The movie Heat is such a treatment of the Gentleman Thief stock character. Neil MacCauley has the charm and all the connections, but he's painfully lonely, and won't get close to anyone for fear that the cops will be right around the corner. The one major job he's involved in goes terribly awry, and results in over half of his team being killed by the cops. MacCauley gets more violent as the film progresses, culminating in his revenge overriding his need to escape. He ends up proving his own adage right when he flees (and leaves his girlfriend) after he sees Vincent Hanna pursuing him, and winds up dead at the end of the film.
Sky High deconstructs the Side Kick trope by showing how frustrating it is to be one.
In fact, it deconstructs The Hero and Side Kick dichotomy or in otherwise labels. It shows the insecurity of young high school students today and can lead to serious consequences like Gwen Grayson or in otherwise known as Royal Pain.
District 9 deconstructs the daylights out of the First Contact plot. The fact that the aliens landed over Johannesburg and were practically starving creates the bad conditions in the first place, but it's still fairly realistic and dark. It helps that the first half of the film is held documentary-style. It's basically Apartheid with aliens.
Also the Mighty Whitey is deconstructed as well. Wikus becomes a friend of the aliens, who are supposed to play the poor black folks in alien costumes in this movie, but he becomes everything but mighty or special. He only becomes a friend to the aliens out of self-interest and fear for his life, not sympathy for their struggle against the monstrous mean humans. He dosen't become their charismatic leader or the most badass member of their species but just another bit-player forced to run and hide from the oppressors through the rest of his life.
Steven Spielberg's Hook deconstructs Growing Up Sucks: while it's vital that Peter rediscover his inner child, a big theme of the film is that there are inherent advantages to adulthood. Peter grew up in the first place to finally fall in love, get married, and have kids; the memory of becoming a father turns out to be the happy thought that restores his ability to fly.
As in all Spielberg's movies, the relationship between father and son is important and implies bad stuff most of time.
Whip It deconstructs the Satellite Love Interest. Oliver seems like he's 100% the trope, as his character seems tailor-made to fall for Bliss and not do much else. In the end, though, it turns out he was just trying to get into Bliss' pants (he even gives away her old t-shirt to a groupie), and she later chides herself for falling for the act.
It also deconstructs The Rival and the Opposing Sports Team in the form of Iron Maven. Maven loves derby and has a big competitive streak, and she dislikes the Hurl Scouts because they don't even try to play well. When she discovers Bliss' true age, she gets mad because Bliss' parents could easily have sued the league for allowing her to play and ruined the fun for everyone. In the end, when the Scouts finally get their act together and the last bout is just a few points' difference, she compliments Bliss' skills and even asks her to teach her.
Big Bully deconstructs Bully Hunter. Davy has his bully Rosco arrested for stealing a moon rock... and years later finds out this ruined Rosco's life, when his family abandoned him to a reform school and grew up a pathetic milquetoast.
King Ralph deconstructed Rags to Royalty by showing how unprepared he is in running government, and how impossible it is for someone like him to change the traditions of the royal court.
Inception is a deconstruction of the Determinator. The eponymous act involves placing a single, simple idea deep into an unwitting subject's subconscious — that they will never be rid of. This single idea will define them for the rest of their lives, and both the primary protagonist and antagonist demonstrate how it can backfire. Spectacularly.
The Adam Sandler film Punch Drunk Love, his first dramatic role, deconstructs everything about the typical "eccentric man-child" characters that Sandler usually plays. The pudding thing (something that would've been funny in any other Sandler movie) is just disturbing here.
The Breakfast Club takes a very good look at what many of the "stock" characters of teen movies (especially those of The Eighties) would be like if they existed in real life, and what their real motivations would be like. Most American teen movies since have used elements of this film's deconstruction wholesale for their own characterization, to the point where, in many cases, what had once been deconstruction is now old hat.
Andy, the Jerk Jock, only behaves that way in order to fit in with the rest of the team and to impress his father, who raised him on stories of how he acted like that back when he was in school. He wishes that, one day, he'd get injured so that he wouldn't have to wrestle again, and thus never have to worry about living up to Dad's expectations.
Claire, the Alpha Bitch, is a Type A Stepford Smiler who feels that her life is empty, and that her parents only use her as a tool in their endless arguments. And she's hardly the "queen bee" — in fact, it's peer pressure that essentially molded her into the snobbish bitch that she is, and she feels miserably forced into it.
Brian, the Nerd, hates how his parents have destroyed his social life by pushing him so hard to succeed, and is so obsessed with his grades that he tried to kill himself (or worse) after getting an F in shop class. His attitude is also little better than that of the "popular" kids that he hates, as shown when he talks about how he took shop class because he thought it was an easy A that only "losers" like Bender took (as opposed to his advanced math classes).
Bender, the juvenile delinquent, is like that not because he's a bad person per se, but as a result of his tough, working-class upbringing and his abusive father, both of which have taught him that violence is an acceptable solution to problems. His badass image is also easily disarmed by Andy, even though he's armed with a knife.
Allison, the crazy loner, intentionally acts crazy and theatric in order to get attention, something her parents don't give her. She doesn't bother to hide her blatant thefts and eccentricities, and her withdrawn persona is actually just a ploy to get people to give her more attention.
The Social Network takes the Self-Made Man archetype that is idealized in American culture and puts it through the ringer. In a few short years, the main character goes from a nerdy nobody at Harvard who can't keep his girlfriend to the world's youngest billionaire with his creation, and gets everything that he could possibly want... but it's also heavily implied that a lot of people got ruined or otherwise screwed over in the process, that he possibly stole the idea for his website in order to get to that point, that his flawed personality traits are precisely what allowed him to rise to the top, and that, even with all his material wealth, he's no happier than he was before. This is hardly the first time that such themeshave beenexplored — indeed, it's not even the first time that the film's own writer has done this.
The third film also deconstructs the Freudian Excuse. Sidney's Shut Up, Hannibal! to Roman implies that the Freudian Excuses of all the killers throughout the series are just that, excuses they use to cover for themselves and try to get sympathy when, in truth, they just enjoy killing people.
Heartbreakers deconstructs All Men Are Perverts with style. Max and Paige make their living off conning rich men by seducing them, Paige remarking "we can't make a scumbag do anything a scumbag wouldn't do". But then when Max tries to seduce Paige's husband nice guy Jack, he says no and she has to resort to drugging him. Then the last man Max conned says he would never cheat on her again, not because he got caught but because of what he lost (her).
The Filipino film "Anak ng Cabron" answers the question "What kind of man would possess the typical Filipino action hero qualities (masculine virility, master of his home, has no problem with violence)? The answer: a Villain Protagonist.
The film Real Steel provides a deconstruction of the Finishing Move trope. During an underground fight, Charlie gains the upper hand with his new robot Noisy Boy, putting his opponent on the ropes. Confident that he's gained the advantage, Charlie has Noisy Boy wind up for a big finishing move... giving his opponent enough time to strike Noisy Boy in the chest, knocking him to the ground and turning the tide of the match.
Streets of Fire deconstructs the Distressed Damsel plot. Cody's doing it for money, and Ellen is rescued about halfway through, the problem then becomes keeping her safe.
A Thin Line Between Love and Hate deconstructs The Casanova trope. Martin Lawrence plays Darnell, a male chauvinist ladies man who has a habit of pursuing women and then throwing them to the side when he's done with them. He actively pursues a socialite named Brandi, who has suffered this treatment from men in the past before. After managing to Defrost the Ice Queen, Darnell manages to start dating her....up until he's no longer interested because he'd rather hook up with his childhood friend. Although the movie starts off as a typically Romcom, it it goes dark from this point.
The Disney film Max Keeble's Big Move deconstructs Roaring Rampage of Revenge when he goes on this on his enemies after he finds out his family is moving. Its only later that he finds out that its his friends who will pay for what he did.
Project X deconstructs the Wild Teen Party trope. High school seniors Thomas, Costa, and J.B. (with their other friend Dax filming everything) throw a birthday party with the intent of finally becoming popular and getting laid. It ends with Thomas being indicted on 6 different charges, Costa awaiting the results of 3 paternity tests, J.B. being declared unfit to stand trial due to being special needs, and Dax under investigation for the disappearance of his parents.
Can't Hardly Wait deconstructed several high school tropes like Amanda the popular girl note Never wanted to be popular and has spent the last 4 years without any real friends and Mike the Future Losernote Realized he had ruined his life but messes up his chance to make things right with Amanda and William. He forgets his moment of clarity the next day and continues with his path to mediocrity. William gets his revenge on him years later but by then it no longer seems deserved, just cruel and unnecessary.
Gretchen from Mean Girls deconstructs Satellite Character with the film developing Gretchen more than Regina herself. She confesses to Cady that she's secretly miserable being Regina's friend and has to pretend to like or not like certain things to get Regina's approval. She is such an insecure mess that she is willing to put up with any amount of crap just to follow Regina (while bitterly seething throughout the whole time). At the end of the film, we learn that she has learned Cantonese to join another clique.
The Driver in Drive is a deconstruction of the Stoic hero of Seventies and Eighties action films. His heroic attempt to help his love interest by helping her husband work off his mob debts wind up making her a widow and worsening the situation for both of them. His skill at driving is barely put to use, he desperately wants to get out of his situation but his stoic nature and sheer inability to negotiate makes him unable to talk his way out, and he only just survives most of the physical altercations he gets himself into due to being quicker than his opponents. Furthermore, his stoic demeanour is slowly chipped away over the film to reveal a blind, seething rage which quickly leads to his love interest rejecting him and alienates him from his boss, who's his only other friend. He ultimately exits the film bleeding half to death, his boss dead, and neither the girl or the money to show for it.
In addition to being a general Genre Deconstruction of war films, Jarhead goes to great lengths to deconstruct the Cold Sniper trope with its portrayal of the protagonist and his closest companion. Both of them are Marine Corps STA Special Target Acquisition snipers who relish being seen as calm, calculating badasses, and they join up to fight in the First Gulf War with the idea that serving as snipers will be the perfect way to prove themselves in the field. Over the course of the film, though, they gradually realize that the onset of computerized warfare is fast on its way to making their jobs obsolete, and it slowly becomes clear to the audience that their coolheaded attitudes are just facades—at heart, they're just confused young men with a lot of pent-up aggression who want an excuse to take it out on "the enemy".
At the climax, when they finally get assigned to an assassination mission after an entire movie of waiting for one, they're denied the chance to take the shot when their superiors suddenly decide to call in an airstrike instead. The companion subsequently has a mental breakdown while he begs his commanding officer to let him fire. When the Gulf War officially ends a few hours later, the two of them realize, with detached resignation, that they passed the entire war without firing a single shot.
Death Sentence is a deconstruction of the Papa Wolf and the Vigilante Man. Nick's desire to get vengeance on the gangster who killed his son pushes him to deliberately obstruct justice and start a Cycle of Revenge that only ends up harming him and his family further.
Yakuza Graveyard: Kuroiwa appears at first to be a Cowboy Cop played to the level of parody: He'll brawl with anybody, he beats up suspects and threatens to railroad them, he drinks, and repeatedly drives his fist into his palm when frustrated, even if he's talking to his superiors. But it becomes increasingly clear that he's a very sick man, whose constant anger is probably the product of all the beatings he took as a kid (because he grew up in Manchuria, despite being pureblooded Japanese). Gets even further deconstructed as he meets and eventually bonds with a Yakuza member over their shared racial struggles, straightforwardness, and love of brawling.
The Runaways deconstructs Face of the Band by showing how much the rest of the band resents the endless focus on Cherie Curie and how Cherie herself hates all the excessive spotlight, especially since she's still a teenager. And of course in this case the person being pushed as the Face of the Band is only just the singer, while Joan Jett is the true Face hence why she kept her music career going. Bonus points for being based on fact too.
Nikita deconstructed Action Girl. She isn't a badass but a reluctant killer who barely escapes every assignment.
All Girls Want Bad Boys is brutally deconstructed with Solange from Casino Royale, who is married to Dimitrios and suffers through a loveless, unhappy marriage. Out of spite, she hooks up with Bond and laments to him that she had "so many chances to be happy" with "nice guys" but keeps being drawn towards bad men instead. Later in the film, her association with the man who helped orchestrate the bomb plot (Dimitrios) and the man who foiled it (Bond) is what got her tortured and killed.
Starship Troopers is a deconstruction of classic Hollywood Tactics with usually gory results. Trying to out-Zerg Rush a faction that would make the actual Zerg proud? As in sending in millions of unprotected infantry without any support whatsoever? Or, never asking for space freighters to transport the infantry on the planet around? Placing all your space ships as close as possible to each other so the enemy anti-orbital artillery can conveniently land hit after hit? Yes, all of those are done by the humans and all of those end in utter failure. The bugs on the other hand are incredibly Dangerously Genre Savvy when it comes to tactics in this movie series.
The Little Bill storyline in Boogie Nights was included, among other reasons, to deconstruct the male fantasy of having a pornstar girlfriend/wife. Little Bill is wracked with jealousy and feelings of powerlessness by his wife's promiscuity, culminating in his committing a double murder/suicide.
The Last Seduction deconstructs the archetypical Femme Fatale plot by illustrating exactly what kind of woman would seduce a man into committing murder, and exactly what kind of man would fall for it, to a degree that is so extreme that it verges on Black Comedy. The short version? A very, very heartless woman and a very, very stupid man.
Pitch Perfect deconstructs Character Signature Song by showing The Leader of a collegiate A Cappella group insisting on using the exact same set of songs throughout the competition, causing the judges and the audience to get tired and bored of their act. This also caused problems within the group because the members (especially The Hero) feel that they are being limited and held-back.