Seinfeld Is Unfunny: Film

(Note: Animated features for this page can be found on the Western Animation or Anime page)

  • Early Films: A lot of them are very short (only a few seconds) and often feature rather mundane scenes (a train arriving, people leaving from a factory, a man feeding his baby). But back in the late 19th century people crowded to see these things because the fact that these images moved was a novelty then.
    • The Kiss (1896) is a good example. All that we see are a man and a woman kissing, nothing more than that. But at the time of its premier it caused an outrage. Moral Guardians felt this movie was "disgusting" and even "pornographic" and ought to be banned. The modern day viewer will probably not get all the commotion but it was the Victorian era after all. One must also understand that people had never seen such intimacy between two people on a big movie screen before.
  • The very existence of the MPAA rating system. Before its debut in 1968, the film industry was still following the outdated Hays Code, which severely limited the creative freedom of filmmakers with its heavy-handed censorship. The new rating system meant that films that would never have seen the light of day under The Hays Code could now be released with cautionary "R" and "PG" ratings instead of being heavily censored or banned outright. Beginning in The Seventies, movies such as The Good, the Bad and the Ugly and A Clockwork Orange, which would never have been possible under The Hays Code, changed filmmaking forever with the boundaries that they were able to push under the new system. This isn't as obvious today, now that the organization has gained a reputation for stifling creativity instead of encouraging it. Studios now have a bit of a tendency to edit movies to get lower ratings, and the MPAA has attracted a lot of criticism for giving independent films higher ratings than studio films with similar content.
    • Subsequently, the PG rating. Today, with PG-13 being the default rating for many family films and the R rating being a lot more prevalent in genres other than Action, it's hard to believe that PG was once considered somewhat edgy and a cause for concern among parents.
  • Horror movies in general. Many horror movies that first came out in the late 1960s and 1970s were seen as incredibly over-the-top in their depiction of violence, and a lot of them received 'R'-type ratings in many countries. Compared to now, in which Torture Porn movies with ridiculously graphic depictions of people being tortured and murdered now being the norm in horror movies, many once cutting-edge horror movies of the 1960s would seem tame to a new viewer.
  • Ace Ventura: Pet Detective, Billy Madison and Happy Gilmore: It seems hard to believe that movies such as these were actually considered raunchy, filthy films when first released in 1994, 1995 and 1996. Today, they seem pretty tame compared to most comedy films being released (which, really, is kind of sad when you think about it).
  • Airplane! was originally an intentionally corny, funny comedy, and was a huge hit in its time. However, its corny style of humor has been imitated and parodied so many times (often poorly) since that today it may be more likely to be seen as the bad kind of corny humor than the good kind. It even seems very straight-laced compared to the wilder, wackier spoof films that followed it in the 1980s and beyond.
    • The film is also a parody of disaster movies of the time like "Airport" and "Zero Hour", which because of this movie's camp and because of how much airplane travel has changed, contemporary audiences aren't likely to catch certain elements that are being spoofed, as they are no longer in public consciousness.
    • On that note, up until 1980 Leslie Nielsen was a respected dramatic actor, and the whole joke with his character was seeing him bring his usual gravitas to this kind of material. And of course, afterward his career took a hard right turn into doing nothing but these kinds of films, until they completely eclipsed his public image.
      • This is the case with so many actors from that film: Robert Stack, Lloyd Bridges, Peter Graves, etc.
    • The film Wrongfully Accused can also suffer from this. At the time, it was actually part of the joke that the film cast such a wide net in the material that it parodied. Nowadays, every parody movie is like that, and the worse for it.
      • It also pokes fun at a lot of movies that were popular at the time it was made, so the audience would be able to easily recognize the subject of the joke. However, as time has past many of the movies in question have waned in popularity since then and may not be immediately recognizable.
  • Alien and its sequels. It looks like a clichéd movie, but invented or popularized most of the relevant tropes for that genre (though even at the time it was intended to do little more than ride the coattails of Star Wars), as well as propagated its xenomorph alien designs throughout many other films.
    • An interesting move on the part of the producers of Alien, that served to heighten the tension at the end, but which cannot work now, was to kill the characters off in reverse order of the fame of the actors playing them. It is difficult now to realize that John Hurt was probably the biggest box office name in Alien, having just done I, Claudius for the BBC, and the film Midnight Express, and that both Veronica Cartwright, who had been acting since childhood (she was Violet Rutherford on Leave It to Beaver, and the sister of Angela Cartwright of Lost in Space), and Harry Dean Stanton, a well-established character, were both much more bankable than Sigourney Weaver, who, at the time, was unknown. She had a single film credit, other than a brief role in Annie Hall, and a few TV appearances. Alien made her career. So, at the end, when no one is left alive other than the actress the audience had never heard of, it seems very unlikely that she will survive at all, let alone heroically. However, now, in the 21st century, she is Sigourney Weaver, Sigourney Weaver kicks ass, and the film could not end any other way. Knowing that she appears in all of the movies as the main hero also helps kill any sense of fear for her safety. note 
    • Perhaps most noticeable with the second film's seamy vision of the future, which was (at the time) notable for being seen through the eyes of a platoon of cynical, working-class soldiers. Considering how popular the Space Marine trope has become since 1986 (thanks to the likes of Halo, StarCraft, Doom and Warhammer 40,000), to the point that the trope now borders on cliché, this idea doesn't seem nearly as original as it once did.
  • Alfred Hitchcock. This trope could just as easily be called Hitchcock Is Not Suspenseful. Anything of his was the defining work in suspense when originally produced, but looks sad and overdone now that it's been copied to death.
    • Alfred Hitchcock's suspense films have had much of the suspense removed due to the rampant parody. On the other hand, the Rear Window trope has been parodied so many times that some viewers are taken by surprise when the old film plays it straight instead of turning into a case of Stab the Salad.
    • Psycho was groundbreaking for its time by essentially founding the slasher film genre, but now the infamous shower scene has been referenced (and often parodied) by other horror films to the point of saturation. When it was first released, the shower scene was an enormous shock - the idea of killing off the character played by the best-known actress in the film one-third of the way into the running time was quite literally unheard of.
      • Not only that- she was the main character in the film up to that point. Audiences initially didn't know who to identify with once Marion Crane was dead.
    • North By Northwest suffers from this. A modern viewer who has never seen it before can recognize trope after action movie trope and find the film boringly predictable as a generic action movie, perhaps unaware that it was a defining film in that genre and that most of those predictable elements were inspired by this movie.
  • American Beauty inspired so many other "dark heart of suburbia" dramas that the film has lost a lot of its initial impact. In particular, the "dancing plastic bag" scene has been parodied/taken out of context so many times that the original sequence can come off as Narm.
    • Interestingly enough, American Beauty is quite similar to The Ice Storm, another "dark heart of suburbia" movie, which came out two years before American Beauty. (The similarities between the two might be coincidental, though, as Alan Ball wrote the original version of The American Beauty's script before The Ice Storm – or the novel of the same name it was based on – had been released.) This would make The Ice Storm the original Seinfeld Is Unfunny example, except that The American Beauty is much better known, and therefore the likelier inspiration for the various films that followed.
    • It also doesn't help that the Stepford Suburbia trope has been with us for nearly a century now, having first notably appeared in the Sinclair Lewis novel Babbitt in the 1920s - at a time when the suburban phenomenon was just getting started.
  • American Pie definitely qualifies. Although all of its bits are household shtick today (just try to find more than a few individuals who don't know what a "MILF" is), it is perhaps impossible for anyone under the age of 30 to appreciate what a milestone that film was, even the End of an Era. Look no further than the scene in which the boys upload Web links of the Czech exchange student (Shannon Elizabeth) stripping down to her underwear and then taking off her bra before putting on Jim's unbuttoned pajama top - and not only does the camera not cut away, but it lingers on those breasts for what seems like forever. For over a decade prior to 1999, makers of teen films had been terrified of exposing a single nipple for fear of losing the coveted PG-13 rating - and along comes this R-rated teen comedy that's not afraid to be what it essentially is, and becomes surprisingly successful too. The mainstream media certainly took notice, comparing American Pie to the original (and R-rated) "teen-sex" movies of the late '70s and early '80s. You might even say that the Pie franchise triggered a second sexual revolution in American popular culture (okay, so the Internet and South Park also played their part).
  • Animal House was the Trope Maker or Trope Codifier of many of the Frat House comedies that followed it. Nowadays, it seems horribly cliched, but it was doing a lot of these jokes for the first time. The falling-ladder scene has little effect for the children of Generations X and Y, who saw it copied in countless cartoons and teen movies.
    • However, if you expect it to be tame (see also King Kong below), Animal House can still be quite shocking. Gen-Y'ers might be surprised by the scene in which Flounder is forced to do push-ups over a pile of horse manure, having believed that it was There's Something About Mary (or another comedy from the mid-to-late 1990s) that originated such "gross-out" gags.
  • Annie Hall is the Trope Codifier for American film, so much so that despite being in the Comedy Ghetto, it won the Best Film Academy Award. Its use of No Fourth Wall and non-chronological editing was mindblowing for 1970's audiences. Now, not so much, as many films have aped its style, Fun with Subtitles first and foremost.
  • Austin Powers, while not the first film to use an Overly Long Gag, was perhaps the first film to derive majority of it's humor from it. When it first came out, it was a sleeper hit that got Vindicated by Cable and arguably became one of the most popular comedies in the 90's, primarily because it's humor was in such sharp contrast to the type of Slapstick Comedy that was popular at the time. Now in days, the Overly Long Gag has become such a staple to comedy it's become harder to tell why Austin Powers was such a big deal to begin with.
  • Tim Burton's 1989 take on Batman was considered dark and edgy at its time: perhaps not compared to the Batman comic books of that era, which influenced it, but certainly compared to the campy 1960s live action show or the 1970s animated Superfriends, which was how most of the public was familiar with Batman. For a time it was considered to be not only the definitive conceptualization of Batman but the greatest superhero film ever made. Now it seems tame, especially when compared with the Christopher Nolan films while both The Dark Knight and the Marvel Cinematic Universe have greatly eclipsed it in terms of sheer epicness. Absurdly, Burton himself commented on the Nolan films by saying that things had changed from the days when he wasn't allowed to do a "dark" Batman as Nolan did, when in fact the whole point of Burton's version of Batman was that it was dark, and Nolan's interpretation would never have been possible if it hadn't been for Burton's!
  • In the early 1930s, and for many years thereafter, The Big House (1930) was hailed as a masterpiece of authentic, gritty, edgy (there's even a blatant cocaine reference in the very first scene!) and antiestablishment American cinema, complete with a near Villain Protagonist (who's a sociopathic murderer!) portrayed as a Loveable Rogue, rebellion just for the sake of rebellion condoned and even encouraged, and a Downer Ending for a film produced at the start of the Great Depression! What's even more incredible is that the studio willing to take a chance on The Big House was Metro-Goldwyn-Mayer, the most socially conservative of the five major studios. But it was so popular that it inspired countless imitators over the next decade, some of them outright parodies. As a result, any film critic can walk you through it and point out all the "prison-film" stereotypes that have been done to death in the eight decades since (and it also doesn't help that the aforementioned Sociopathic Hero is portrayed by Wallace Beery, an actor who is pretty much a walking Cliché Storm).
  • The Birth of a Nation invented or popularized many features that are standard in modern cinema, such as cutting between different locations to increase suspense during action scenes. Someone watching the film nowadays won't think twice about these innovations, while the blatant racism and hero-worship of the Klan are unfortunately a lot more noticeable.
  • Blade. The rebirth of the Super Hero movie genre also comes to mind. Most people credit X-Men's smooth cinematography and darker take...and completely forget that X-Men borrows heavily from it. At the time it was a sleeper hit and probably the film that truly revitalized the comic book movie market after Batman & Robin single-handedly killed it.
  • Blade Runner popularised a number of sci-fi conventions, and as a consequence, the impact can be somewhat lost on audiences who have already seen the many imitators and their intellectual androids, ugly dystopias and drunken, future cops.
  • The Blair Witch Project was the film that brought both found footage and internet-based Viral Marketing into the mainstream, allowing the micro-budgeted indie horror flick to become a box-office smash and a cultural touchstone for the late '90s/early '00s. At the time, the idea that it really was was the "recovered footage" of a group of documentary filmmakers who went missing was the entire gimmick. Between the many, many, many found-footage horror films that have employed similar conceits, and the fact that the passage of time has distanced the film from its revolutionary marketing campaign, this can be lost on modern viewers, and can seem almost quaint. While it still enjoys a decent reputation, watching it today, without having been exposed to the torrent of hype in 1999, can make one wonder what was so scary about it.
    • There's also the fact that, as the first successful found-footage film, it was something of an Unbuilt Trope example of the genre. It took its conceit very seriously — the three lead actors were chosen for their improv experience, mainly because there was no script beyond a basic outline. As a result, it often takes on a rambling, conversational style, essentially 82 minutes of improv. While the fact that it's clearly not following a script lends the film an aura of authenticity that figured heavily into its success, it also means that, for somebody who's seen one of the more polished and "conventional" examples of the genre since, it can seem like nothing but three people lost in the woods yelling at each other.
  • Blazing Saddles is rumored to be one of the first, perhaps the first film ever, to include a fart joke. It wasn't, since there were fart jokes as early as the Great Depression era. It was, however, the first film to blatantly do a fart joke, without bothering to Get Crap Past The Radar.
  • Broadway Melody, the second film to win the Academy Award for Best Picture and the first all-sound musical, was a huge deal when it was released. However, its look at the goings-on on a Broadway musical became clichéd by the mid-'40s, thanks to nearly every movie about Broadway copying its basic set-up. Add the fact that as it was the first movie musical, Hollywood still had a lot to learn about blocking musical numbers to avoid looking 'stagey'.
  • Bullitt was considered the definitive car chase movie in its time, but was soon supplanted by The French Connection and others.
  • The Cabinet of Dr. Caligari. A lot of stuff regarding it. Many modern audiences have never even heard of it, but they've certainly felt its presence through imitation.
  • The ending of the 1976 version of Carrie is often ranked up there with some of the greatest scary moments of all time. Many people, not knowing that Carrie was the first horror film ever to have a shock ending like that, wonder why, seeing as how it's become practically expected of a horror film to shock the audience one last time. Nowadays, the final scene doesn't seem so scary anymore.
    • On the other hand, the shock ending of Friday the 13th (1980), which blatantly ripped off Carrie, is still considered quite scary to modern audiences.
  • Cracked's list of the "5 annoying trends that make every movie look the same" shows us how once clever and innovative cinematography techniques have been copied to death in the past 10 years to the point that they're almost in every movie.
  • Citizen Kane, often times trumpeted as "The Greatest Movie of All Time," tends to inspire "What's the big deal" responses from first time viewers, especially since Post Modern movies have become the norm and the Cinematography has influenced so many other films.
  • Crouching Tiger, Hidden Dragon, the first truly successful (in western markets) Chinese Wuxia (periodic Kung-Fu) movie, suffers from this. It's much harder to screen such a movie nowadays because people can't look past the "tacky" kung-fu with its flying about and running on walls - which has been imitated repeatedly in many "Hollywoodian" action films for the past 10 years. Of course, it wasn't original per-se, as Wuxia films were already seen as tacky in their homeland (China), but in the west this was regarded as a new phenomenon and therefore taken with more respect. It won an Academy Award and still lingers around the middle of the IMDB's Top 250 list - and for many good reasons other than the dazzling fights.
  • Daredevil, the 2003 film, despite its shortcomings and disappointing box office performance, compared to each of its predecessors which gives out a varying degree of surrealism throughout each scene as if telling the viewers that they should never forget that they're watching a superhero movie, viewers who enjoyed watching Daredevil in the theaters noted that certain scenes made you almost forget that this is a superhero movie. This apparently became a measuring stick for the superhero movies that followed, which used higher levels of realism, thus overshadowing this movie that, so to speak, took a dare.
  • Debbie Does Dallas. To modern eyes it watches like a porno Cliché Storm. That's because it was more or less the comedic template for the porn industry. Likewise, The Devil In Miss Jones for more artsy-fartsy dramatic fare.
  • Les Diaboliques was widely considered to have one of the most shocking original twist endings of all time when it was first released. But after fifty years of films copying this ending, modern audiences are often able to predict what will happen.
  • Die Hard. In the eighties, action films perferred invincible heroes who slaughtered mooks by the dozen with casual disdain. Die Hard popularized grittier and more realistic action, with heroes who are more vulnerable and suffer from character faults. It also popularized the concept of action movies confined to a limited space: "Die Hard on an X." For example, Speed is "Die Hard on a bus." Also, at the time it came out, people were shocked at the idea of a comedic actor like Bruce Willis being an action star. Nowadays, what with Tom Hanks Syndrome, comedic actors doing serious roles aren't nearly so amazing. Plus, like with Nielsen, some people don't even know that Willis got his start in comedies.
  • Dirty Harry and The French Connection are notably responsible for many tropes relating to the Cowboy Cop and the genre in general.
  • The Exorcist. At the time it was released, it was considered to be the most shocking and horrifying film ever created. There were stories of audience members fainting and having to leave the theater due to being so disturbed by the movie. Nowadays, many of the scenes in the film come across as more comical than scary, especially with how subdued later films with similar premises would take the idea.
  • La Dolce Vita is a film where the "hero" is an amoral Casanova Wannabe journalist type who hangs around lots of decadent celebrity parties and can't get no satisfaction. Precisely what made it seem so racy and different in 1960 and so long and ordinary now. Indeed, film buffs were complaining about how tame it had become as early as the '70s.
  • Fritz Lang. Ditto the sci-fi tropes in Metropolis. And the criminal mastermind/underworld tropes in the Dr Mabuse films. And the backwards countdown in Woman in the Moon. In fact, this might as well be called Fritz Lang Is Unoriginal.
  • Final Destination: The first film was considered genuinely frightening with audiences in suspense at what would finish off the characters or whether they would survive at all. Nowadays everyone knows that the Final Destination characters are going to get bumped off creatively and, while there are still some films in the series that can create suspense (the second and fifth especially), they can't replicate the suspense of the original which in turn is less scary these days because everyone knows what to expect from a Final Destination film.
  • Georgy Girl, when it was being made and premiered in the 1960s, the film was considered rather edgy and scandalous (almost earning an X rating) due to topics like the then current sexual revolution, mentions of abortion, along with being part of a wave of British cinema that focused on the changes The Sixties have brought to Western society; nowadays it's considered rather tame and inoffensive fluff, especially when compared to more revolutionary films of the era.
  • Godzilla, the original 1954 film. At the time of its release, it was groundbreaking for the Japanese film industry. Many people today ridicule older Godzilla films for the reason of them being "Man-in-suit!!!" made films. What they fail to realize is that had it not been for suitmation, most special effects as we know them today (such as motion capture CG, which utilizes similar techniques to suitmation) would not exist. This is despite the fact that Godzilla actually contained very few suitmation shots. Like other films at the time, it mostly made use of stop-motion and clever editing. (Although later films in the series were almost entirely suitmation.) That said, the original may still shock modern audiences who expect something akin to the Lighter and Softer versions of the creature that were often aimed at children.
  • Grease is today considered almost unwatchably corny, or at the very least So Bad, It's Good, where as in The Seventies it helped start a huge wave of Nostalgia for The Fifties. It also counts musically. At the time, the idea of mixing (then) current music like disco, with older styles (1950s rock), was unheard of. It was also one of the first movies to both portray the Fifties sympathetically and to depict people living in that era as a lot more "cool" than they're usually credited.
  • Great Expectations. Modern viewers watching David Lean's adaptation of the Dickens classic might roll their eyes upon seeing Magwitch pop out of the frame at Pip in the graveyard like a cheap horror movie jack-in-the-box, genuinely startling though it is — because they won't know that this was the first time that ever happened in a movie. The same thing might occur with a seemingly dead Alan Arkin suddenly lunging out at Audrey Hepburn in Wait Until Dark. It shocked everyone at the time because they weren't used to the villain doing that after he'd been apparently killed off, but today most people will likely see it coming.
  • Slasher Movie:
    • Halloween (1978) seems today a clichéd, formulaic slasher film. But it created the clichés and established the formulas.
    • Ditto for Friday the 13th (1980) which came out before slashers became predictable. According to the filmmakers, people watching it on the big screen would literally be shouting "don't go in there!" and "don't open that!" in genuine fear for the characters. These days anyone exposed to slasher films knows that of course they're going to go in there and of course they're going to get killed in a clever and creative way.
  • House on Haunted Hill (1959) was terrifying when it came out in 1959, and its ending gimmick was revolutionary. Now the film can come across as just another old haunted house flick that's boring and/or campy and has inspired a RiffTrax parody commentary. However, Vincent Price keeps the film holding up decently, and its (very loose) remake 40 years later was a critical failure in part for not living up to it.
  • When House Of Games came out in 1987, the idea that everything that happens in the movie is a huge con was still relatively fresh. (Though similar plots had been used in earlier movies, such as Sleuth.) Since then it has become such an established cliche of con artist movies that the viewers pretty much expect it, which is why the Plot Twist is much easier to guess now than it was in 1987.
  • Indiana Jones is the Trope Codifier for most adventure movies - almost every Adventurer Archaeologist has at least some Shout-Out or Homage to Indiana Jones, whether done intentionally or not. However, Indiana Jones was not without his inspirations (Including The Adventures of Tintin) - and watching them now will probably result in people thinking they are quite cheesy.
  • Jackie Chan. Through the 1970s, Chinese martial arts films were a deadly serious business, with grim plots and frequent Downer Endings probably best known today from the films of Bruce Lee. Then Chan came along with the idea that you could make a martial arts film that was supposed to be fun, or even a straight-out comedy. Chan's autobiography gives a fascinating view of just how powerful a mindset he was up against when making his early comedy films like Half A Loaf Of Kung Fu, with the public at large pretty much calling him a heretic. Today, these films can be pretty disappointing to people used to his later works where he felt much more comfortable throwing in jokes and wild stunts.
    • Jackie Chan's style came as a direct result of being compared to Bruce Lee after Lee's death. After getting tired of being touted as "the next Bruce Lee", he instead aimed to become "the first Jackie Chan", mostly by being the exact opposites of Bruce Lee. Lee's motions were long and smooth; Chan's were short and choppy. Lee almost never got hit; Chan got hit regularly. Lee was always in control of the fight, counting on his skill to win fights; Chan was never in control and had to rely on luck and improvisations to win fights.
    • Also, Jackie Chan pioneered many filming techniques to add excitement to the action scenes. The majority of these techniques have been used so much they are considered horrible cliches at this point.
  • James Bond. When the movies starring Sean Connery first appeared in the early '60s, they were the sexiest mainstream movies at the time. Coming out of the uptight Fifties and years before the sexual revolution in the later part of the decade Bond was incredibly risque. The credits sequences alone were hotter than most movies during that period. The first, Dr. No premiered in 1962 and made a big impact with Bond having casual sex and that famous -- and much-parodied -- scene of Ursula Andress coming out of the surf in the white bikini. From Russia with Love had a catfight between two scantily clad gypsy girls. In Goldfinger one Bond girl was found dead, naked and covered in gold paint, and another was named "Pussy" Galore! Now while Bond still does sleep with many women in each movie, all that's ever shown is the lead-in kiss and then cut to the next morning. As the years have gone by and sex scenes become more graphic, the seduction scenes in even the more recent Bond movies seem almost chaste. Also all the sexual innuendo and jokes that were part of Bond from the beginning now seems corny.
    • Bond was even receiving this treatment by the late '60s, thanks largely to countless parodies and ripoffs. When reviewing You Only Live Twice in 1967, a critic for Time magazine not-so-ironically compared the Bond franchise to that of Frankenstein, saying that "there have been so many flamboyant imitations that the original looks like a copy".
    • With Daniel Craig's portrayal of Bond, it's difficult to appreciate Timothy Dalton's portrayal in The Living Daylights and Licence to Kill. At the time, Dalton's portrayal was the darkest Bond had ever been. Because Dalton's predecessor, Roger Moore, had been the lightest of all the Bonds and the longest tenured, audiences had grown so accustomed to a light, wise-cracking Bond that they were taken aback by Dalton's performance.
    • Pierce Brosnan's portrayal of Bond. Better Special Effects. More subtle villains. Less camp. Self referential humor. More of a focus on the geo-political fallout of a mission. This legacy is fatally undermined by the Daniel Craig version doing all this better than the Brosnan version.
  • Jaws: The so awesome, but now sadly so clichéd use of the movie's theme. In addition, it's now become a tradition of monster movies to not show the creature much until the end to increase suspense. Nowadays, everyone knows what a shark looks like.
    • And the reputation the film has for making people go out and hunt sharks to near-extinction hasn't helped either.
  • John Hughes. When he was making teen films, it was rather rare for there to be films based purely on teenagers and their inner angst. It was actually unique to take the usual school archetypes and see what makes them tick. Nowadays, with at least three generations of teen dramas (as well as countless parodies and homages) that have replicated or even advanced from the analysis of such films as Sixteen Candles or The Breakfast Club, Hughes's bite doesn't seem as sharp. Ferris Bueller doesn't seem much like a suave troublemaker when compared to recent characters such as Tony Stonem.
  • John Woo. In similar vein to Jackie Chan, back in the 80s some guy from China created an entirely new genre labeled 'Gun Fu/gun ballet' and similar. He pioneered the idea of choreographed two-gun action scenes, popularized slow motion gun fight sequences in the west, and generally brought Guns Akimbo style into the mainstream. Nowadays films like Face/Off and Mission: Impossible II are criticized as copying The Matrix style of gun fights (even though Face/Off is older). Hang on, who was that guy who the Wachowskis were hugely influenced by when making The Matrix?
  • Jurassic Park. First, this is often considered the movie that introduced CGI creature effects to its audiences on such a large scale. Before this time, CGI in movies tended to be one or two scenes out of a whole two-hour movie due to its expensive nature, with the rest being taken up by puppetry, stop motion animation and miniature work. JP was one of the first movies to use CGI in the majority of its creature special effects. Now-days, with films like Avatar and Sky Captain and the World of Tomorrow being more CGI than real, a few of the effects look dated (though it still holds up better than in even earlier films, such as The Abyss). Second, this was one of the very first feature films with a wide audience to do away with a lot of old dinosaur tropes, having bipedal dinosaurs stand horizontally and having them act more like birds and less like lizards. However, the film gets hit by a bad case of Science Marches On (most glaring of all, the Raptors lack feathers, which scientists are now certain they possessed.) A dinosaur fan might go back to watching that movie and laugh (or cry) at the errors.
  • King Kong (1933). At the time of its release, people thought it had the greatest effects in film. Now, with 80 years of technology advancement, two remakes of which used it, the power is somewhat lost on most people.
    • On the other hand, the trope is reversed if you try to view Kong as a typical 1930s film. Most aficionados of Thirties cinema are more familiar with the mid-'30s and late '30s classics, made after The Hays Code against portrayals of sex and violence in American movies began to be officially enforced. As such, it can be shocking for modern-day viewers to see things like Fay Wray being stripped nearly nude by Kong and blood gushing from the bodies of the dinosaurs after Kong kills them. Indeed, quite a few viewers of pre-Code (1930-1934) Hollywood films have felt their jaws hit the floor at what they are seeing.
    • Another case of Science Marches On when people learned that gorillas in real life are basically peaceful creatures.
  • Koyaanisqatsi. Slow Motion / Time Lapse footage of things like factories and traffic and clouds, put to music, was a new thing in the early '80s.
  • Among its other virtues, Lawrence of Arabia's editing style was extremely innovative for its day. Hard cutting (i.e., changing abruptly from one scene to the next) or match cutting (cutting between parallel or "matching" images during a scene transition) were virtually unknown outside of art house films like the French New Wave; most movies still used traditional dissolves and fades. One only need compare Lawrence to David Lean's previous movie, The Bridge on the River Kwai, with its more conventional editing scheme. Since contemporary movies use hard cutting as a matter of course, this aspect of Lawrence might not register with modern viewers.
  • The Longest Yard (1974) or Slap Shot (1977). Anyone who sat down and watched these today would immediately groan. "Oh no, not another scrappy underdog team struggling to overcome their personal issues as emphasized by their chosen sport and antagonized by a wealthier, better-equipped team of entitled (but excessively-pressured) jerks. I can't wait for the second act, when the team falls apart due to the captain's arrogance/the coach's inadequacy/the stars' rivalry and, in order to fix everything and win the Big Game, the team needs to call in a ringer/go on a vacation/listen to a Rousing Speech/use the Power of Friendship."
  • The Lost Boys (1986) and Near Dark (1987) were notable for contemporizing the vampire. Before these films, vampires were almost always either erudite seducers or grotesque monsters. In Lost Boys, the vampires are a bunch of hip punk teens, while in Near Dark they're vagabond badasses in a van. By bringing modern culture into the vampire mythos, these films paved the way for such properies as Buffy the Vampire Slayer, True Blood and The World of Darkness.
  • Mad Max 2: The Road Warrior. Pretty much every post-nuke movie since has featured crazed marauders on motorcycles and dune buggies fighting it out in the desert.
  • The Magician, a silent film from 1926 featuring a Mad Scientist Hypnotist. At the end of the movie, when the Big Bad's castle blew up, you may think to yourself, "Hey, they stole that scene from The Bride Of Frankenstein", but then you realize that Bride wouldn't be made for another nine years. While The Magician may seem like a hopeless Cliché Storm now, (borrowing liberally as it does from Mary Shelley, Svengali, and Victorian Melodrama,) it did go on to influence many horror films that were to follow in the coming years.
  • The Matrix, heavily influenced by anime, religion and the western, caused such a major shift in culture — and Special Effects, with the proliferation of Wire Fu and Bullet Time in action sequences, as well as stoic action heroes wearing black dusters and shades. It also reversed the decades-old trend of science-fiction films depicting a future full of colorful "futuristic" gimmicks and Zeerust. Looking at many sci-fi/fantasy films from as recently as The Nineties, it's amazing how hokey many of them already look, and The Matrix deserves the credit (or blame, depending on your attitude) for that. One reason the Matrix sequels were poorly received was that they continued playing all this stuff like it was just as revolutionary, after the first film had inspired so many imitations (particularly the Bullet Time sequences).
  • Night of the Living Dead (1968), Dawn of the Dead (1978) and Day of the Dead (1985), George Romero's original "Living Dead Series" trilogy.
    • The series is credited with pretty much inventing, or at least solidifying, the modern Zombie Apocalypse story: the Dead rising to feast on the flesh of the living, the total breakdown of society as a result, a small group of humans forced to work together to survive but generally failing due to Humans Are Bastards, and fairly bleak endings stressing the Inferred Holocaust, etc. Zombie films that don't follow this pattern are generally viewed as subverting the expectations of the audience. However, the film did not originate all aspects of the common Zombie Apocalypse playbook. For example, The Return of the Living Dead was the originator of zombies eating brains.
    • The fact that the first film's protagonist is black was very unusual for its day, which can be lost on modern audiences.
    • The fact that the origin of the zombie apocalypse is never explained and the problem is never resolved was highly unusual for the day. Usually B-movies would end with some sort of technobabble summation assuring everyone that the problem had been solved. The Birds was another example of a film around this time that subverted the trend. Films with such open endings are much more common in recent days.
  • Pee Wee Herman. In 1985, the notion of having a child - or Man Child - character who is completely uninhibited and does whatever he wants without regard to how annoying or disrespectful his behavior comes across was still pretty novel. Traditionally, this type of character had been cast either as a villain or as extremely unsympathetic (Lampwick in Disney's version of Pinocchio, for example); the most heroic (or at least sympathetic) such character up to that time had probably been Dennis the Menace. Now, after Bart Simpson, Kevin McAllister, Max Keeble, and just about every character Adam Sandler has played, Pee-wee is par for the course.
  • Porky's once had a reputation for being a definitive sex-comedy, with its "shower scene" having a memetic level of hotness ascribed to it. In retrospect though, the film isn't really that funny or that sexy. This is strange as some of its contemporaries (eg Animal House) have held up very well.
  • The Poseidon Adventure. Just try to watch a Disaster Movie and not spot any scene, plot, or subplot that hasn't either been spoofed, homaged, recreated, or otherwise by even any action movie. It can be quite hard to believe that this movie was so novel back in the 70s (even today, it's an unlikely premise), or that several scenes in The Towering Inferno had people on the edge of their seats. Heck, nowadays, people can probably point out how the elevator scene in The Towering Inferno is actually quite silly.
    • Another potentially off-putting thing in Poseidon would be the presence of Leslie Nielsen in one of his many dramatic roles, as mentioned above.
  • Pulp Fiction: The Tarantino-style dialogue, in which characters have long conversations about trivial, pop culture-laden topics that don't seem to relate to the plot, was virtually unknown and highly influential. The Nineties were littered with irreverent crime films heavily borrowing from Pulp Fiction's tone.
    • Similarly, its non-linear, wrap-around story following multiple sets of characters was also an inventive new approach to cinematic storytelling. Now, intersecting stories and non-linearity are commonplace in films.
  • Rashomon. "Rashomon"-Style is always exactly the same trope they used in that other damn movie.
  • Revenge of the Nerds. Being a nerd used to mean something. Originally seen as the first movie that was made specifically with the intention to empower nerds. Now the movie is seen as a weak analogy of nerdy social ostracism to the genuine prejudice faced by racial minorities. One could understand questioning how the films most memorable characters (the openly gay Lamar and the pothead pervert Booger) actually qualify as nerds. With passing time, it's been realized that "true nerds" (as opposed to the caricatures in this film) are still not considered any cooler. All of the so-called cool nerds were never true nerds to begin with.
    • In almost a bizarre case of Life Imitates Art and thanks to computers and the internet becoming not only mainstream but a way of life, it's this caricature of "nerds" that 'has' become cool. Unfortunately for "true nerds", this caricature is closer to being Hollywood Nerd (Type 1) than an accurate depiction. The entire image of a shy, skinny pale guy with glasses doing cool things has started to get a bit of romanticism attached to it; however, even in those cases, those with that view fail to realize that the reason why a nerd can do all these cool things, is because of the sheer amount of time spent on learning and working on those things.
  • In the late eighties, the idea of Detroit from RoboCop (1987) being a crumbling, crime-ridden hellhole, Corrupt Corporate Executives running everything, and and privatized police were dystopian sci-fi ideas. Now they're daily life. The horror-movie-style Gorn that the film used for shock value is also vastly more common.
  • Saturday Night Fever. There was a time when this movie's dance with the diagonal pointing was actually a new idea.
  • The Scream films. While other horror films (such as the 1991 parody There's Nothing Out There and Wes Craven's own New Nightmare in 1994) had featured Genre Savvy characters who knew they were in a horror movie, what set the Scream films apart were their commercial success and how they took the idea all the way into Post Modernism, lampshading every single horror movie cliche while still paying loving tribute to them, creating a tongue-in-cheek brand of horror-comedy that has been aped countless times. As a result, some degree of Genre Savvy came to be all but expected from horror movie characters that came in Scream's wake. Even Scream 4, made fifteen years after the original, noted how derivative its own series had become in the context of the new horror world it created.
    "A bunch of articulate teens sit around and deconstruct horror movies until Ghostface kills them one by one? It's been done to death, the whole self-aware, post-modern meta shit. Stick a fork in 1996 already. ... I can't do it. These sequels don't know when to stop, they just keep recycling the same shit. Even the opening scene, there's always some random girl who gets a call that undoubtedly ends up getting her killed, it's all so predictable. There's no element of surprise, you can see everything coming!"
    • Likewise, it brought back whodunits in slasher flicks, and popularized the idea of the killer having an accomplice. While the slasher icons of the '80s, like Jason Voorhees, Freddy Krueger, and Michael Myers, had their identities known right from the start, Ghostface was a mystery man in a store-bought Halloween costume. For a modern viewer who's seen many similar whodunit slashers, the identity of Ghostface in the first film is easy to figure out, as is (by extension, especially after a certain scene) the fact that there are two killers.
    • Scream was also responsible for this trope befalling many older horror films. Nowadays, slashers do their best to eschew the tropes that Scream lampshaded in order to keep the viewer guessing, which means that the boozing, slutty characters are just as often the heroes as the victims. Having characters who are Too Dumb to Live (such as the first film's example of "running upstairs when you should be running out the front door"), or following the "rules" for surviving a horror movie that Randy laid out in the first film, is now seen as a sign of lazy writing. Again, Scream 4 took this one on, with Robbie and Charlie talking about how the old rules no longer apply, and how "the unexpected is the new cliche" in modern horror.
    Charlie: "Modern audiences get savvy to the rules of the originals, so the reverse has become the new standard. In fact, the only surefire way to survive a modern horror movie... you pretty much have to be gay."
  • John Ford's Stagecoach, to paraphrase the Halloween review above, "seems today a clichéd, formulaic Western film. But it created the clichés and established the formulas."
  • Solaris. "Oh, so the aliens make clones of dead people and the guy decides to live in a flawed fantasy world? What's the big deal?"
  • Star Wars both exhibits and inverts this:
    • After having seen Luke, I Am Your Father parodied a million times, experienced the Expanded Universe (which has been officially declared defunct by new Star Wars owner Disney, perhaps in part because of this trope), and gotten to see villains like Exar Kun or Darth Revan, and particularly after the two-plus decades of pulp sci-fi blockbusters that the film (directly or indirectly) inspired, coupled with the largely polarizing response to the prequel trilogy, how many younger people are still able to watch the original movies completely seriously and see Darth Vader as an awesome villain?
      • With the prequels and the animated Clone Wars series, kids now see him as a Tragic Villain, which is ultimately what Lucas wanted.
    • In the other direction, the original trilogy in particular had this effect on many of the older Space Opera tales that inspired them, such as Flash Gordon and Buck Rogers. It didn't help that both of those series were revived (the former as a movie, the latter as a TV series) to cash in on the post-Star Wars sci-fi craze.
    • At the time, it was so controversial that the first Star Wars film, A New Hope, didn't have opening credits. The Director's Guild of America let it slide for George Lucas only because they thought it would tank in the box office. It obviously didn't, but despite this, when Lucas did it again for The Empire Strikes Back, he got a huge fine from the DGA, which he paid before he quit the guild altogether. Today, many filmmakers forgo traditional opening credits or even opening titles that now, it looks as though the DGA overreacted.
    • With some fangirls complaining about the use of The Smurfette Principle in the series, many forget that having a woman like Leia being just as heroic as the male heroes was a groundbreaking move in the first place.
  • Superman: The Movie was the first superhero blockbuster and its sequel, Superman II set the template for a superhero sequel. And yet, not only is it likely that younger audiences might find them boring, but many fans of the modern comics and animations blame the films — which create "the Donnerverse" — for the entirety of Superman's hatedom.
  • It also wasn't too long ago that Spider-Man 2 was seen as the benchmark for what Superhero movies should try to achieve; mixing the fantasy/campiness of the comics with realism. Much like Superman before it. With the release of even more realistic and serious superhero movies (such as Iron Man, The Dark Knight Saga, and Captain America: The Winter Soldier), or less realistic but with huge action set pieces and witty dialogue like The Avengers (2012) and Guardians of the Galaxy, the Sam Raimi trilogy has started to show its age, and is no longer held in as high esteem as they once were.
  • Documentary The Thin Blue Line was one of the first documentaries to actually dare to produce reenactments in order to provide greater information about events, not to include narration, and not to identify people speaking on camera. While revolutionary in its time (and, more importantly, its effect of having the case reviewed and eventually overturned) even the most basic of television non-fiction programs have since adopted many of its techniques making it seem trifling to some modern audiences. An acknowledged groundbreaking classic of the genre is now made to seem almost amateurish.
  • The twist in Orson Welles' The Third Man has been done so many times that it's impossible for a remotely film-savvy person to watch it today and not see it coming from very early on, which is a shame because it's nonetheless a well conceived and sharply written film. In these days when writers feel the need to constantly pull the rug out from under the viewers, such a twist is usually just one part of a Gambit Pile-Up.
  • TRON introduced the concept of cyberspace (a virtual world) to most audience members for the first time, something that subsequently became entirely routine, such that by the time of The Matrix (1999), it only needed to be explained THAT Neo was inside a virtual world, not what a virtual world was. Tron's use of computer-generated graphics was revolutionary, and served as midwife to the modern visual effects industry. The film even helped popularize the word "user" for a computer operator. (There was no consensus of terminology at the time; the word "computerist" was another popular term.)
  • 2001: A Space Odyssey: Similar to Jaws the so awesome, but now sadly so clichéd uses of "Also Sprach Zarathustra".
    • One would be hard-pressed to find a scene from any Stanley Kubrick film that hasn't been parodied/homaged to death.
    • The famous "Star Gate" sequence, in which brilliant colors flash past the screen as the main character travels deep into space, required some extremely tricky cinematography and caused jaws to drop when the film was released in 1968. Thanks to the incredible advances in special effects since then, modern audiences often find the scene rather boring (not helped by the fact that the sequence goes on for something like ten minutes).
  • WarGames. More than half the world's hacker films are sons of this one. Yet, some of those who see it now thinks "another hacker-boy-saving-the-world movie". No, he was the hacker boy who saved the world. (After nearly precipitating its destruction. Way to save on major characters.) It doesn't help that much of what gave WarGames its punch is fading from collective memory. Having a plucky young hacker almost precipitate World War III was an allegory on how nonsensical the Cold War was to the average person.
  • The first two X-Men movies have largely been overshadowed in recent years by more bombastic fair like The Avengers (2012), but at the time, the first movie was a surprise hit that proved vital in convincing Hollywood that superheroes could be viable again after Batman & Robin had killed the genre several years earlier. People tend to forget that alongside Blade, the original X-Men movies were massively influential in terms of tone and costuming, arguably becoming the Trope Codifier for Movie Superheroes Wear Black. The first film also broke new ground in many ways that are commonplace in the genre today:
    • It first paved the way for a film like The Avengers to exist to begin with; before this movie, superhero films were either solo-driven or featured a main superhero with sidekicks. This film established the template of a true team dynamic; while there was a character that broke out from the pack like Wolverine here or Tony Stark in Avengers, the group core was never lost and action sequences required the heroes to use their distinct powers in tandem, which was unheard of in a superhero film to that point.
    • Also, up till then, superhero films tended to be star-driven vehicles in order to avoid a perceived comic-book ghetto; you needed a $20-million headliner like Jack Nicholson, Val Kilmer, or Wesley Snipes to pull in a mass audience, and ones that didn't like The Phantom and The Rocketeer got destroyed at the box office. Here, the two biggest under-50 names were Halle Berry and Anna Paquin, both supporting characters (and both women!) and two of the three central leads were played by aged Shakespearean actors, while the other was an American unknown in Hugh Jackman. Nowadays, especially in The New Tens movie landscape where star vehicles have given way to ensemble pieces driven by premise and spectacle, superhero films have no qualms about casting unknown actors or ones who had never headlined before, knowing that the license will do the selling and the movies will propel the actors to further heights instead of the other way around.
    • And on the topic of female superheroes, here was a movie that not just featured multiple female heroes, but a movie where the female characters were not eye candy there for the designated girl fight. Storm, Rogue, Jean Grey, and Mystique, along with Lady Deathstrike in the sequel, were treated as equals in terms of deadly mutant skills, no overt sex appeal was on display aside from Mystique's appearance, and only fought male counterparts with no attention being called to it. Now, female superheroes in movies being treated as hero-driven without the usual female trappings (like relationships) are seen across multiple brands, although X-Men is still seen as a shining example of avoiding The Smurfette Principle, something Marvel Studios still comes under fire for.
  • Zombi 2, after thirty years of zombie movies about scientists looking for the source of the zombie outbreak (and possibly a cure), people holed up in buildings with an assortment of guns and melee weapons, and Downer Endings, can come off as derivative of every zombie movie ever made... even though this film, together with Dawn of the Dead (which Zombi 2 was an unofficial sequel to) helped codify all of the tropes listed above. On the other hand, the gore effects still hold up after all this time (the film wasn't released uncut in Britain until 2005).
  • The Rambo movies seem almost cliched by this point, having seen all the action movies inspired by them.
    • The second film did copy an already common cliche. Gene Hackman had made Uncommon Valor, which saw release in 1983, two years before Rambo: First Blood Part II. (This film in turn resembles J.C. Pollock's novel Mission: MIA and a point in The Shadow Unmasks). Tom Laughlin introduced Vietnam Veteran Billy Jack in the late 1960's. Don Pendleton introduced Mack Bolan in 1969.
    • The irony of the sequels is that they were made in response to the shift in the way that action movies were made in the 80's. First Blood was nothing like them, and in fact is more of a thriller than an out-and-out action movie. The creators of Rambo: First Blood Part II and Rambo III found themselves competing with films like Commando and Predator and tailored their movies according to audience expectations. It can be odd to see Rambo as a trauma-wracked veteran on the run from an unjust pursuit, rather than the We Do the Impossible One-Man Army he became in later movies.
  • The scene in The Wizard of Oz where Dorothy opened the front door of her house to the Land Of Oz, which brought the film from a sepia tone to color for most of the rest of the movie, was radical for its time in 1939. Although the color comes out crude by today's standards, the fact that it was there at all was quite an achievement for the late '30's. Remember that only a decade before, movies started to be released with sound.
    • Also, some of the effects and makeup used in the film were complex and realistic for its time, but can be laughable by the standards of what could be achieved even in The Seventies. Some effects such as the tornado still do hold up today, though.
  • Bruce Lee's martial arts movies. Today, his fights against opponents who attack one at a time can look hokey and cliche until you remember that at the time, he was pioneering not only the tropes of the genre, but the genre itself. Enter the Dragon was The Matrix of its day.
  • In the Heat of the Night comes off like a Cliché Storm these days: Buddy Cops, Decoy Antagonist, Vitriolic Best Buds in the Deep South. At the time, not only were all of these unique concepts, the storyline was contemporary, yet included such unbelievably edgy moments as a black man slapping a white man.
  • Breakfast at Tiffany's, one of the earliest "chick flicks," now appears passé compared to its numerous successors.
  • Many of the original Universal Horror movies, particularly Dracula (1931), with its Melodramatic style filled with Silent Movie conventions (despite being a talkie).
  • Early rock 'n' roll movies like Blackboard Jungle and Rock Around The Clock. In the 1950s these movies actually were banned in some places because teenagers rioted during the scenes when their favorite songs where playing. Many came and went to see them several times in a row, making them instant cult pictures for the youth. Modern viewers will probably find these pictures extremely lame and tame according to today's standards. A lot of it are just very family friendly stories about almost nerdy teenagers having fun at parties and often end with a heavy aesop about keeping away from gangs and being respectful towards their parents, teachers and guardians! Even worse is that the actual rock music isn't featured that heavily either. Only from A Hard Days Night (1964) on did rock movies actually get a higher standard and more creative involvement from the artists themselves.
  • The early Beatles movies, like A Hard Days Night and Help!, were very innovative in terms of cutting scenes to the beat of music, using quick cut camera work and inventive angles that perfectly matched the energy of the music. Richard Lester's work has been imitated so much ever since that even twenty years later, when MTV arrived, a lot of it looks not that spectacular today.
  • Rebel Without a Cause. In addition to being arguably the first true "teen movie" ever made, the film was also unique for being among the first to do away with the utterly wholesome depictions of children and teenagers that were so prevalent in movies before then (the movie was, in fact, made in response to the youth counterculture movement that was bubbling at the time - which, of course, would be more fully realized in the following decade). James Dean's teenaged character gets caught up in a gang and takes on a life of crime to rebel against his highly conservative (but loving and supportive) parents. What's more, the film actually demanded the audience to sympathize with his character and question some of his mother's and father's parenting practices. While some of the things he does are quite shocking even today, the lack of swearing, sex, etc. certainly diminishes its impact when compared to more recent films depicting troubled teenagers. A matter not helped by the fact that the "rebellious music" he and his friends listen to is... swing and jazz music!
    • Certainly the (slight) suggestion that the father may be somewhat attracted to, and thus feel threatened by, his teenaged daughter was very unusual for a 1950s movie.
  • Most of M. Night Shyamalan's early movies count as this, in some way or another. Before his reputation as a director took a nosedive, and before a whole generation of moviegoers got their kicks by pointing out the logical flaws in his famous Mandatory Twist Endings, his movies actually did get a lot of well-deserved praise for their unconventional retellings of popular Hollywood stock plots. And before everyone knew to expect them, the Twist Endings in his movies were half of what made them popular.
    • The Sixth Sense: A supernatural horror movie that successfully masquerades as a psychological thriller for the first half, ends with a genuinely shocking Twist Ending that no one had any reason to expect, and manages to turn a ghost story into a heartwarming tale of an Intergenerational Friendship. When it came out, that was notable. But when the twist became the most well-known thing about it, many people forgot that its story actually had many other merits.
    • Unbreakable: A superhero movie that successfully hides the fact that it's about superheroes for most of its running time, makes real-world superheroes seem plausible (doing it well before the 2000s superhero movie craze started, no less), manages to turn a superhero's origin story into an understated family drama about ignored potential, and ends with another genuinely shocking Twist Ending that no one had any reason to expect. Since 2000, though, superhero movies have become such a regular attraction at the box office that many people forget what an unconventional portrayal of superheroes Unbreakable was.
    • Signs: An Alien Invasion movie that takes place almost entirely on a remote farm, manages to keep its aliens almost entirely unseen, and successfully juggles family drama and religious dilemmas with the possible extermination of humanity. For all its flaws, it truly was unlike any other sci-fi film that audiences in 2003 had ever seen. And before its many plot holes were widely spread by word of mouth, its unconventional take on the Alien Invasion was the most well-known thing about it.
  • A lot of slapstick comedy from the first half of the 20th century like Charlie Chaplin, The Keystone Kops, Harold L Loyd,... Back then it floored many audiences across the world with laughter. Today most of the gags, comedic archetypes and situations have been used by later comedians. As a result many of these slapstick comedies now look dated, old-fashioned, bland and corny by comparison, not to say unfunny. Chaplin in particular is admired more for his skill and talent as a mime and a director than filling movie theaters with crowds of fans roaring with laughter. It says a lot that the most iconic and recognizable comedian of all time isn't considered to be that hilarious anymore.
  • Back in the mid 90s throughout the late 2000s, Adam Sandler while not as big as Jim Carrey or Eddie Murphy had a relatively huge fanbase that would recite lines from Happy Gilmore and Billy Madison on a regular day-to-day basis and mostly performed huge numbers at the box office. With the recent surge of Sandler following the same formula for almost more than a decade, many people question as to why Sandler's had the success he's had in the first place and are now seen as some of the lowest form of comedy in Hollywood.
  • Ray Harryhausen, Willis O'Brien and stop-motion animators in general. Nowadays their work looks jerky, silly and anything but frightening to modern audiences so used to watching CGI getting far more realistic animation across. But the thing of the matter is: all this animation was done by hand, overcoming problems such as continuity errors, shadowing, moving different body parts and perspective shots. If it weren't for these pioneering techniques special effect makers today would be nowhere. And there is still a charm to their craft that CGI can never surpass.
  • The Usual Suspects is seen by many as one of, if not the greatest Plot Twist film of all time. And is credited for starting the trend of many plot twist films after its success. The fact that almost scene in the film turned out to be a lie told by a Unreliable Narrator wasn't commonly used back then. Keyser Soze became an iconic villain over the years after the film's release. However, for many people whom seen the film for the first time, knowing what to expect, claim they don't see what the big deal is, and claim they could guess Kevin Spacey was Keyser Soze after just five minutes watching the film. Keep in mind this actor wasn't as well known at the time of the film and neither was his track record of playing clever villian roles.