Aladar's egg is accidentally dropped into a river by a hungry Oviraptor, just right before the pterodactyl comes to pick it up, a Koolasuchus immediately swims up to the egg, eats it, spits it out, and swims away, never to be seen again.
In Rover Dangerfield, Rover sings a song on how he doesn't pee or poop on Christmas trees! And in good ol' BLAM fashion, it is never mentioned again.
Bebe's Kids features a strange, almost music video sequence inside a tunnel of love.
Jetsons: The Movie features a scene where Judy Jetson and her Boy of the Week explore a holographic garden that ends up turning into a surreal and largely pointless music video of a Silly Love Song by Tiffany called "You and Me". Of note is that Judy was recast as Tiffany specifically to allow this scene, so in a meta sense it impacts the rest of the movie, but certainly not in terms of plot.
Word of God says this is something they decided not to do to differ themselves from other shows featuring anthropomorphic cars. That scene was a nod to how bad an idea it would have been.
The Incredibles: The old men's "no school like the old school" scene is this for anyone not aware of that they are Frank and Ollie of the Nine Old Men. Even after that, the cameo's still pretty out of nowhere.
The Johnny Halliday sequence in Titeuf movie, seen here. After that, despite a title repeat by Titeuf and a breve appearance of Johnny Halliday for fews seconds to the end, nobody talks about that and it has nothing to do with the plot.
The Man Called Flintstone has two random musical numbers involving Pebbles and Bam-Bam called "Tickle Toddle" and "Someday." The latter at least ties somewhat into the plot (Fred thinking about their future if he doesn't continue with spy-work), but the former seems to be purely for Padding.
In the Animated Adaptation of Astérix and the Big Fight, Getafix has been hit on the head with a menhir and lost his memory. Suddenly, Cacofonix declares he's going to sing a song to jog his memory, twirls his cape, and sucks the film into a Disney Acid Sequence in which he morphs into a modern rock-star appearence with an electric guitar and psychedelic, twirling limbs, then performs a strange 80s pop-rock song with about ten different words about Getafix being knocked on the head. The song is particularly weird because the whole concept of Cacofonix is that he is a Dreadful Musician and his voice in the song is not that bad - also because Fulliautomatix is in his backing choir, despite his character's raison d'être being to hit Cacofonix whenever he tries to sing. It's also unclear how the song is supposed to jog anyone's memory, considering it specifically describes a situation that has only just happened, with the least strange part of it being the concept of 80s rock existing in Roman-occupied Gaul. This goes on for a while until Fulliautomatix hits Cacofonix (transforming his neck into a jack-in-the-box concertina within the song-world), and we go back to reality where Asterix and Obelix simply take Getafix away.
"Asterix & Cleopatra" also has a really weird (and long) musical number. Obelix has big problems with the Egyptian cuisine, becomes hungry and starts having hallucinations about "real food". Among many other things, we get to see dancing wildboar roasts and singing cheese!
Snow White and the Seven Dwarfs has one. "The Silly Song" segment, even though it's not per-se surreal, but it does come out of nowhere with no build up and is never mentioned again after it's over. Even though it is entertaining, it doesn't really progress the story. You can literally skip this whole segment and go straight to the next segment that follows it, and the movie would make just as much sense.
The scene with the mini pterodactyls fighting over the cherry in the first The Land Before Time movie.
Frozen has two. Olaf the Snowman's song about summer seems to have no actual bearing on the plot, but at the very least helps introduce the character. The much bigger example comes later on in the film - a family of trolls busts out in a huge synchronized musical number in which they try to set up Anna with Kristoff. One could argue that, in fact, this helps in the development of their relationship - but it doesn't change the complete out-of-nowhereness of the whole thing. It's this wild, crazy, colorful shipping party in the middle of an icy winter-themed movie. And, to be fair, it doesn't help push along the immediate plot in any way, and is commonly criticized (rightly so) for being right in the middle of a VERY important, VERY dramatic scene.
Visually lampshaded: Anna and Kristoff are adorned in bright mossy cloaks and crowns of sticks partway through the last verse; the second the music number ends, Anna collapses, Kristoff catches her, and the outfits fall off by the movements.
Downplayed in The Nut Job. One scene cues up "Gangnam Style" when two of the squirrels happen upon a nut shop, but only a portion of the song is used, and they don't dance to it for very long. It still manages to be a minor BLAM due to the film being set in The Fifties.
In Once Upon a Forest, the heroes encounter a group of birds mourning the loss of one of their young, who is stuck in some tar. After the heroes use clever tactics to save him, all the birds sing a gospel song about how glad they are that he's been saved. This scene comes out of nowhere and is never mentioned again in the film.
The Lightning Reveal of Skeleton!Manolo in The Book Of Life. It's basically there to get a cool-looking shot, coming with no warning or explanation and never being mentioned afterwards.
Films - Live Action
In The Addams Family, Gomez is about to take Fester to the vault. The trip involves the floor going out from under them and suddenly they're on a circular slide while voices that are almost certainly Satan's ringtone sing "Hey, hey, oh playmate, come out and play with me! Bring your dollies three! Climb up my apple tree!", etc. Fester's face suggests he can hear the singing and is freaked out by it. At the bottom, however, and for the rest of the film, this is never mentioned again.
In the movie version of Diary of a Wimpy Kid, there is a moment at the mother-son dance when Rowley and his mother do a dance to Intergalactic by the Beastie Boys.
In The Room features a few. Danny/Denny's drug problem and Chris R. are never brought up again and don't add anything to the plot. The character Claudette tells Lisa that she "definitely has breast cancer," which is never mentioned again. Characters also start playing games of catch for no particular reason. When asked why he included them, the director said because "catch is fun."
Snow White & the Huntsman has a scene where the evil queen Ravenna turns into a flock of crows. The characters are not shocked or surprised by this and just start slashing at the crows with their swords. Nobody questions it and it is never explained.
In Men In Black II, Zed (Rip Torn) unleashes a gravity-defying juggling kick to the Big Bad. The movie gives no explanation to how he does this and feels jarring considering every other human character is treated realistically.
In Butch Cassidy and the Sundance Kid, the movie takes a break from the story of two western outlaws to have a musical interlude with the characters riding around on a bicycle. It wouldn't be that weird except for the music they chose, "Raindrops Keep Falling on my Head", which is cheerful, anachronistic, incredibly out of place, and one of the things everyone remembers about the movie.
Probably because it was written for the film.
Its A Wonderful Life has a scene where Mary loses her bathrobe and has to hide naked inside a bush. It's not at all plot-relevant and the next scene is aboutGeorge's father having died of a stroke. George even lampshades it: "This is a very interesting situation I'm in!"
The 2010 Danish movie In A Better World, perhaps best known for winning the Oscar for Best Foreign Film has a mild example. During an argument between Christian and Elias, Christian finishes off the argument by saying "...and stop texting me". We didn't see them exchange numbers or using cell phones ever before that line, and take a wild guess as to whether or not you see it after the line (and if it's mentioned).
The deranged tunnel scene from Willy Wonka and the Chocolate Factory qualifies for this trope. The poem Wonka quotes is from the book, but the tone and visuals are way out of left field for the rest of the film. It also serves no plot purpose but to get the characters to the next scene.
The Dancing Fire Gang from Labyrinth, though there is a very small reference to them earlier in the film and another in the finale. They still make no major impact on the plot. There's also a scene involving an old man arguing with his talking hat. Both instances feature the main character simply stumbling into some unhelpful creatures and then leaving.
The obscure film The Curse of the Cannibal Confederates (a.k.a. The Curse of the Screaming Dead) has an example. To quote The Agony Booth recap:
(After a scene where one character goes ballistic for no reason whatsoever and roughhouses another character) "Wait, how did Bill get over there all of a sudden? Okay, let's consider what we just saw. Mel attacked Bill in a scene which A) had very little motivation, B) made no sense, C) will never be referred to again, D) breaks continuity with the scene immediately following, and E) wasn't even in focus. It appears (director Tony) Malanowski didn't realize that just because you film something doesn't mean you have to put it in the movie."
There's a scene in Godzilla vs. The Sea Monster in which a giant condor randomly attacks Godzilla, and Godzilla kills it. It's never mentioned in the film why the condor even attacked in the first place or anything like that. It's just... there.
Likewise, there's Hedorah's pointless ten-second cameo in Godzilla Final Wars. He's just randomly in some city before Godzilla kills him and it's never explained why he's even there in the first place or even if he's being controlled by the evil aliens. The introduction was cut from the final film.
Godzilla Vs. The Smog Monster is chock full of BLAM. These include a scene where a guy hallucinates everyone has a fish-head, the weird animation sequences, but, by far, the most famous example is when Godzilla uses his own thermonuclear breath to fly... and he never does it again in any other film.
In Teen Witch, there are several scenes of a group of teenagers who start rapping for no reason. At one point, the main character's best friend raps off against them. Also, the "I like boys!" number. These scenes have no influence on the plot and don't even reference each other within them. They have proven to be a prime cut of Snark Bait, however, thanks to Memetic Mutation.
In The Sweetest Thing, a romantic comedy, the three main character have lunch in a Chinese restaurant and promptly burst into a song about how to lie to a man and tell him his penis is amazing. It is set to the beat of "I'm Too Sexy" by Right Said Fred.
In Earth Girls Are Easy, after Vallerie has sex with Mac, she has a surreal black and white sci-fi dream. This segment served no purpose to the film whatsoever.
Oddly enough, it does make sense in context with Vallerie realizing she's in a relationship with an alien and all. The fact that it's never brought up again, though...
The infamous Zion rave from The Matrix Reloaded — with Neo and Trinity's sex scene spliced in for an extra dose of incomprehensibility. It was supposedly meant to emphasize the blurring of the lines between man and machine. (See also: the blood flowing over the code on the hovercraft terminal, the Merovingian gettin' it on with a human, half the movie's dialogue, and all that other stuff which... didn't involve a solid five minutes of completely random people dancing and naked Keanu Reeves)
The Train Room (And the Train Man) from The Matrix Revolutions — a scene which, while having enough plot ties to make it not completely irrelevant, is nonetheless completely forgotten once Neo has been rescued. The strange train station is never seen or referenced again in the film. The Train Man shows up again very briefly as part of the dozen-plus-way standoff at gunpoint later on in the night club, but that's it.
Also; Neo's telekinetic (assumed) powers, which were what caused him to arrive in the Train Room to begin with, no longer cause him any problems when used at the end of the film.
In the film Flubber (a remake of The Absent Minded Professor), the Flubber blobs decide to have an impromptu synchronized mambo sequence for no reason. In several "Makings of" for the film, the film makers all but admit the only reason they even made the movie at all was for the mambo sequence. So we guess it served one point...
Could it be, then, that the mambo sequence was the plot, and everything before, after or since is the BLAM?
The infamous pancake scene and the weird rabbit surgeon. Or, as Phelous refers to them, "Big Crocodile Scene Happenings." The BLAM is tripled when you read the end credits and find out that the Bunny was played by "We'll Never Tell".
This occurs in the musical film Sweet Charity when Oscar takes Charity to his "Church of the Month" as a first date. What follows is a bizarre Fosse-choreographed song-and-dance number led by Sammy Davis Jr. called "The Rhythm of Life", which mocks hippie culture and religions like Scientology. BLAM it may be, "Rhythm of Life" is considered by many to be Sweet Charity's best song.
Despite the fact that Monty Pythons The Meaning Of Life is a series of sketches without a plot, the "Find the Fish" segment still might qualify, since it has nothing to do with the themes that connect the sketches. And it makes no goddamn sense. John Cleese admitted in an interview that it's probably the least sensical joke they've ever done. Supposedly it was about dreams.
Blade Runner: Some see the infamous "Unicorn Dream" sequence (a two-second-long clip of a running unicorn spliced into an otherwise normal scene) as a BLAM. However, it MIGHT be referenced later in the director's cut when the main character finds that "someone" has left a tiny origami unicorn in his apartment, which COULD be an indication that this "someone" knew about his dream. Which in turn implies... causing others to see this as a "Han Shot First" moment.
This may have been a shout-out to the book Do Androids Dream of Electric Sheep? which the film is very loosely based on as each character had an assigned animal, Deckard's 'animal' is a unicorn To anyone else not familiar with the books it certainly seems extremely misplaced.
In the awful live action City Hunter movie, there is a scene where Jackie Chan and his opponent crash into a Street Fighter II arcade machine and then start turning into characters from the game for the remainder of the fight until someone unplugs the machine. It makes no sense and is never explained or referenced ever again.
And it's still better than either of the full-length live action movies in every conceivable way. Well, maybe some people might have a problem with Jackie Chan dressing as Chun-Li...
In Red Sonja movie, Big Bad Queen Gedrin summons her wizard to identify the strangers entering her land. The wizard does his mojo on some sort of mystic scrying pool... to reveal five seconds of a naked dancing woman, which fades out to Sonja and her party. No one on-screen reacts to the naked woman, not even in a "Dude, seriously?" manner.
The Nostalgia Critic suggests that the wizard just left it turned to the porno channel.
Gedrin is a blatant lesbian, so it may have been some kind of sexual magical loading screen that she has there just for kicks.
I hate it when I forget to clear the cache and history in my scrying pools.
The sequence in Sleepy Hollow where the village people trick Ichabod into thinking the Headless Horseman is coming for him and throw the pumpkin at him is never brought up again and serves no purpose (other than a Shout-Out to the original novel).
It is however quiet clearly a prank, so Ichabod at least might not want to talk about it. Why the others didn't bring it up again to tease him is another matter.
Turkish Star Wars, in spite of barely making any sense in the first place, still manages to have a BLAM. After the first fight, the scene of the protagonists riding on horseback across the plains is interrupted by several shots of a papier-mache critter sitting on some rocks and shrieking at the camera. The ogre is never explained and never seen again, and it doesn't even interact with any other characters during its brief time in the movie.
Even though it's a very brief moment, the Zen Room from The Rocky Horror Picture Show certainly counts. It's only shown for two seconds, has random wipe-out cuts, and is never mentioned again.
Although probably half the movie could qualify, the sequence with Plaster of Paris in The Spirit seems particularly out of place. Though longer than a normal BLAM, Plaster appears, does a kooky dance, helps the Spirit escape, stabs him, and runs off singing to herself. Admittedly lampshaded by the Spirit ahead of time by saying that if the silhouette is who he thinks it is, she's the strangest woman he's ever met.
The Fame parody in Dance Flick comes out of nowhere and is never mentioned again.
Though Xanadu has many weird spots, they usually have some bearing on the plot. But then there's one scene where Sonny and Kira turn into cartoon characters (animated by Don Bluth, no less,) and then chase each other for no real reason. The Nostalgia Chick didn't agree: he said that the movie had no cohesion, and many scenes were more often than not never mentioned again, so a mere BLAM won't work here: it would be more correct to call Xanadu a Big-Lipped Alligator Movie. However, this particular scene stands out above the rest of the movie in terms of ridiculousness. Somehow, the writers managed to create a Big-Lipped Alligator Moment within a Big-Lipped Alligator Movie. And they are probably the only ones to have ever achieved that.
Hook has a few awkward moments, but the one BLAM that sticks in most viewers' heads is a scene where Tinkerbell grows to be human-sized, shares a romantic moment with Peter, then returns to normal just as inexplicably. Spielberg wrote the scene simply to appease Julia Roberts, who insisted that she have at least one scene with another actor. At least it had Robin Williams saying this: "You're humongous."
There's also the "boo box" scene. A lone blonde-bearded pirate apparently didn't believe Hook's promises, and for his crime, he is sentenced to the "boo box", which appears to just be a box he's forced inside while the other pirates scream "Boo!" at him. The scene makes little sense, is way over the top, and none of it, even the doomed pirate, are ever mentioned again. Bonus points; the male pirate was played by Glenn Close.
Averted in the original The Italian Job 1969, which had a surreal scene cut featuring the thieves and the cops chasing them interrupting their frantic car chase to do some choreographed ballet on ice with their cars to The Blue Danube. This is completely out of sorts with the rest of the film and was apparently filmed without the director's knowledge and he promptly cut it when he found out what had been done.
When Billy decides to not give up, he expresses it in song. Then other characters, major and minor, join in until the song's rousing end. Otherwise, this movie is not a musical.
"Do you have any more gum?"
A stilt-walking clown at one of Billy's "graduation" parties falls over to the cement and presumably dies (cue laughter). Then during the musical number, he gets up (was his body really lying there for weeks?) and says he's alright.
Dick Randall, the producer of Pieces (a movie most noticeable for its Take That at The Texas Chainsaw Massacre in its Tag Line), had a Kung Fu movie being filmed nearby and he decided to insert a spare extra into the film's plot. The result is a sequence where a female character is randomly ambushed by a karate teacher. This means absolutely nothing in terms of the plot and is brushed off with a throwaway line about "bad chop suey" later on before vanishing from the story.
Saw 3D had the car trap. A total BLAM- it is not explained why it is there, we don't know who Chester Bennington's character is at all, the two people in the trap with him have no relevance at all, and not to mention it is not mentioned at all later in the film.
This is a case of simply not paying attention, unless I'm misremembering the film. The car trap was initiated to lure to the police to where the bomb was detonated near the end of the film, when Hoffman went on his rampage.
The infamous "Atheist Fight" from Jesus Christ Vampire Hunter, weird even for such a film. Jesus is walking back to his apartment after buying some wood to make stakes, when a Jeep Wrangler pulls up, and a group of atheists attack him. About thirty people come out of the Jeep in waves, like a clown car, but he schools them all.
The already weird nightmare sequence had a completely random bondage and rape scene added into it. This was Executive Meddling for the sake of padding the movie and increasing its exploitation quotient.
"Pull the string! PULL THE STRING!!"
Charlie Chaplin's silent movies include some of what are perhaps the earliest examples of Big Lipped Alligator Moments. One example is in The Kid when Charlie falls asleep and has a dream where he's suddenly an angel, and dances with a lot of women dressed as angels until people dressed as demons come in and tempt everyone to evil. It comes out of nowhere and has nothing to do with the actual plot, and of course, sealing the deal, he wakes up and the movie continues as normal. A similar sequence occurs in his short film Sunnyside as well. Chaplin's longer films often did randomly insert nonsensical dream sequences.
There is a minor one in The Great Dictator as well. After the Barber and Hannah escape to the roof while running away from the soldiers, there is a short scene of the Dictator playing the piano, after which it goes back to the Barber and Hannah on the roof. The piano shot serves no purpose (except maybe for Charlie to show off) and is just kind of there.
At one point of Kazaam, Max suddenly shoots out of a glass of water the genie was about to drink. This is never explained, let alone ever mentioned again.
The weird Mushroom Samba sasquatch scene from Tenacious D in The Pick of Destiny seems to be in the movie for only reason: to add the Sasqatch Song to the score somehow. It adds nothing to the plot and the event is immediately forgotten as soon as it ends.
In Warriors of Virtue: after Warrior of Water Yun returns from his self-imposed exile, the entire village is in Celebration Mode. Cut to a female... kangaroo-person (The movie didn't seem to give the Warriors' race an actual name) emerging from platform, singing some odd Asian-style warbling song, looking like we're gearing up for a musical breather scene... then after three seconds of singing, we jump back to Komodo's lair. When we finally get back to the village? Celebration? Over. Warriors? Nowhere. Sense? None.
The scene in the film version of The Wall where old ladies steal televisions from a storefront. Pink isn't present, it has no connection to anything that happens before or since, and it's unclear if it's real or imagined.
There's a scene in Jason Goes to Hell: The Final Friday where Jason (in the body of a coroner he had earlier possessed) kills the girlfriend of a cop named Josh before forcibly taking Josh to the old abandoned Voorhees house. There Jason strips Josh naked, straps him down and shaves his moustache off before possessing him. Why Jason bothered abducting, stripping, restraining and shaving Josh before possessing him is never explained in the film or by the crew; every other possession just has Jason lunge at someone, force their mouths open and have his disembodied soul squirm down their throat and that's it, no grooming scenes or anything.
In the 2005 remake of King Kong, we are treated to a monologue by Captain Hayes, who compares the events of the film (somewhat breaking the Fourth Wall) to Heart of Darkness. Neither the book nor its similarities to the film are ever mentioned again. In fact the character who prompted Hayes to even talk about the book in the first place was Jimmy, a character whose unresolved storyline mysteriously ends without warning once the film moves back to New York.
In Across the Universe, the characters are stranded in some grassy field, where they come across some crazy carnival (that looks suspiciously Dave McKean-esque) and watch giant "blue people" on stilts dance around Eddie Izzard, apparently channeling Papa Lazarou, who screams out a somehow more nonsensical version of the Beatles song, "Being for the Benefit of Mr. Kite". Plus, Prudence, the lesbian cheerleader, shows up out of nowhere in a horse suit and dances among a crazy background of cutout tigers and moving dummies and disappears just as suddenly. The characters' reaction is "Oh, so that's where Prudence went!" They then go out into the now normal-looking field with her. They never comment on the carnival afterward. It has no relevance or plot in the story other than making reference to a crazy Beatles song - still doesn't make it any less awesome though.
The fact that they were all high on LSD at the time might have had something to do with it.
There's also the "Let It Be" scene, where a character who never appears again and isn't even shown with the other characters sings the song with notable riots in 1968 as a backdrop. The scene is also completely anachronistic, as "Let It Be" came out in 1970.
Actually, the character singing in "Let It Be" during the riots is Jo-Jo's brother, who is killed in the riots. It's implied that the boy's death is what prompts Jo-Jo to move to New York, thus joining our protagonists and their circle of friends.
The Japanese film Suicide Club is about police struggling to figure out what is causing teenagers to spontaneously kill themselves. Eventually, a serial killer calling himself Genesis claims responsibility for the suicides and abducts a few girls into his bowling alley lair. After stomping an animal to death, he sings a rock song while his mooks rape and kill a few of the girls. Soon afterwards, he's arrested and revealed to have nothing to do with the suicides. He's never mentioned again.
The indie romantic comedy Gigantic (not to be confused with the identically-named They Might Be Giants film) has a recurring BLAM throughout it. At random points in the plot the male lead is attacked by a strange homeless man, with no explanation given. This has no bearing on the rest of the plot, and he does not admit it to anyone else, thinking up excuses for his visible injuries. In the last encounter he is able to kill the attacker... and then the body mysteriously vanishes. There is never any explanation given for it, and the incidents are never mentioned again in the film.
The special edition of Return of the Jedi adds one of these in the form of a randomly inserted musical sequence involving a big-lipped alien chick in a bikini who looks rather similar to an alligator (She's in the original edition too, along with a different, shorter musical number). As seen here: "Lapti Nek", the original musical number in the 1983 version.
The musical sequence does have an in-universe justification, as it's entertainment for Jabba the Hutt. Why it needed to be expanded in the movie is a BLAM.
The musical sequence provides the background for Oola's rejection of Jabba's advances, which leads directly to the (off-screen) introduction of the Rancor. That foreshadowing of the giant monster in the pit makes the later scene with Luke all the more successful.
In the initial film, Lois famously gets the first-ever interview with Superman, which includes her being flown by him over the city. This is totally fine, except that out of nowhere we get Lois's thoughts in voice-over, which for some reason take the form of a poem about her wondering whether he can read her mind! The poem does not serve the plot or characters in any way, nor does it deepen the meaning of the flying scene. It doesn't even make sense, because the obvious answer is "No, Superman cannot read minds." Also, at no point elsewhere in the film does it imply that Lois has a poetic bone in her body. (Turns out the poem was meant to be an entire song, the music for which is heard in the movie. As a romantic ballad of sorts, it might have been about the same level of BLAM, but a more commonplace one.)
Superman III starts off with a completely out-of-place Chaplin-style slapstick sequence behind the opening credits.
There is a pointless scene of Lex Luthor dancing with a woman who is dressed as Marie Antoinette. Sad to say, this is one of the movie's lesser problems... On the DVD you can watch a bizarre subplot about the first version of Nuclear Man, which was cut from the final film. Say what you will about Superman IV: The Quest for Peace, the deleted scenes show that it could have been much worse.
Halloween: The Curse of Michael Myers. Tommy Doyle gets a pipe and beats Michael with it so hard, green ooze starts leaking out of his mask. When the mask is found on the floor, it's completely clean and it's never explained why the ooze was leaking out of Michael. To add to the over-the-topness, the entire beatdown scene has a crazy flashing strobe light effect going.
Several of Michael and Laurie's fantasy sequences in Halloween II (2009) (2009) border on this, especially the one with the pumpkinheaded aristocrats.
Firstly, we have the scene where Leonard Maltin appears in a broadcasting TV studio, reviewing the first Gremlins film. He criticizes its Comedic Sociopathy (specifically, how it makes light of people being horribly killed by Gremlins). He is then eaten by a pack of the creatures and from there on the movie continues along its merry, messed up way.
Next, during a talking scene a pair of Gremlins actually take control of the movie, tearing out the film and doing shadow animals with the projector light. And then there's a weird scene of the manager of a movie theatre pulling Hulk Hogan out of the audience and persuading him to intimidate the Gremlins into returning the film to its original plot. For the VHS version, the whole thing was swapped with Gremlins breaking your VCR, and then a redubbed John Wayne shooting at the Gremlins until they fixed it for you and resumed the movie. The novelization has the Brain Gremlin lock the author in a room for a bit and start writing his own text!
There's also a very brief scene of mimes coming out of a van escorted by some sort of SWAT team, which has zero sense and impact on the rest of the film.
The scene where Brain Gremlin sings "New York New York" near the end of the film. Lampshaded by Grandpa Fred as he narrarates the scene to his audience:
Grandpa Fred: As incredible as it seems ladies and gentlemen, after their bizarre bloodcurdling rampage of destruction, these strange creatures now appear to be mounting what appears to be, a musical number.
In the otherwise superb Australian film Beneath Clouds, one scene shows our female lead, Leia, trip and fall over in a corn field. Getting up she sees a black cat. As she stares at it intently, dramatic music plays. She then turns to look at where she is, for literally ONE second, and when she turns back the cat has vanished into thin air.
Mad Monster Party, the stop-motion animation film, has this in the "Stay One Step Ahead" musical number. As Boris Karloff's character Baron von Frankenstein sings the song to his nephew Felix, a gang of really weird creatures, unlike any of the beings seen elsewhere in the film, pop out of a television set and sing the chorus. At the conclusion of the sequence, they pop back into the TV. Neither Felix nor the Baron (nor anyone else) ever mentions this again afterward.
In the sequel The NeverEnding Story III, the Rock Biter, whose home now contains a TV for his kid to watch music videos on (?!), takes off on his bike and sings "Born To Be Wild". To make it worse, the scene gets replayed over the end credits in lieu of the classic theme song.
"That sound you heard was your inner child being punched in the face." — Everything is Terrible
Toward the end of Spy Kids III, the other players with Juni in the virtual world begin to doubt he really is "The Guy". Then someone played by Elijah Wood appears claiming that he is the real "Guy". He makes an inspiring speech, walks into the last level… and is killed instantly. Immediately Juni is told "OK, you're the Guy again.", and nothing more is ever made of this.
In Demolition Man, John Spartan sits in his apartment when a young naked woman appears suddenly on a video screen in front of him says "Sorry, wrong number." and then disappears into WTF obscurity. Doubly WTF as this comes after a scene where Spartan learns the hard way in the future, you don't disrobe to have sex.
Silk Stockings has "The Ritz Roll and Rock," a rock 'n' roll Dance Sensation too bizarre to be true, written by Cole Porter and performed by a fifty-something Fred Astaire.
The film version of Tank Girl had the musical moment "Let's Do It, Let's Fall in Love".
The Nostalgia Critic: And welcome to the bottom of the barrel people: an action film with a horrible music number.
Bad Lieutenant Port Of Call New Orleans features a BLAM in which two iguanas are filmed up close, bright and blurry while a love song plays for quite a while. One iguana shows up later crawling between the bodies of some dead men but is not noticed. The iguanas may also be a product of the title character's seemingly perpetual drug addled state, since no one else seems to notice them either time.
"Is there something you'd like to share with the rest of us, Amazing Larry!?!" This one has an explanation: Amazing Larry was supposed to be a magician in the beginning of the film who asked Pee Wee for advice on what new hairstyle he should get. The setup was cut out but the payoff — him settling on a ridiculous mohawk — was left in. So we're just left with a guy named Amazing Larry with a crazy haircut.
And then, there is this little slice of terror. Tropers of a certain age probably know exactly what scene it is before clicking that link (thankfully, looking at her Game Face is optional.) The writer of the article admits that seeing the scene out of context, since it is so unexpected in what is otherwise an offbeat but funny kid's film, doesn't really have the same impact.
Armageddon has a scene where Ben Affleck sings "Leaving on a Jet Plane" to his girlfriend only for some of his co-workers to join in. This scene only lasts for a few seconds and then they never mention it again.
The Bugs Bunny dream sequence in My Dream is Yours.
Permanent Midnight had an in-universe example; Jerry Stahl (Ben Stiller) is pitching an idea for an episode of a sitcom (while hyped up on cocaine) in which the main character blasts into a musical number with a pool that opens out of the set and afterward no one mentions it. He is immediately fired afterward.
Shark Attack 3: Megalodon actually has one scene that makes even less sense than the rest of the movie. Two people speaking bad Spanish make out, wander into what appears to be a closed amusement park, fall down an oddly-placed water slide and get eaten by a shark (or, to be more specific given the quality of this film, eaten by Stock Footage of a shark). A woman takes off a clown mask and looks surprised. These two casualties are never recognized by the rest of the cast, and this scene never comes up again.
Zardoz has the scene where Friend walks into a kitchen and suddenly starts speaking backwards to a group of women there. They start clapping and laughing, he leaves, and no explanation is given as to what just happened. It's a Mind Screw of a movie to begin with, mind you, but most of the other surreal elements at least try to tie into the plot.
Arguably a Big Lipped Alligator Movie, or at very least a deliberately surreal Anachronism Stew, Julie Taymor's Titus — a modern adaptation of Shakespeare's Titus Andronicus — features a scene in which one of the villains, played by Jonathan Rhys Meyers, dances terrifyingly on a pool table to loud techno music, trussed up in red leather and with his hair in pigtails. It isn't the strangest scene in the movie by a long way, and it certainly isn't the most disturbing, but it's notable in that it contains no dialogue, has absolutely no basis in the original play (obviously), does nothing to further the plot, is never referenced again, and serves no purpose beyond making the audience just a little bit more amused/baffled/emotionally scarred than they already were.
The "horror" movie Spookies starts with a boy named Billy running away from home on his thirteenth birthday because his parents ignore him. He wanders into a scary house, receives a scary birthday present and is buried alive(?). Then the main characters, who have never met or heard of Billy, show up and the rest of the movie happens with Billy never being mentioned again.
Woody Allen's Gag Dub film What's Up, Tiger Lily? has several. During a club scene, the film cuts to a music video of sorts for the band that supplies the dub's soundtrack, which was a case of Executive Meddling to pad out the length. Later, the film freezes so that the projectionist can have a conversation with his mistress. During the climax, the film suddenly cuts away to an interviewer, who comments that the plot is getting complicated and asks Woody Allen if he'd like to explain it. Allen deadpans, "No," and the film continues.
Pretty much every Marx Brothers film contains these. For no reason whatsoever, most of the movies have a 10-15 minute scene in which we watch Chico play the piano with his one finger routine and Harpo move incredibly out of character to play a lovely melody on a harp.
These were positive examples, seeing as they were beautiful and a major part of Harpo and Chico's characters, precisely because they're so OOC. The other musical numbers and romantic subplots on the other hand... but even those are explained by the fact that the studios felt that no- one would watch a movie that didn't have romance.
The very first Marx Brothers movie, "The Cocoanuts" (1929), had a BLAM right at the beginning. Mr. Hammer, played by Groucho, who runs the Hotel de Cocoanut, has just fired all of the hotel's bellhops, who happen to all be female. Upon Mr. Hammer's departure from the hotel lobby, the ex-bellhops all perform a happy, energetic, leg-kick chorus line dance that lasts for several seconds, then disperses.
Animal Crackers has the famous "Excuse me while I have a strange interlude" scene in which Groucho says just that, the other actors freeze in place as if time has stopped, and he approaches the camera to make a strange, non-sequitur filled speech that has no bearing on anything. A couple of minutes later he does it again. Probably seemed less out of place on stage, which is where the story originates, particularly since he's actually parodying a Eugene O'Neill play called Strange Interlude, which apparently had a lot of this sort of thing.
The dialogue, at the very least, hardly ever makes sense in Marx Brothers movies. Most of the actions - especially Harpo's - don't make much sense either, but that's part of their charm.
Speaking of Reptile, though his was one of the better fight scenes in the original film, it also made little sense. Liu Kang grabs Reptile, who had appeared throughout the movie as a bad CGI lizard monster, and throws him into a statue. The statue and Reptile fuse together, forming the classic ninja version of Reptile... for some unexplained reason. Cue martial arts.
About two thirds into the movie Charly, Charlie tries to kiss Miss Kinnian. She rejects him and, hurt, he runs away. We could have just been told that he avoided contact with Miss Kinnian or the institute, but no, we get to watch him ride a bike in the middle of nowhere, make out with two dozen girls, grow a beard, and do power squats to swinging 60's music in a hipster art gallery. When he returns to the institute (and the plot), he looks exactly the way he did before he ran off. A doctor asks him where he's been for two weeks, and he just smiles and gives the doctor champagne. Here it is. Skip to 7:50 to see the 60s burn into the film.
Partway through The Mummy: Tomb of the Dragon Emperor, there is a series of scenes illustrating the romantic connections. Then one character seems as if he's about to have an Anguished Declaration of Love with a yak. Although the yak had appeared once before in the film with no real explanation for its presence, it then disappears entirely and is never mentioned again. For some people, this resulted in an Ensemble Darkyak.
In Hot Rod, at one point near the end of the film, two characters break into a beat-box session using the phrase "Cool beans". This is never referred to again.
The Big Lebowski has two BLAMs in the form of dream sequences. Both are a little indulgent, a lot strange, and don't really have much to do with the rest of the story apart from referencing things the Dude encountered earlier.
Steiner's hallucinations in the middle of The Cross of Iron come out of left field and create the impression that his mind has been shattered. But after he abruptly returns to active duty he's pretty much exactly the man he was before, and that plot thread isn't mentioned again. His affair with the nurse (which was apparently real?) also occurs for no reason, and never comes up again.
The cheesy sci-fi movie 12 to the Moon (as seen on Mystery Science Theater 3000) has a strange moment where, after kicking the Earthmen off the moon, the moonmen insist that they leave the expedition's cats behind, as the moonmen find them intriguing. The Earthers leave the cats' cages behind, and we're treated to a shot of shadows approaching the cats, and then... nothing. The cats are never mentioned again, and there was no build up to why the moonmen were so taken by the cats. Companions? Test subjects? Snacks?
In Ed Wood's The Sinister Urge (also seen on MST3K) there is a fist fight between two young men in a diner which turns out to have nothing to do with the film's plot and involves no characters from the rest of the film. One of the young men in the fight is none other than Ed Wood himself.
After North meets his first set of potential adoptive parents from Texas near the end of his visit they randomly break out in a big musical number sung to the tune of the Bonanza theme song with backup singers and dancers accompanying them, other than that one scene this is not a musical.
Before that, when North's dad gets a call at work in a jeans factory, for some reason there are a bunch of strange characters in the background wearing all sorts of costumes, such as a golfer and a lumberjack. No one even seems to acknowledge this.
The Broadway Melody number in Singin' in the Rain is a double example. It's not only a BLAM in the real film, but is one in the film-within-a-film it's being pitched for too! Even better? It's lampshaded by the studio head saying "I can't quite picture it". Then, within "Broadway Melody", we have the sudden replacement of the stage with a surrealist backdrop, and Don Lockwood suddenly ballet dancing with the Mobster's girl, who has different hair than she had outside the surrealist dance sequence. It then cuts back to the scene. That is to say, a Big Lipped Alligator which has itself been eaten by a larger one.
The film has, among other WTF, a scene where Batwoman and her Batgirls hold a séance to get advice from the spirit world on where the MacGuffin is. Has there been supernatural content thus far? Save for another BLAM about how the Batgirls are "synthetic vampires," no. Does the scene result in anything of value? Unless you count a blatantly racist portrayal of Chinese people, nope. Is it ever mentioned again? What do you think?
The worst example, by far, has to be when the movie cuts to the villain lair. The lair is located in cave... inhabited by mole people. Specifically, they're mole people from Stock Footage of the film The Mole People, natch. Is there any point to establishing that fucking mole people live in this movie? Is it all relevant to anything else in the movie? Do they ever bring it up again, such as when the villain's lair explodes? What do you think?
Yet another BLAM comes after the credits. A pair of bat-girls witness a man get mugged and murdered. The girls call it in to Batwoman, and the incident is never mentioned again.
Let's face it, this is pretty much BLAM: The Movie.
An interesting version in which the Twins adopt a Big Lipped Alligator Mode — that is, a 1930's ice cream truck. The bizarreness of this vehicle mode is never explained and is only seen for about two minutes (in all its scenes combined) before they decide to change vehicle modes again. Their odd choice of form is never mentioned again.
Want a real "moment"? Try the scene where Sam drops the fragment of the All Spark, his kitchen appliances come to life, and start attacking everyone in sight, and after the house is destroyed... Nobody mentions this encounter again; it was likely meant to establish the All Spark fragment's power, but the entire scene was not mentioned again.
Let's not forget the scene near the beginning when he first gets to college: His mom eats a pot brownie and looses her mind. It has no bearing on the plot, adds nothing to the characters' development, is out place in a sci-fi film about space-traveling sentient robots, and is never mentioned again. Even its mood and pacing are at odds with the rest of the movie.
Robo-Slut counts as a BLAM. A sexy girl at a party begins hurling herself at Sam with so little subtlety that the horniest guy in the world would be shouting "Hey, lady, back off!" Then she starts sprouting metal snake-arms from her ass and sending her metal-tongue (with the flesh tongue still on the end) through car windows. At no point in any of the films is it even implied that Cybertronians can mimic humans, especially not so well that they can climb on top of and make out with a human and he has no idea. She also never appears again.
The Hammer Horror film Frankenstein Must Be Destroyed features... Christ alive... a Big Lipped Alligator rape scene. This was added by the mandate of the American distributors over the objections of both actors involved, cuts immediately to a scene where the victim is making coffee and is never mentioned or hinted at again.
Prisoner of Azkaban. Shortly after arriving at Hogwarts, the students proceed to the dormitory, but are unable to get in because the Fat Lady is too busy trying to break a wine glass by singing to accept the password. It also had the frog choir singing Shakespeare's "Something Wicked This Way Comes" lyric from Macbeth (but it's a kick-ass song, so we'llsome of us forgive them).
In Deathly Hallows Part 2, when Voldemort gives his ultimatum to the school, some random little girl we've never seen before starts screaming. And screaming. It served no relevance and no one really reacted as you would expect. And then there's this◊. It was totally ad-libbed and Tom Felton was thrown for the same loop as Draco and every audience who saw it.
The fun, but pointless "At The Ball That's All" Musical Number from the Laurel and Hardy vehicle, Way Out West literally comes out of nowhere and does little more than pad the film. However, it ties with Trail of the Lonesome Pine as the movie's definitive Crowning Music of Awesome.
An American Werewolf in London has a scene where the main character is at home with his family, and then they're attacked by machine-gun wielding Nazi werewolves. It was all a dream — but what does this have to do with the rest of the movie? Nothing whatsoever, that's what.
There are two (arguably flimsy) reasons for this sequence. The vivid dream-within-a-dream explains why David is initially so certain that Jack's visits are just dreams. It also introduces the audience to David's family, who is otherwise never seen in the movie. That adds a little weight to the scene where he calls home to say goodbye to them before his planned suicide.
In Wedding Crashers Jane Seymour's character comes into Owen Wilson's room, exposes her breasts, and asks Owen to touch them. He obliges and she storms off, calling him a pervert. This is never brought up again and on top of that, the scene is followed by Owen Wilson telling Rachel McAdams how much he likes her family.
"Did you motorboat them? You motorboated them. You motorboatin' sonofabitch!"
In Piranha, when Paul and Maggie search the laboratory for information about the mutant piranha, at one point a fish/lizard hybrid creature scurries by and it's never seen again.
At the beginning of the first story-within-a-story, a Troll hiding behind some plants spies on the couple while they're in the magic shop. It doesn't appear again, and serves no purpose.
And we can't go without mentioning the kid in the second story banging the monkey's cymbals together while wearing google-eyed glasses and singing something about a "rock and roll Martian." As the MST3K episode guide put it, "It seems like such a pure 'kid' moment. How did they ever get it on film?"
Just about everything about the film Krakatoa: East of Java is mind-blowingly awful. note Including the title; Krakatoa is northwest of Java. As a bonus, the word Krakatoa was actually a misspelling in the original transmission to England; it's actually Krakatau The thing that sets it over the top is when two characters pause in the middle of the disaster-movie build-up to have a single romantic musical number.
In the Cher film Mermaids Mrs. Flax's youngest daughter stumbles through the hallway with a pumpkin on her head, banging into things and eventually falling to the kitchen floor saying that she's a monster shark. It's adorable, and a BLAM.
Clerks II includes a deliberate BLAM when Becky is teaching Dante to dance and the entire cast and extras break out into a lip synced rendition of ABC by the Jackson Five accompanied by a complete change in directorial style, cinematography, and colour saturation. Though you do get to see Rosario Dawson bounce around on a roof.
Spider-Man 3: That scene in the jazz club and his bizarre emo dance after breaking up with Mary Jane just stand out a little bit more than all of the rest...
The super nova scene in the Lexx telefilm "Super Nova." Sure, you may think a scene where a supernova occurs is supposed to be epic...but not when the two stars involved in said event suddenly start speaking. In English. To the main characters. Explaining that it's time to dance. What...the...fuck?
The part in the American film version of The Hitchhiker's Guide to the Galaxy where flyswatters come out of the sand to smack the protagonists. Though since this is the Vogons' home planet and the flyswatters hit you whenever you have an idea, it does nicely explain the Vogons' personalities of refusing to ever take any initiative without a ton of paperwork.
At one point in the somewhat obscure Canadian film Christmas In Wonderland, the child protagonists encounter a red door in the basement of a mall allegedly leading to the "North Pole". When one of them opens it, terribly fake and badly done CGIChristmas Elves can be seen behind it, which look like they were taken straight from an extremely low-budget animation film. This is the only scene in the entire film that's completely CG, it only lasts for a few seconds and the elves are never brought up again, nor do they bear any relevance to the plot.
In Way of the DragonBruce Lee's character is almost seduced by a random Italian woman, he runs away and the entire scene is never mentioned again.
In Red Hill; in the middle of the story after Shane has been handcuffed to a barn and Barlow is lying in a chair dead a panther comes into the barn, takes Barlow's dead body and drags it outside, the panther is never seen or mentioned again for the rest of the film until the middle of the end credits.
Muppet Treasure Island, like many Muppet films, doesn't take itself too seriously and has plenty of anachronistic jokes and Breaking the Fourth Wall. But the 'Cabin Fever' musical number in the middle of the film particularly stands out as being off the wall even in context. The scene starts off quietly with sailors looking weary from several days at sea, and then one says he's got cabin fever. The sailors start to shake, and then most of the supporting cast and background players join in as a wild musical number begins as they all sing about going mad. The number itself even randomly changes genres at times, incorporating a square dance and a Carmen Miranda homage into it at points. After the number ends, everyone seems to come to their senses. One of the characters who missed the number due to being locked in the hold asks 'What was that song? Cabin Fever'. As Clueless Morgan is a bit of a Cloud Cuckoo Lander, his companions ignore him and the whole thing is never mentioned again as the plot resumes.
Admittedly, Cabin Fever is essentially a form of Madness, so having a random moment of absolute Crazyness that you don't remember afterwards wouldn't be that unusual for someone in that position.
The Muppets includes an impromptu hip-hop dance number from Chris Cooper's brooding character, Tex Richman, that is promptly never mentioned again. The scene with Mary singing and dancing alone in a diner feels pretty random and irrelevant as well. The former is lampshaded directly afterwards.
In this case, though, it's sort of a BLAM-by-deleted scene. A verse in the middle of the hip-hop number originally had Richman suddenly switch to an Operetta tone (BLAMish in and of itself) and explain the reason he hates the Muppets is because during their performance at a childhood birthday party, he discovered he was unable to laugh. Including that scene would have explained the character's strangest habit ("maniacal laaaaaaugh...") as well as the actual conclusion to the plot.
Tex Richman: The answer is no.
Kermit the Frog: Well, you could have just said that.
At the end of Zatoichi: The Blind Swordsmen, having finished with a heart-wrenching story of heroes, child prostitution, tragic love and murder... the entire cast, including folks who've been filleted by 'Zatōichi, get up on a stage, apparently in a cheesy Japanese summer theatre and tap-dance.
The Lair of the White Worm, like most Ken Russel movies, has a lot of inexplicable moments. One of the main characters often has hallucinations of nuns engaging in an orgy and a scene in which Hugh Grant chops an old vampire woman in half.
A Very Brady Sequel has a scene with Mike, Alice, and the kids flying a plane to Hawaii so they can rescue Carol. To forget about the guilt they felt after failing to prevent her from getting kidnapped, Greg pulls a guitar from Hammerspace, and all the kids start dancing in the aisles and singing "Good Time Music."
In Dracula: Dead and Loving It, Dracula has a "daymare," where he believes his vampirism is cured and goes out to enjoy the beauty of the light. Then he bursts into flame and wakes up screaming and running. The dream is never mentioned again, and neither is Dracula's apparent desire to be cured of his vampirism.
In UHF Weird Al's character, George is seen watching an old rerun of "The Beverly Hillbillies" as he dozes off at his desk, which leads to an odd dream sequence with Weird Al's parody of Dire Strait's "Money for Nothing" simply titled "Beverly Hillbillies," complete with a computer generated music video. While there are several other dream and musical sequences in this movie, this scene is the most out of nowhere. It also adds nothing to the plot and afterward, George awakens and the scene is never mentioned again.
Thanks to its mass syndication on UHF channels in the 1980s, "The Beverly Hillbillies" was commonplace on just the sort of TV station George is managing. So its a way of introducing actual contemporary UHF television station content into "UHF".
Harold & Kumar Go to White Castle features a hilarious, but nonetheless pointless BLAM. As Kumar tries to break Harold out of jail, he suddenly smells a bag of weed and then has a bizarre fantasy involving marrying the bag of weed, complete with "Crazy on You" by Heart playing in the background. This fantasy scene comes out of nowhere, adds nothing to the plot and is never mentioned again.
Joel Schumacher's infamous Batman & Robin features a ridiculous scene where Mr. Freeze (Arnold Schwarzenegger) is seen at his hideout, wearing a robe and bedroom slippers, conducting, or rather demanding his thugs to sing along to the song, "Snow Miser" from the 1974 Christmas special, The Year Without a Santa Claus. This rather silly and pointless scene is, in true BLAM fashion, never mentioned again after it's over.
Wayne's World has several scenes that reflect the random intertextuality that was (and still is) a feature of the sort of Gen X humor that the movie's universe epitomizes. To those of a certain age, they're perfectly understandable.
At one point Wayne and Garth drive to Milwaukee to attend an Alice Cooper concert. Aside from meeting a suspiciously informative security guard there, little of this sequence has any bearing on the overall plot, but one scene in particular stands out. On the way, one of them notices that they're passing Shotz Brewery, and suddenly the two are reenacting scenes from the opening of Laverne and Shirley. It's lampshaded when they realize in the middle that what they're doing is odd, so they abandon the scene and never speak of it again.
In addition, later on during the movie, Wayne is pulled over by a police officer and the cop turns out to be the T-1000 from Terminator 2: Judgment Day. Wayne screams upon realizing this and speeds away. The scene is never brought up again, adds nothing to the plot and goes nowhere.
A lesser-known live-action Disney film called Summer Magic has one. "The Ugly Bug Ball" starts off with Peter finding a catepillar, then Osh breaks into this song, which is followed by the two of them singing the song together while watching a variety of bugs playing around. The whole segment has no bearing to the plot of the film whatsoever and is never referred to again afterward, so it beared absolutely no purpose other than to hear a catchy song written by the Sherman Brothers.
After the Hobo shoots Slick's genitals off, he is taken literally on a bus ride to hell as he dies from his injuries. By the school bus he torched full of children, earlier on in the movie. The scene is never mentioned again.
Later on in the movie, after the Hobo is captured by The Plague and taken to their hide out, The Plague are seen to be fighting a shrieking creature of some sort, mostly around a corner and off-screen. All that is seen of it are its tentacles. This is never explained.
In spite of being a psychedelic-era art film, Zabriskie Point has a coherent enough plot for two very explicit BLAMs to be seen.
After viewing Zabriskie Point from a viewpoint on an otherwise deserted highway, the two leads Mark and Daria hurry down a desert slope and commence making out. Guitar music plays. Then it starts showing other people making out in that desert - first couples, then groups. It was a, uh, memorable desert orgy scene in the middle. Yes, it's supposed to symbolize rebirth, renewal and revolution since it takes place at the eponymous location (the lowest point in the United States—get it? Get it?) But it goes on for way too long, and since 1969 it's been impossible to sit through that scene without the audience starting to break down laughing.
Walkabout has a number of these, particularly the non-sequitur scene with the scientists launching a weather balloon, and all the sequences where the view cuts to a brick wall and then pans out onto a landscape.
During the third segment of Twilight Zone: The Movie, the child with powers, Anthony, makes a strange, shape-shifting creature emerge from the television. It is both terrifying and pointless. It is also never mentioned again.
In the porn/cop film Busty Cops a group of failure under cover cops are trying to solve a murder. To make a long story short, half way through they head back to base and a talking llama told them who did it. Oddly enough he's never mentioned again and the rest of the film is the cops trying to proof of the suspect.
Disney's The Haunted Mansion resolves its plot using a Big Lipped Aligator Moment via the Fireplace Dragon.
Independent film/Star Wars fan-fest Fanboys features a scene where, after escaping the gay bar, the Fanboys meet Danny Trejo (no one seems to remember his character's name, not even remember if they ever mention his name) and takes them to a campfire weed smoking extravaganza, full with hallucinations and deliriousness. The morning after, Trejo hands them more weed, leaves them (and never comes back) and they set on their way again, without ever mentioning what happened.
The remake of Children of the Corn (2009) features a sex scene that seems to be nothing more than blatant Fanservice. While their troublesome enemy wanders unchecked around their town, the Children of the Corn take time out to attend a bizarre ritual in the crumbling church in which all of the children, young and old, gather around to watch a teenage boy and girl having wild sex on the altar. Nothing about the sex scene ties in with anything else in the plot, and the couple having sex have no names, no speaking lines at all in the movie, and are never noticably seen in any other scene in the entire movie.
The John Leguizamo film The Pest has a scene where Pestario encounteres a punk who starts blasting his stereo, then Pest pushes a button in his car, and it transforms into a gigantic ghetto blaster and ends up destroying the punk's car, there's no point to this scene whatsoever and it's never mentioned again.
RoboCop 2 has a notable scene early on where he first infiltrates the villain's hideout and discovers a huge shrine dedicated to Elvis with numerous memorabilia placed around as well as the dug up corpse of the King himself. This takes up a few minutes and has no relevance to the story whatsoever, and the second Robocop leaves the room it is never brought up again for the rest of the film.
The failed big screen adaptation of Spawn has a scene with the Violator in his clown form wearing a cheerleading costume doing a dance number which comes out of nowhere, serves no purpose and which the protagonist doesn't even see happening. The devil himself ends the moment by dragging the clown back to hell to tell him to quit fucking around.
Ever since the scene introducing Jabba the Hutt was reinserted into A New Hope, its ending has put a strange moment in the film when Han Solo casually walks over Jabba's rear end (this was necessary because the character was a human when they filmed it and Harrison Ford walked around him). Apparently Jabba, while irate that Han had dumped his cargo, is forgiving when it comes to people literally stepping on his tail.
Ghostbusters of all movies has one with Ray dreaming about being fellated by a beautiful female ghost who turns invisible as she unbuttons his trousers. The scene comes out of nowhere during a montage of the protagonists' success, it makes no sense whatsoever and is never mentioned afterward. It was part of a deleted scene that they found funny enough to re-insert into the movie; the context being that Ray was investigating a haunting at an old military fort and he fell asleep there. Yeah, we know.
The 1994 live-action remake of The Flintstones feels the need to stop the movie for a minute, just to include a pointless, disgusting and unfunny scene where a giant pterodactyl flies overhead, terrifies everyone and then proceeds to take a massive dump on a car.
In the 1995 film Casper, there is a particularly odd scene where the Ghostly Trio goes inside Dr. Harvey and changes him into Clint Eastwood, Rodney Dangerfield, Mel Gibson, and the Crypt Keeper, and then reverting him back to normal. This scene is never mentioned again throughout the rest of the film, nor do the trio ever use their apparent morphing-abilities again.
Dr. Seuss' The Cat in the Hat combines this with Happy Place. The Cat poses as a piñata at a birthday party and in the process is hit in the crotch with a large baseball bat. Cut to a peaceful, serene neighborhood where the Cat is dressed in pink and playing on a swing next to a unicorn. Soundtrack by Lionel Ritchie.
In John Waters' 1970 film Multiple Maniacs, the main character Lady Divine is suddenly and inexplicably set upon near the end of the film by a giant lobster (named Lobstora, according to the credits) and savagely raped by said creature. The lobster departs afterwards, and is never seen again.
Sadly, the climax of the movie is also an example. All of a sudden, we have a lead Morlock who is far more humanoid than the others, inexplicably has psychic powers, speaks almost entirely in exposition (and on some subjects he couldn't possibly know about), and even hints that Hartdegan's adventures in time travel somehow created the Morlocks, without explaining further. His presence makes some sense from a meta perspective — the film obviously wants an intelligent adversary for Hartdegan, something the other, more feral Morlocks can't provide — but it's still jarring.
Blues Brothers 2000 was arguably more BLAM than actual plot, though some were more sort of Wacky Wayside Tribes. The most blatant was the sequence where the new Brothers and their band end up in an incredibly fake-looking Louisiana bayou where after refusing the voodoo Queen Mousette's command to play something Caribbean, the Brothers are magically turned into green-skinned zombies to play something Caribbean anyway.
The Woody Allen comedy Scenes From a Mall (featuring Woody playing a Beverly Hills yuppie with a weird ponytail, which is pretty surreal in itself) has an early scene in which we're on the second floor of the mall and three rappers start dancing their way toward us, shouting out lyrics about living in "Cal-i-forn-eye-ay!". The rappers later reappear to perform a Christmas rap (the movie is set during the holidays), but otherwise they don't advance the plot at all.
Ted Danson's famous tap dance in Body Heat. It's visually appealing and surreal, and set up earlier by his walking into the diner doing his dance moves, but has no relevance to the plot and is never mentioned after that scene.
The dance montage late in The Breakfast Club. Nothing suggests that any of the characters have any interest in, or ability to, dance, and it comes out of nowhere and is never mentioned afterwards.
Adding to the oddness of this sequence, one of the students smashes a glass door despite the fact that they're all trying to stay under the radar of the anal retentive principal. Neither the principal nor anyone else ever mentions this act of vandalism later.
The adult film Emmanuelle has a few of these, the most notorious being a scene where a stripper does some, erm... impressive tricks with a cigarette. Elsewhere, there's a scene where one of the house staff rapes a maid. Neither of these are ever commented upon by the characters. The sequel also features a long scene where Emmanuelle and her husband watch some sort of dance performance, which wouldn't seem like a BLAM on its face (they are, after all, cultured French expats who like that sort of thing)... except that the camera frequently cuts away to shots of apparently frightened locals.
In the fourth video in the Wee Sing Video Series Wee Sing in Sillyville, Sillywhim, Laurie, and Scott start to go to Pasha's house and Scott steps on an acorn's nose. The acorn then sings a song called "I'm a Nut" and then rolls away. Sillywhim says, "That's Sillyville for ya. Anything can happen." They continue to go to Pasha's house, and the scene is never mentioned again.
Well, the point is supposed to be that Data, who's just had an emotion chip installed, is being overwhelmed by the unfamiliar emotions and behaving slightly erratically. Although his ways of expressing it are slightly random.
While El Topo is essentially one long acid-trip of a movie, it begins with it's largest WTF moment when the title character is seen riding through the desert with a naked boy of perhaps 5 or 6 behind him. The fact that this child, apparently El Topo's son, is completely naked is never mentioned or explained. And then the child is just abandoned at a monastery so his father can ride off with a woman he just met. Sense is not to be found in this entire film, but this bit is just incomprehensible.
The entire "Humuhumunukunukuapua'a" sequence in High School Musical 2. And judging from Troy's reaction, it's one of these in-universe, too.
Actually, that scene was originally cut for TV and only added into the DVD version.
The 1968 film Ring of Bright Water opens, without any warning at all, with an image of a Lady Godiva-looking woman riding a horse in the nude through the streets of London. What makes this even stranger is that most of the film is set in the Scottish countryside. What makes it stranger still is that this is supposed to be a family film.
The 1982 comedy Zapped! has as one of its minor characters a janitor at the high school who is there for no other purpose than to provide additional comedy. Midway through the film, the janitor's point of view briefly takes over and he has a dream about riding bicycles through the countryside with Albert Einstein...which turns nightmarish when his ill-tempered wife shows up wearing a Viking helmet and shoots at him with a bazooka full of giant sausages. Although the wife reappears later in the film, the actual events of the dream are never explained.
The 2000 movie adaption of Love's Labour's Lost had a scene where Costard interrupts a croquet match to claim that he has a letter, but he pulls a rubber chicken from his pocket. Costard also used a hand puppet to talk to Berowne during the movie.
An almost literal example occurs when Buffy is being lectured in the counselor's office (a scene that itself serves little purpose, with the counselor mostly just rambling about himself) and uses her big lips to spit out a pushpin she's slipped into her mouth; the pushpin flies across the room and spears a fly on the wall, causing the counselor to stop talking and stare in shock. There was no reason to kill the fly and Buffy never does anything like this again, even though it could conceivably have proven useful to her; apparently, it's just supposed to illustrate that Buffy's abilities and responsibilities make high school problems look trivial.
Later on, when Buffy is battling some vampires in the school parking lot, she passes a convertible and notices that one of her friends is in there, and the other girl is...well, let's just say she's doing something that strains the film's PG-13 rating quite a bit. The two stare awkwardly at each other for a moment, and then Buffy runs off and the plot starts up again.
The All Just a Dream opening of Good Burger, where Ed starts flying around with little googly-eyed hamburgers that talk to him. The Nostalgia Critic sums it up very nicely:
Nostalgia Critic: Stop, STOP!!! (starts crying) I need a minute...
Cheyenne Autumn (1964). John Ford understandably felt that this downbeat Western, a grim depiction of the Cheyenne exodus from Oklahoma to the Dakotas, needed some comic relief. Less understandable is the result: a 15 minute, self-contained sequence showing Dodge City's white citizens panicking at the Cheyenne's approach. It features none of the main characters, focusing instead on James Stewart as a corrupt, card-playing Wyatt Earp, has nothing to do with the main story and plays as broad slapstick. Indeed, it's so jarringly dissonant that most theaters removed the entire scene.
The Ladies Man starred Jerry Lewis working in an all-girl boarding house. It's a series of goofy vignettes, typical of his movies, but then there's a scene where he enters a room he's told to avoid - it's completely furnished in white, occupied by a startling-looking woman in kabuki makeup; she initiates a dance when Harry James' big band abruptly appears to play a number...then it's over, never mentioned again.
The extended version of Stripes includes a scene where John and Russell attempt to desert during basic training. They take a plane to South America, wander off, find some rebels, accidentally dump a bunch of LSD into the rebels' stew, and almost get killed before starting a musical number and escaping back to the plane during it to return to the army base. Never mentioned again, not even in the theatrical version of the film.
The Australian film Three Dollars, an otherwise restrained character study, features a tribute to the crop duster scene from North By Northwest. It is subsequently mentioned only once.
The 2002 remake of Rollerball has what is supposed to be a tense attempted escape scene...until the cartoon BOOOIIINNG noises start.
Even though Spaceballs is a parody of Star Wars, it has a cohesive plot. Well, at least until the bar scene, where a chest burster appears out of a customer's chest and performs a small musical before walking off "stage." It is never mentioned again.
Gilbert in Topsy Turvy gets accosted by an insane homeless woman in an alley late in the film. The scene is considerably darker and more menacing than any other scene in the film, goes absolutely nowhere, and, unlike every other scene in the film, was shot outdoors, just to emphasize the strangeness of it all.
During the massacre scene near the end of The Beach, Richard hissing. Like a cat.