There are subjectives, and then there are these. While you may believe a work fits here, and you might be right, people tend to have rather vocal, differing opinions about this subject. Please keep these off of the work's page.
In the long winding history of Hollywood, people reflect on the movies they've seen and gauge the quality of the movies, the best scenes, etc. But often times there will come a time where you're watching a movie and see a part that will strike a chord with you and make you wonder what the hell were the writers thinking.
These are those moments.
Sign your entries.
One moment per movie to a troper, if multiple entries are signed to the same troper the more recent one will be cut.
Moments only, no "just everything he said," or "The entire movie," entries.
No contesting entries. This is subjective, the entry is their opinion.
No natter. As above, anything contesting an entry will be cut, and anything that's just contributing more can be made its own entry.
duralict: Camp. "Someday I'll have to make guy friends who don't wear lipstick." What an unbelievably awful thing to say to your gay best friend.
terlwyth: I never liked the idea of a campy reboot because Batman Returns didn't make enough money, but I was hoping it'd be decent. That however was instantly not the case when the Graysons decide to dispose of the bomb (which looks stupid) Two Face planted themselves instead of fleeing and getting proper authorities. There are other problems I have with this scene, but I'll skip to the death. So basically Two-Face shoots wildly and happens to cut the ropes The Graysons are on (except Dick) and they plummet to their deaths in what appears to be a little too peaceful while Two-Face conveniently finds a trap door to escape and then there wasn't a funeral and they weren't referenced next film.
Spidey Terry: Batman Forever as a whole was lacking, but the introduction of Robin to the series is a real DMOS. It doesn't work because we don't get a ten-year-old Dick Grayson grieving over his parents (who were killed mid-act simply for being in the wrong place at the wrong time) and having nowhere else to turn but a sympathetic Bruce Wayne. The movie essentially uses the Broad Strokes of this origin (though throws Two-Face into the mix and makes the parents chronic heroes with deaths boarding on Senseless Sacrifice), but utilizes a young adult Dick Grayson. Bruce naturally feels sympathy for a fellow orphan, but it doesn't ring nearly as true as it does in the comics because of Dick being aged up. Dick in this movie is perfectly capable of living on his own. This sizable lapse in story and logic just kept nagging me for the rest of the movie. It's Plot-Induced Stupidity just to get him to Wayne Manor and as the comics long-since demonstrated, it wasn't even necessary! Frankly, Dick comes across as a sponge that lucked into a big meal ticket rather than a grieving would-be hero wanting to make things right.
Leaven: In the movie 40 Days and 40 Nights, Nicole, Matt's ex-girlfriend, wants to stop Matt from completing his vow to abstain from sex for Lent. Her reason for doing this is to win the prize money that has collecting from people betting on whether Matt will complete his vow. So, Nicole goes to Matt's apartment where he has chained himself to the bed in order to ensure that he completes his vow, and rapes him. That's bad, but what makes this movies even worse is Erica, his current girlfriend, comes into the room and assumes he cheated on her. So, he has to apologize to her for being raped! Nicole wins the prize money and gets away with her crime. What the fuck were the writers thinking?
CAD: There is one scene in the Doom movie which stands out for how atrociously bad it is. In the final fight scene, The Rock breaks off a metal wire and wraps it around his arm. This is how the movie nods to the Cyberdemon.
Korval: The Eragon movie has one. Anyway, Eragon has a dream about Arya, a woman he's only ever heard of by this point and one he first met in a dream. She's being tortured. So naturally, he wakes up and wants to rescue her. Then, Jeremy Irons as Brom uses his acting talent to its fullest (well, the fullest that the writing lets him) to try to convince Eragon not to go off half-cocked, to act responsibly and so forth. Irons' performance gives you a real sense of the urgency in Eragon not doing this. And then Eragon says, "Your shame is not mine!" At this point, liking Eragon (the character) has been rendered 100% impossible. It's like crossing the Moral Event Horizon, only without having to actually kill anyone. It would have been much more acceptable if Irons hadn't been so damned convincing in his performance, because Eragon's blowing him off so easily and so harshly just makes you want to reach through the screen and choke the shit out of him.
Jonn: Mine was when Brom asks Eragon how old he is—"15? 16?" And our hero retorts "seven...teen!" in a terribly acted manner. Why did they hire this kid?
Stele Resolve: I hated pretty much the entire movie, but if I had to choose one thing, it would be the hatching. The book has a cool series of events where Sapphira hatches from the egg, and Eragon is forced to hide her and care for her in secret, slowly raising her from infancy to something approximating adolescence, and even having to find an appropriate name for her. He does everything from feeding her to teaching her to associate human words with objects around her. In the movie? She hatches, and in a magical moment flies off and turns into an adult dragon, complete with an understanding of human language and a fully developed mind! Presto, no character development needed, just add Narm!
Peteman: In Serenity, when we find out just how deep the corruption and particularly the incompetence runs in the Alliance, and given how tired and overused that theme is in Joss Whedon franchises, I felt like he was reaching out of the screen to insult me personally.
ondarisa: For me, it was the scene where the crew returns to Haven to find it wiped out. Mal orders the crew to cover his ship with the blood and corpses of their dead friends, and he'll kill anyone who dares to confront him about it. Particularly jarring when in the next scene he shrugs off the Operative's Not So Different speech with "I don't kill children"...he just threatens to kill the people he thinks of that way. I simply couldn't view him as a hero after that.
Allronix: "A leaf on the wind..." CRASH! THUD! C'mon, Joss. That was totally pointless, didn't advance the plot, had no impact on the rest of the plotline events, and was a bit of cheap shock by reverting to your usual cliche of killing off a character just to invoke the Anyone Can Die trope. At least Book got to take down the sons of bitches in that cruiser! But this just proves that Joss can't tie his shoes without some cheap character death.
Slowzombie: Repo! The Genetic Opera, the scene where Shilo stands up to her father for the first time. Not a bad moment in itself, but the song that follows is not at all pleasant. For one, it feels out of place, with a sudden swerve from the established "we sing to talk"-style to the more music video-like "band and dancers out of nowhere"-style. In addition, it is a little... creepy.
Now, I'm sure there's a perfectly good reason why they would stop their 'serious' musical to include a 'rocking' teen rebellion song that has nothing to do with padding the soundtrack, but whatever it is, this song is just awful, so much so that TV Tropes, which is run by people who like everything, lists this scene as Repo' Dethroning Moment of Suck.
Enchanter468: I would like to submit Jurassic Park III, specifically, the moment where the a Spinosaurus mauls a T-Rex. I understand Spinosaurus was slightly larger, but just think about this for a moment. The T-Rex opens the fight by running up and chomping on the Spinosaur's neck, and it only inflicts some superficial cuts!? Those things' teeth were serrated and rounded in cross section to sustain greater bite force, and fossils of their victims show that those teeth could cut right through skin and muscle and punch big fracking holes in the bones. Couple that with the dinosaur's massive jaw pressure, and that first neck chomp should have crippled the Spinosaurus for life, if not killed it outright.
Baronobeefdip: Agreed. The whole "Spino VS. T. rex" battle was little more than for Jack Horner (the Paleontologist who helped with the so-called "accuracy" of the dinosaurs in the films) to show off his dubious "Tyrannosaurus was a scavenger" hypothesis. Apparently, the filmmakers (and Horner himself) have forgotten that there's (though limited) fossil evidence that T. rex was a social animal (It may have lived in small family groups)... which means that Spinosaurus would've had to deal with not just one Tyrannosaurus but several. All these inaccuracies just makes the "T. rex VS Spino" scene all the more a DMOS.
Darkwing: T-Rex had one of the strongest jaws strength's in the fossil record, definitly more so that Spinosaurus. And even if it was a scavenger, that does not mean it would automatically loose the fight. Some animals steal kills from other predators, and that means they have to be able to chase the animal that made the kill away, and make sure it doesn't take it back. Even if Horner is convinced T-Rex couldn't chase down prey, that does not mean it can't win a fight.
Time Traveler Jessica: For me it was the critic getting killed brutally. The movie before had been pretty light-hearted, if a little spooky, and I was totally willing to except it as a goofy fantasy. And then that happens. A character being brutally killed, just because he was movie reviewer and kind of a jerk. M.Night, seriously, that just came across as whiny and mean-spirited.
Tropers/Hyrin: For me, the movie was tolerable until Shymalan declared himself (through his character) a misunderstood Christ figure that we should be ashamed of ourselves for not liking. Any chance the film had of being watchable after that went out the window.
X 2 X: In The Village, yet another M. Night Shyamalanclassic, we had the obligatory Twist Ending. The eponymous village is not set in 1897, but was actually founded during in the late 1970s and is essentially a human wildlife reserve/science observatory plant. The female lead learns this when one member of the community falls ill and requires medical aid that is only found in the modern-day society. Fittingly enough, this movie is almost unanimously hailed as the point where his movies were thrust into third gear... right into the realm of suck. What a tweeeest, indeed.
Crazyrabbits: The "dance scene" in Memoirs of a Geisha, where the newly-minted geisha Sayuri (Zhang Ziyi) performs a dance amid a blanket of fake snow onstage...the only problem is that it's not a dance, despite what the characters claim. Sayuri walks onto the stage in six-inch platform shoes, waves her umbrella around for a few moments and jumps around acting spastically for a few seconds. She dances for less than two minutes. Yet, everyone thinks this is good enough to give her a standing ovation. Putting aside all the other problems with the film (slow pacing, unlikable characters, cultural inaccuracies), the dance scene proves that Hollywood didn't understand the concept of a geisha at all.
baronobeefdip: I find Godzilla Final Wars to be a Guilty Pleasure for the most part, but I find there's one glaring DMOS going agaisnt it. What is it, you ask? It's during the final battle when Monster X transforms into Keizer Ghidorah. What? Ok, Toho, I can forgive the ridiculously short "Godzilla VS (Insert monster here)" battles. I can forgive the silly Matrix/X-Men/Star Wars inspired "human vs alien" plot. I can forgive that the "Mothra VS Gigan" plot point lead to nothing but a rather pointless cameo by Kamikaze Mothra at the end. What I can't forgive however, is that you turned what was an exciting battle between Godzilla and a new foe into yet another Godzilla VS Ghidorah battle. Yes, Toho you made me lose interest at the climax of the film due to turning an original fight into a cliched one.
fluffything: For me, it was the aforementioned "Kamikaze Mothra's pointless cameo". While most of the monster fights are short, they are excusable in that all the set-up we get for them is that they're going to fight Godzilla eventually. But, with Mothra, it's set up that she has a past history with Gigan and that the Shobijin summon her to aid Godzilla in battle. Does this mean we get to see scenes of Mothra flying after Godzilla to battle? Do we get an epic build-up to an awesome monster-team up? Nope, Mothra shows up at the climax of the film, fights Gigan, gets set on fire, and rams into him killing them both (There is a deleted scene showing Mothra flying back home to Infant Island, but, that doesn't make sense since she's, ya know...dead.). What a waste. They set up Mothra as being crucial to the plot of the film and utterly waste her on-screen time. It's the equivalent of setting up Batman to guest-star in a Superman film only to have him make a brief cameo where he and The Joker fight and fall off a building to their deaths. Disappointing to no end.
fluffything: The fact that Zilla was killed by freakin' missiles is what made me say "Fuck this movie". What's worse is how he's killed by missiles. He doesn't go down fighting like King Kong or his far-better Japanese counterpart. Oh, no. Instead, he gets tangled up in the wires of the Brooklyn Bridge (Which by the way, is a suspension bridge and should've collapsed when the wires snapped) while the Air Force pretty much blast the shit out of him. That's right, the film pretty much turns the climax into an inverse Curb-Stomp Battle in which the giant monster is the one who gets pwned. This and the previously mentioned "Pregnant Iguana" aspect of the movie are why GINO is the ultimate example of Character Derailment in any film. This movie doesn't deserve to be called "Godzilla" by any stretch of the imagination.
Hoodiecrow: Saving Private Ryan, "James, earn this." Um, you know, Ryan hadn't exactly asked for any of this as a personal favor. The boy simply wanted to do his duty, and did so gallantly to the end; how can he be in your debt? The film should have been named Condemning Private Ryan to a Lifetime of Regret and Guilt instead.
Trombone Child: I didn't feel this way initially, but the more I think about it, I think that Dropping an Air Conditioner on the van in The A-Team movie might be this, especially since B. A. didn't rebuild it during the course of the film. What was the point of introducing it, then, and why would the writers want to destroy something so iconic?
Man Called True: The scene where they distract a beholder with a tossed pebble. A beholder... falling for a tossed pebble. Beholders have genius-level Intelligence (18 as a racial average, the maximum for a starting character in 3rd Edition), are master magicians, and - oh yeah - have independantly-moving eyestalks. Any beholder worth its copper pieces would have followed the pebble with one eye and wiped out the heroes with all the others. If you're going to use an iconic D&D monster, don't just throw it in and then treat it like Standard Cliche Hollywood Guard #221.
Spidey Terry: What I found so irritating is that they killed off Laurie in the opening minutes and left it at that. Now, that was a really good sequence, but what's next? Tracking down Laurie's son, the apparently last living relative? You'd think so since Michael's M.O. is going after his relatives. However, instead, he goes home and essentially plays janitor in his home. Eesh. The basic plot could've made a decent horror flick, but no way this should've been the direction for a Halloween movie. Eesh, if they were gonna bring back Michael, they should've gone all out - not just inserted him into a plot that could've been anyone else's.
Zuul MF: The idea is that he has finished his task after killing Laurie and is sort of just laying low in some weird kind of retirement until the kids come and bother him. That's right: they ended the series at the beginning of the movie, not the end. And Laurie's stupidity was such an Out-of-Character Moment. I believe one reviewer whose name escapes me put it that it's like beginning Moby Dick with: "Call me Ishmael. We caught the whale."
Stele Resolve: Funny Games. A psychotic couple of creeps holds family hostage, plays mind games with them, yada yada yada. The only thing that made this movie different from most others like it is how real the emotions of the characters seemed, and how one of the villains routinely broke the 4th wall. So the mom finally demonstrates a crowning moment of awesome when she grabs the elephant rifle that the villains carelessly left lying around and blows one's guts all over the wall. Then the movie erases this and turns everything following it into a dethroning moment of suck when Paul grabs a TV remote control, rewinds the movie, and prevents her from getting the gun.
De Luman: Law Abiding Citizen at the very end of the movie, the character Clyde, who had been shown to be a Magnificent Bastard par excellence, makes stupid mistake after stupid mistake in order to let the DA Nick, figure out how to stop him. Not only this, but the movie tries to turn the phrase "Fuck his civil rights" into a CMOA.
Valkir: That fucking stupid "Chaos Reigns" fox in Antichrist. The movie was slow, dull, and by-the-numbers "humans suck and our director is depressed" nonsense up to then, which was not awful, but that completely ridiculous and jarringly awful moment of Narm fully established that it was all a bunch of artsy pretension disguising a really basic and unremarkable film with some handwave explanation misogyny thrown in.
Devoured By Robots: God, I didn't even manage to make it seconds before my dethroning moment, which was the baby clearly committing merciful suicide to escape its completely unlikeable parents having graphic sex in the bathroom to opera in pretentious black-and-white slow-motion. The rest of the film was like a Dragging Footnote of Suck to compliment the opening sequence.
Cabbit Girl Emi: Big Bully has got to be one of the worst movies I've ever seen.note And it's a shame because Rick Moranis is one of of my favorite actors, if not, my most favorite. Here, we have David Leary, the movie's protagonist and Butt Monkey, who is constantly living in fear after his old bully Roscoe Bigger, a.k.a. Fang, comes back into his life. Somewhere in the second half of the movie, Roscoe pulls a couple of pranks on David (greasing up the floor, putting paint on the rim of his coffee mug). Then a chase scene ensues in the hallway until David goes to the principal's office to tell him that Roscoe has been messing with him again, and what does the principal do? He brushes David off because Roscoe worked as the shop teacher long enough and warns David that he will be put on a 1-week probation. This is especially painful when we get this following line:
David: But I'm the town hero...note David became a successful writer many years after he tattles on Roscoe for stealing a moon rock.
Stele Resolve: Hellbound: Hellraiser II was a kind of pointless and confusing sequel to the first movie, but it was interesting at the very least for most of the movie, and Pinhead and the other Cenobites reprized their roles as badass villains. Then the Smug Snakedoctor is lured into a trap and subjected to horrible torture within the realm of the Cenobites (really should have seen that coming, he literally walked into it). Fine and dandy. A little later, though, he returns transformed into a Cenobite. Okay. Then a giant phallic tentacle attaches itself to his head and carries him around. What. He immediately proceeds to chew the scenery of the rest of the movie with corny Pre Mortem One Liners like "The doctor is in" and "I recommend...amputation!" As if that wasn't bad enough to ruin the movie, the true Dethroning Moment of Suck occurs when the original Cenobites not only renounce their roles as badass villains, but promptly get slaughtered like cattle by the most cliched and hammy Big Bad the horror genre has ever seen. Congratulations, you've successfully stripped this movie of everything that kept it from completely sucking.
Stele Resolve: I wasn't greatly impressed with Black Christmas (1974) (the original); it was rather dull, predictable, and the character stupid. But the unforgivably moronic moment came at the very end, with the police burst into the sorority house to find the supposed killer dead at the hands of the last survivor, Hussey's character. So they haul his body off and talk about what a horrible event this has been...and then they just leave. Yeah, that girl's been through some pretty severe trauma and shock, but I'm sure leaving her alone in the very house where the source of her trauma occurred, without so much as a single cop or doctor to watch over her, is a perfectly sound idea.
timotaka: Same here, but I would also like to add one more Wall Banger: the ending shows undiscovered corpses in the attic of the house, implying that the police don't even bother searching through the house to find people who are still missing!
Lord Crayak: There was one cop shown guarding the front door as the credits roll...a seemingly lone guard doesn't make things any less of a WallBanger though.
Dan Dan Noodles: The Rock was a silly movie start to end, which, OK, don't expect subtlety and nuance from Michael Bay. But one scene in particular is so egregiously dumb that it turned me into a bad theater neighbor, as I was compelled to say, out loud, "Oh, come on!" — when Mason cuts through a plate glass window with... a quarter. Not a special diamond-edged, super-secret spy window-cutter cleverly designed as a quarter, mind you. A plain old quarter, straight out of his pocket. Seriously, they aren't even trying at that point, just seeing how much they can put over on moviegoers so long as they sandwich it between lots of shiny lights and explosions.
pvtnum11: Possibly handwaved; I recall Mason slams the metal chair leg onto the quarter before picking it up, and that might have put a sharp edge on the quarter. Maybe. My DMOS on that movie was having every single SEAL getting waxed by the wayward Marines. Yeah, okay, high-ground and all that, but really?
Stele Resolve: Sleepaway Camp was a pretty ridiculous movie, a cheap cash in on the then-popular slasher franchise. It's not a very good movie, poorly acted, whatever. The real WallBanger, the unforgivable moment of stupidity, is when Angela, the most likely killer, turns out to be the killer. Why is that such a big deal? Because the movie clearly makes an effort to disguise the killer's identity until the very end, but does such a poor job that a child could call it from the half-hour mark. Seriously, it was so obvious that the creepy, thousand-yard-stare psycho girl is the killer that throughout the entire movie, I kept turning to my roommate and saying "There's no way it's her. It's so obvious that it's her that it has to be someone else." Guess what? It was. Though the otherreveal about her kind of makes up for it.
Stele Resolve: Dogma was an all around hilarious movie, almost perfect. The one small thing keeping it from being a golden movie? The shit demon. Goddamn it, that was so unforgivably stupid. I mean, an extended toilet humor joke? Really? And the rest of the movie was laden with insightful and biting wit...
Erwin: It was at least a missed opportunity to introduce the Golgathan by saying Azrael "called in the Calvary."
Enchanter468: The scene in the Wing Commander movie where the Tiger Claw has to hide in an asteroid crater to avoid a Kilrathi ship, and everyone aboard the Tiger Claw has to be very, very quiet so that the other spaceship doesn't hear' them! You know, I'm okay with sound in space; I don't go after Armageddon or Star Wars or Star Trek for it, but when a movie flat out states that not only can the audience hear the sound in space, but so can the characters, that is freaking pushing it.
GREGOLE: While Aliens vs. Predator: Requiem was already an unsatisfying film, the moment that really sold it for me was the bit where the predalien infects an entire room full of pregnant women. While the little kid being chestbursted earlier was cringe-inducing, it was one death out of countless. We're shown that both monsters are ruthless and inhuman, and will not make distinctions between their victims... The filmmakers apparently felt that we forgot about this, so they decided to go even more over the top, to the point where the shock is gone, and it becomes a sick snuff fantasy for the writers. It was the single most tasteless thing I have ever seen in a movie since the Toxic Avenger disemboweled a man dressed as a baby who was trying to blow up a school for the retarded on Take A Mexican To Lunch Day.
Grumpy Old Man: I agree, it's less Horror, and more "make the good guys suffer, just because".
fluffything: For me, it was the fact that the "Predalien" is supposed to be a "Predqueen". For one thing, it doesn't even look like it would be a Queen (Previous films establish that the Queen is significantly larger than the regular Xenomorphs). The Predqueen should be this massive horrific monstrosity, not a "Xenomorph with Predator dreadlocks". Second, the explantation is that it hasn't matured into a full-grown Queen yet. Then, shouldn't it be a chestburster still? I don't recall previous films having a stage between Queen Chestburster and Adult Queen. Third, even if we ignore all the previously mentioned nonsense (Which is already nearly impossible to do), why in the name of sanity would it have a completely different mode of reproduction? Yes, Word of God said that it hasn't developed an ovipositor yet. But, that just makes the whole idea even more idiotic. As utterly cheesy the "Newborn Alien" was in Alien Ressurection, at least it made sense within the mythos of the film...Which is more than what I can say for the "Predalien", sorry, "Predqueen".
sephiroth144: In Avatar, what happens when Jake goes to tell the Na'vi what the Skypeople want. "Hey, we want a certain rock that's under your tree" And they couldn't slant-mine? Etc... He never did his damn job, and essentially caused both sides of the slaughter that occurred.
Daedalis: The moment the commander in his shiny battlemech pulls a knife in smackdown with Sully's avatar. Supposedly someone took the time to design a mech with removable weapons (therefore susceptible to disarming), then machined a sword for it to draw in such a situation? Why not just bolt blades to the undersides of the forearms? or exposed spikes on the fists?
Many people have said the whole movie has an ableist tone to it, but one particularly cringeworthy moment was when Jake was called "numb nuts" by another character. To quote the film's Rifftrax: "What a sensitive nickname for a paraplegic character." Well played, Cameron, well played. - Time Traveler Jessica
The Dog Sage: Salazar from the Day of the Dead remake, particularly his reply when asked by another soldier 'so you're making a spear?' is 'What's the matter? You see a black man with a pointed stick and it automatically gotta be a spear?' Made infuriating because, irregardless of race, what he has is, in fact, a spear. And apparently he doesn't know that the spear has been used by just about every culture since prehistory, with the bayonet turning even a modern rifle into a spear.
fluffything: While I enjoyed Cowboys and Aliens as a So Bad, It's Good action film, there is one glaring problem I have with it. At one point in the film, we find out the aliens are invading the earth because they want gold. Why do they want it? Because it's valuable. That's it. I'm sorry...what? It doesn't make sense for so many reasons. First, value is subjective and you need context to explain why it's valuable. Do the aliens use gold for fuel, money, building material, food, weapons? It's never explained. Second, if the aliens want gold, why not set up a trade system instead of invading the planet? Third, it contridicts the previous scenes since it implied earlier that the aliens are harvesting humans for some reason. Fourth (and related to third), it's stated that the aliens are abducting humans to find their weakness and exploit it. (Beat) Why?! These aliens are explicitly stated to be able to blow up entire planets with ease, and are also shown to be able to steal gold with little effort and without anyone noticing. It doesn't make any sense. These aliens can easily just siphon up all of the gold, blow up the earth, and be on their merry way without anyone knowing about it until it was too late. Them kidnapping people to study their "weakness" just overly-complicated an already stupid reason for invading earth.
Zaothus: In addition to the above points, there's also the blatant plotholes with regard to Daniel Craig's character's amnesia. It's revealed at the end of the film that the aliens subject all of their human captives to some sort of light that erases all of their memories, albeit temporarily. The presence of such a machine is an obvious contrivance, but not in itself a DMOS. That comes when Craig's character starts to overcome the amnesia and has flashbacks to his escape from the aliens, revealing what happened to his old love interest, how he got the mysterious device on his hand - all plot points that were played up as mysteries at the start of the film. But, I reiterate, this flashback is to his escape from the aliens, which is to say, after he was exposed to the mindfuck-light. So why would he have forgotten it at the beginning of the film? I have nothing inherently against amnesia as a plot device, but this is one of the most half-baked attempts at it I've seen in a long time. Considering the extent to which the film's marketing campaign focused on the whole "mystery" side of things, you'd think at some point in quality control they might have picked up on such a gargantuan continuity error.
Tropers/maxwellsilver: And even if you can get past that painful scene (McLain also says Glock is German when it is in fact Austrian and that it costs more than the chief of police makes in a month, when the Glock 17 retails for around $450), the plot hinges on planes sticking to their original destinations and never detouring to any of the six airports or the Air Force bases nearby when they can't land at Deluth, defying FAA regulations, or that their manipulation is stated to be the ILS system and changing it to display the planes' altitude as 200 feet lower... except the ILS uses antennas mounted ont he ground, and to do that they would have to be buried 200 feet underground, and would not change the altimeter readings, or the Windsor 114 crash, which explodes when it crashes and breaks up on the ground, which isn't possible due to the construction of a 747, and the fact it ran out of fuel means it wouldn't explode even if it did rupture.
fluffything: I already despise Simon Birch to begin with due to its copious amount of Glurge and because the titular character is a smug holier-than-thou Jerk Ass. But, to me, the absolute DMOS of that film is when Simon accidentally kills his friend's mother with a wayward baseball while playing a game. The circumstances that cause the whole thing are so contrived they'd be better off for an over-the-top comedy than what is supposed to be a Tear Jerker moment. Not to mention that it would be impossible for Simon to even be able to hit a baseball hard enough to kill a human being. It's just a forced way to make Simon (who is already an unlikeable character in my eyes) look sympathetic by accidentally causing a tragedy that would be, again, impossible for a person of his size to do. It's so utterly stupid that I still can't believe anyone would think it could be taken seriously.
fluffything: While Gremlins 2: The New Batch is a movie I really enjoy, there is one scene that always grinds my gears. That, of course, being the whole "Kate hates President's Day" speech. It's a parody of the "Kate hates Christmas because her father died" speech, but it fails miserably. First of all, her reasoning for hating President's Day? Some guy who looked like Abraham Lincoln freaked her out when she was a child. That's it. No over-the-top tragedy. Just a guy who looks like Lincoln. Second, there is no indication or build-up to this revelation apart from a single line Mr. Futterman says ("Washington never gave up. Lincoln never gave up."). At least the first film drops hints throughout the film that Kate dislikes Christmas and has legitimate (and very tragic reasons) for doing so. And, finally, parodying what I consider a major Tear Jerker scene from the first film is just downright Dude, Not Funny!. Yes, it was pretty over-the-top in terms of what happened. But, keep in mind that Kate's father died on Christmas, and quite horribly as well (IE: Getting stuck in a chimney and breaking his neck). Undermining such a heartbreaking revelation with a poorly-written "parody" of that scene is just mean spirited.
Blackbird Mizu: The Last Airbender was a lousy movie all around and did have a ton of DMOS. But one of the real kickers was the prison camp scene where earthbenders are imprisoned... on earth. And they don't even try to fight back until the Mighty Whitey heroes come in and give an rousing and inspirational speech. It made more sense in the TV series: they were stuck on a boat with no earth for a long time. There was plenty of time for them to be psychologically broken, so even when they were given weapons (some coal) they didn't bother fighting. But in the movie, they could've broken out the second they went in. It was completely moronic and you have to wonder who is dumber: the Fire Nation for imprisoning earthbenders on earth, or the earthbenders for not escaping.
RAD Dman: Along with the above, there are three things this troper would like to point out about the earthbender prison scene (yes, there is more to complain about besides the jaw-dropping, reality-bending stupidity of putting the prison for people with control over the earth on a location literally surrounded by and on top of miles of earth). In the show, the episode with this situation helps establish Katara as a motivator and inspirational character, a very important part of her personality. In the film, this integral aspect is ditched and Aang gives the rousing speech instead. There are plenty of cardboard characters in the movie, and this certainly does not help Katara's status as one of them. Furthermore, directly preceding the trio being taken to the prison, a firebender guard arrests a young earthbender because he "was bending small rocks" at them. The DMOS here is what he says after, in the most ridiculous whining voice ever: "It really hurt!" It's something that should be watched for one to understand how awful that dialogue is. The worst part about that is that if this were actually said in the series (and maybe it was, I don't recall), it would have been a genuinely funny joke. But because up to this point the movie was taking itself so obnoxiously seriously and all humor was replaced with brooding, this line just comes out of nowhere and leaves people laughing for the wrong reasons. Finally, when the earthbenders do their prison riot and start using the tons of earth around and under them as weapons, we are treated to a shot of six earthbenders doing an unintentionally comical choreographed series of actions accompanied by silly-sounding shouts. The routine is ten steps or so and the only result is that a small poorly-CG'd rock starts moving slowly past them. It is hammy, it looks stupid, and the lameness of the result is stupefying. That one scene is a DMOS for anything related to Avatar: The Last Airbender, not just the movie.
Dr Zulu 2010: There is actually an even worse scene who shows Katara in an even worse light. And that would be her duel against Zuko. In the show, it was one of my favorite moments as it show how Katara has grown not only as a character but as a fighter as well, who almost defeated Zuko if it weren't for the fact that the sun came up. How does the movie decides to honor it? By having her blocking his attacks and getting knocked on her ass without laying a single blow out of him. Did I mention that Shayamalan's daughter's favorite character in the show was Katara? That must make for some awkward family dinner.
Dr Zulu 2010: Highlander: The Source was already an insult to the fans of the series, but the biggest middle finger of the franchise is the ending. In which Duncan managed to beat the Guardian not by decapitating him but by not attaking him while he's defenseless. Which allows him to gain the price which is the ability to have a baby. I'm not kidding. That actually means that all the good immortals and friends who died (Connor, Methos maybe, Joe and Reggie) died for nothing. Even worse, Anna outright says that there can be more than one immortal at the end. So yeah. Not only many immortals died pointlessly, they all died for a prize who is not worthy in the first place and can be earned not by violence but by love and being selfless. No wonder why the creator says it was all a nightmare by Duncan.
baconhead: I love David Zucker movies (except for this movie), I tolerated An American Carol up to certain point, and that is the court room, and what the movie tell us? That we need guns to kill ACLU lawyers! I'm not even joking about that last one, they flat out say we need guns to kill people who disagree with us on politics, what the.... I'm not even a pro-gun guy, and I could have made a better pro-gun argument, that's not funny, that's just Fascist.
SickBoy: Yeah, Zucker was always one of the best parody makers (second only to Mel Brooks in my opinion), but the ham-fisted political agenda in this movie, pretty much exemplified in that scene, drained him of his credibility. The whole scene can be summed up with this exchange: "We can't just shoot people!" "They're not people, they're the ACLU!" They even portray the ACLU lawyers as mindless zombies out to literally destroy the 10 Commandments by having them flock to the tablets in the courtroom and start wrecking them. They don't satirize anything silly the ACLU might have done, they don't offer any rebuttal to anything they disagree with, they just portray them as Too Dumb to Live and shoot them. The satire in this movie really started to shift into propaganda territory at that point.
Averyvill Animation: It was very difficult for me to choose a true DMOS for Son of the Mask (One of my most hated movies). The painfully unfunny jokes, Jamie Kennedy's pitiful attempt at mimicking Jim Carrey's mask, the hideously poor CGI effects on the mask powered baby, the disgustingly sappy ending, the way they conveyed the "message", the many textbook examples of They Wasted a Perfectly Good Plot, but even with all those I've simply decided on one particular scene that made me despise this movie. Tim's wife Tonya returns home late at night and sees the house is a wreck, and then Tim appears. Thinking she's Loki in disguise (long story), Tim brutually assaults his wife, while intense music plays no less, with the dark lighting and atmosphere. Now, I'm not a guy who's easily offended, I tend to laugh at some pretty dark, brutal and mean spirited shit (I love the Pony.MOV series for Christ's sake), but, here I actually felt uncomfortable at the fact that this intense scene of what is basically domestic abuse was played for laughs. And not only is it expecting us to laugh at this horrifying scene, but, the sporadic tonal shift is also bothersome, as it feels like a completely different movie when you compare it to earlier scenes. It was more like something out of a psychological horror movie than the wacky surreal comedy this movie was attempting to be (Albeit poorly). It was right there, right there that I realized "This movie is despicable"!
k9feline5: For me, what makes that scene a DMOS is the ridiculous notion that LOTR fans would be so shocked and demoralized by someone making Frodo/Sam Ho Yay insults, they'd have no option but to vomit, as if LOTR fans had never heard gay hobbit jokes before. Any chance there were still LOTR fans out there that sheltered was dead by late 2004 (and Clerks2 came out in 2006, so no excuse there, Smith) with the release of the LOTR:Return of King Extended Edition DVD, which included a comedy sketch where Hollywood exectutives try to get Peter Jackson to make a LOTR sequel that would be all about Frodo/Sam Ho Yay. If Randall had made those Ho Yay jabs to Real Life LOTR fans, they'd most likely start quoting from that sketch.
Sophie1322: The moment in Dark Shadows where Barnabas murders a bunch of hippies for absolutely no good reason at all. Now, to be clear, Barnabas was never the nicest of protagonists - he's killed innocent people before without being fazed by it in the slightest. But at least those murders were somewhat justifiable by extreme bloodlust. There is absolutely no excuse for this. Barnabas had been around humans for a while without harming anyone, and had plenty of opportunities to find safe alternatives for human blood, which he never once considers. He didn't even lose control, he calmly told them he was going to kill them all before doing so. I know that hippies are Acceptable Targets, but even these ones weren't portrayed as being bad people. On top of all that, it's Played for Laughs, and could have easily been removed from the film without affecting the story too much. After this scene, I found it completely impossible to like Barnabas.
Saiyan Warrior 006: 300, ye gods what a mess. What with the way the Persians and Ephors are portrayed as deformed monsters (Immortals anyone?) to the buttering up of Spartans as heroic defenders of Justice who abhor slavery despite keeping three to five slaves themselves, but no the real Dethroning Moment to me is the way they excluded the rest of the Greek army who joined up with them. There was seven thousand Greeks total there facing off against the Persians in real life and in the film we only see a handful of those who aren't Spartan and they are portrayed as cowards afraid to fight and looked down upon as ready to flee at the first sign of trouble. Yeah when the odds were against them and it was hopeless they did withdraw but that was under an order to go tell Greece to prepare its army and there was over a thousand Thespians and Thebans who stayed behind as well and died fighting to the death alongside The Spartans. A scene with a group staying behind despite being told to leave would've been niced and a nod to what they did in real life. But nope, let's all pay attention to Leonidas.
fluffything: Reign of Fire: The way they defeat the dragons is so utterly idiotic, contrived, and utterly pisses in the face of basic biology that it makes a cheesy Godzilla film from the 70s look like a well-researched documentary in comparison. To put it bluntly, they kill the only male dragon (Yes, there is only a single solitary male within the entire dragon population) and that somehow makes it so that the female dragons are unable to breed and slowly die off. Quick question-How the fuck did these dragons manage to survive in the first place? This trait of the dragons is such an evolutionary flaw that they should've gone extinct long ago. Yes, it's true that many animal species live in groups with one male and several females. But, here's the thing, there's often other males of the species to mate with the females in case one male dies. Likewise, certain species of animal can change sex from male to female (or female to male) in order to breed. Or, heck, certain species of animal can reproduce via parthenogenesis (IE: A female is able to produce young without a male to fertilize the eggs). Considering all the numerous ways organisms in Real Life are able to find ways to reproduce and form new generations in order to survive, how is it that these dragons, which lack any said reproductive traits, and are wiped out so easily because of them, able to survive for so long? By this movie's logic, the singular male dragon could've simply died by choking on a bone and they would've gone extinct that way. Horrible writing at its worst.
Shadow200: Don't get me wrong I enjoyed Iron Man 3 and got my money's worth from it but the fact that his long time archnemesis from the comics The Mandarin turns out to be nothing but a washed up drug addict actor hired by the real Big Bad really doesn't settle with me. All the promos and interviews suggested he'd be Tony Stark's greatest foe and when its revealed he's drugged out of his mind and doesn't have a clue what's really going on irks me as I felt they wasted a perfectly good character and plot as their rivalry was based on technology vs magic and Advancement vs Tradition. Still enjoyed the movie but that part just bugs me.
Jaydude1992: From Iron Man 3 there's the final battle, between the Big Bad plus minions, who all have My Blood Runs Hot style powers, and all of Tony's suits being controlled by Jarvis. You'd think this would be a CMOA, particularly if you saw this bit in the trailer, but no. The Worf Effect is in full play as, rather than fight them at range with their repulsor rays, the suits get into punch-ups with the minions, whom the protagonists should know by now can give themselves body temperatures of around 3000 degrees celsius, and are frequently torn apart as a result. It really doesn't help that the earlier versions of the Iron Man armour were capable of taking on terrorist cells, squads of very similar armoured drones, and virtually everything the Chitauri could throw at them. The latest versions? They have trouble fighting men and women with superheated bodies.
Lady Stardust: Now i like Beyond the Black Rainbow and find it to be a very underrated movie but this moment bugs me. After Elena escapes Barry goes after her. Along the way, we see a couple of guys and in this scene the movie suddenly becomes a slasher film. Which is very jarring to how it was before and it just seemed like an excuse to have a bit more blood in the movie. Very unnecessary and out of nowhere.
Alvarocasalino: I never liked very much the Twilight films. I never read the books, so I donīt know how faithful those adaptations are in comparison with its source material, but for me the ultimate DMOS in all those films is the resolution of the final battle in the second part of Breaking Dawn after all the boring buildup in the first part of Breaking Dawn there is finally a big battle against the Volturi where a lot of characters die fighting, where the Volturi finally got what they deserve and it almost seems that at least those movies were going to have some kind of proper resolution...Until is revealed that none of it was real. None of it mattered anyway. It was only a vision of the future which Alice shows to Aro. And finally there is no battle at the end and the Volturi just leave.Seriously, what the hell? So basically, all was just a huge buildup to nothing and instead of a proper Grand Finale we get a boring, corny scene with Edward and Bella in the meadow. Ugh.
Scarlet Nebula:Gamer. The film as a whole is rather poor but i can't list the whole movie so, the moment where you see Angie is being controlled by an obese man (and would be a possible rapist if not for his weight problem) who uses her for his disgusting desires. I knew from there what the film makers thought of anyone who played video games and it makes my stomach churn. What about female players? If i didn't know any better i'd think Jack Thompson wrote this script. To Neveldine and Taylor. Grow up.
Gess: The "soap drop in the shower" scene from I Now Pronounce You Chuck and Larry. The joke itself is rather stupid if you think of it, but as stupid, offhand gay jokes go, meh, there are worse ones. So if they just mentioned it, or used it as a short gag, then ok, no harm done. But they build a whole scene around it, a lengthy, really intense scene, where everybody involved (adult men, mind you) treat this stupid situation completely seriusly, with apprehension and distress that befits not so much a prison shower scene, but an encounter with an actual predator. It is like they were going to make fun of that dumb short joke, but then forgot and played it as, ugh, straight as possible.
taylorkerekes: Alright, I'm pretty sure most people are gonna disagree with me, but while Joyful Noise is a lousy movie all around, the one moment in that film that has really left a scar on my heart is the infamous scene in the hotel where Queen Latifah delivers a strong parental rant towards Keke Palmer. Now while I get that it was trying to convey the concept of real inner beauty and how we should always honor our parents, the way Queen delivers that rant is just harsh and abusive. How, you ask? Think about it: the slap, the condescending remarks about "hanging mirrors all over the house" and giving yourself CPR (which may I add is impossible!), and telling her to respect her snoring ("You treat my snoring like it's a Marvin Gaye love song!")... are you kidding me?! What kind of parenting do you call that?! Do you have any idea how wrong that all sounds?! You don't slap your own teenage daughter in the face! And do you honestly think that hanging mirrors around the house just so you can look at yourself all the time will help prove anything?! Finally, telling your child to respect your snoring is just petty, because 1.) it's condescending and petty, and 2.) it does not come from exhaustion! Bottom line is, of all the crap Joyful Noise has to offer, this scene alone is the biggest mistake they made! If there's any advice I could offer to parents out there, it's to never take a tip from Queen Latifah's character in this movie! It isn't good Christian parenting, it's practically outright demonic!
Garfield2710: Uwe Boll's Assault on Wall Street borders on being awful and even potentially dangerous. The film starts off slow and melodramatic, but nothing really horrible in it. There's a cop who loses all his money when the housing bubble burst, (from mistakes that he made that I should add), and then spends the rest of the film trying to figure out what to do. However, when his wife kills herself, he then decides to go on a rampage, killing anyone who was involved with him going broke. Never mind the fact that he lost his money because he was being stupid with his investments, the film is basically advocating ignoring responsibility for your own mistakes, and killing the people involved vigilante style. However, regardless of how dumb that was, I was still with it, and could even see it as being a good cathartic film if that's your cup of tea. However, the film completely lost any semblance of logic or reason when the main character goes on a final shooting spree where he kills people on Wall Street who were not remotely involved with him at all. Except for one guy he happened to pass who he found out had a pregnant wife. One guy out of 50 men and women. All of whom probably had families of their own. Then the film cements itself as a true atrocity, when after the cops come and arrest him, his friends (who fully know what he did) remove the handcuffs and let him go. After he murdered dozens of innocent people. And we're supposed to agree with this. Screw, this, movie!
MsCC93: Okay, so I remember watching the film version of Ghost World in my Film Studies course, and there's this scene when Enid's art is displayed at an art show and many people don't like it. As a result, Enid loses her scholarship and the officials at the art show found it so offensive that they forced Enid's art teacher to give her a failing grade. I found this scene to be completely infuriating, because Enid didn't deserve to fail just because people were offended with the way her photo looked. I mean, it should be the quality of Enid's art that should have matter, not your opinion of it. That's a stupid reason to fail someone if you ask me.
King Clark: I was looking forward to seeing how Marc Webb would interpret Norman Osborn for The Amazing Spider-Man 2 after teasing the character in the first movie, and especially after reading the tie-in website (The Daily Bugle Tumblr) in its entirety, which brought even more interesting aspects of what he could do in the movie and its sequels. What ended up happening? He appears for a memorable One-Scene Wonder... And then hedies unceremoniously. This was the best way they could refit Peter Parker's definitive Arch-Enemy to the new series? They Wasted a Perfectly Good Character doesn't begin to cover it - it's as bad as the aforementioned Iron Man 3 incident (which Marvel at least fixed in time by means of an Author's Saving Throw in a short film). It's even more grating when you look at the other villains they introduced in the movie - Electro (whose descent into evil becomes inconsistent after his first fight with Spider-Man), Harry Osborn/Green Goblin (whose Character Development did make sense, but his inclusion in the film as the true Big Bad stole time away from Electro and felt like a forced way to set up the Sinister Six movie - his role as a supervillain probably should have been done in the sequel), and the Rhino (who basically is only in the film so Sony could make money off of merchandise of the character) - none of which have the same impact as the Corrupt Corporate Executive. To add insult to injury, The Stinger that was intended to be included in the movie, which would have shown that Norman Osborn's demise was a Death Faked for You and that he was being preserved cryogenically, was cut from the movie in favor of a randomly-included preview of X-Men: Days of Future Past (thanks, Executive Meddling) - and since that's out of the picture, there's no indication that they'll bring the character back to do things right the next time. All of this reeks of Sony trying to set up their own MCU-knockoff and making profits off of the merchandise rather than creating a story faithful to the iconic character. Can Marvel Studios just have the rights to Spider-Man back yet?
Why Not Now: Evan Almighty. For this troper, it was not the behavior of God that was so unforgivable, but the behavior of his wife, the woman who was pledged to support him, when told what he was doing, and to cap off this DMOS, she is forgiven far too easily to the point that you just wanna slap her. Whatever happened to better or for worse? Does loyalty mean nothing to anybody anymore?
Cuchulainn: Superman Returns. A terrible movie all around, but this was the moment that caused me to blurt out in the theater, "Oh, are you fucking kidding me?" At the beginning of the movie, it's mentioned that, in the time Superman was away, Lois Lane wrote an article, called "Why We Don't Need Superman", and that she's won a Pulitzer for it. At the end, while Superman is watching over her house, we have a tracking shot inside, where we see she has written a new article, titled "Why We Need Superman", and, are you ready for this? She has won another Pulitzer for it!. That is writing that doesn't merely "suck". That is writing that could suck a golf ball through a garden hose.
Tropers/Tyrannosauruses: The Lonely Ones combines, to an extent, splatter horror with character-driven horror, to the point we're given about 35 minutes of character establishment. So the writers should at least kill the characters in respectful ways, right? Well, though the only stupidity in any of the first three deaths was understandable. But then, the nerdy guy, Jimmy, faces off with the only ghoul who's currently a threat (the others being too far away). One ghoul earlier tore a jock's head clean off, so naturally Rinoa whose survival instincts were praised, Blake and Jimmy's best friend Dante, who's currently wielding an axe, wait until the ghoul disarms Jimmy, punches him hard enough that he coughs up blood, and snaps his leg before doing anything. Then, Dante's attack on the ghoul utterly fails, because the ghoul didn't need to focus on Jimmy anymore, and after they save him, they place him on the table - right by the doors, which were ripped off. Another ghoul later prety much walks over and takes Jimmy away. Rinoa could've shot this ghoul, then decapitated her, except she just stood there doing nothing. And again, Rinoa's survival instincts were praised. Incidentally, by Blake, who himself is the only known survivor of a previous ghoul attack.
RA 2: In Olympus Has Fallen, the ridiculously stupid circumstances that led to the near-decimation of the US. The Koreans have taken control of a device that needs three passcodes to activate, one of which is only known by President Asher. When Kang begins brutally torturing the other two code holders, the President tells them to surrender their codes, swearing that he'll never spill his. There's just one problem - the Koreans have a codebreaking device - which means that all Asher's done is help them get the codes in one-third of the time. Nice going, Mr. President. Oh, and Mike almost fails to punch in the deactivation code in time because he doesn't know what a "hashtag" is, and not one person in a room full of people over 40 can give him an anachronistic name for the # symbol.
1810072342: Superman '78, with the ending. The idea that Superman flies around the Earth millions of times in one second: cool. The idea that he does this to slowly reverse the Earth's rotation: nice. The idea that this action will cause time to run backwards: WHAT?! Just... why did they think this was a reasonable plot device?