(Note: Animated features for this page can be found on the SeinfeldIsUnfunny/WesternAnimation or SeinfeldIsUnfunny/{{Anime}} page)

* EarlyFilms: 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.
** ''Film/TheKiss'' (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. MoralGuardians 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 [[VictorianBritain 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 Before its debut in 1968, the film industry was still following the outdated [[UsefulNotes/TheHaysCode Hays Code]], which severely limited the creative freedom of filmmakers with its heavy-handed censorship. The new rating system meant that films that would never have seen the light of day under UsefulNotes/TheHaysCode could now be released with cautionary "R" and "PG" ratings instead of being heavily censored or banned outright. Beginning in TheSeventies, movies such as ''Film/TheGoodTheBadAndTheUgly'' and ''Film/AClockworkOrange'', which would never have been possible under UsefulNotes/TheHaysCode, changed filmmaking forever with the boundaries that they were able to push under the new system. This isn't as obvious today, now that the organization has gained a reputation for stifling creativity instead of encouraging it. Studios now have a bit of a tendency to edit movies to get lower ratings, and the MPAA has attracted a lot of criticism for [[DoubleStandard giving independent films higher ratings than studio films with similar content]].
** Subsequently, the PG rating. Today, with PG-13 being the default rating for many family films and the R rating being a lot more prevalent in genres other than Action, it's hard to believe that PG was once considered somewhat edgy and a cause for concern among parents.
* Horror movies in general. Many horror movies that first came out in the late 1960s and 1970s were seen as incredibly over-the-top in their depiction of violence, and a lot of them received 'R'-type ratings in many countries. Compared to now, in which TorturePorn movies with ridiculously graphic depictions of 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.
* Pretty much every film whose only key to success upon its initial release are its groundbreaking SpecialEffects is eventually doomed to suffer from this trope if they don’t have any other qualities to fall back on (like a good story) once those ‘groundbreaking special effects’ become more and more the norm and even start to look dated as the years go by.
* {{Deleted Scene}}s. While leaving scenes on the cutting room floor has been an inevitable part of the film editing process as long as movies have existed, the advent of [=DVDs=] suddenly made it possible to include those scenes as a special feature, giving curious fans greater insight into films by showing them ideas and plot points that didn't made the final cut. Though they might be seen as a "standard" feature today, there was a time when audiences couldn't see ''any'' part of a film that didn't make it into the final version, since films couldn't be seen anywhere but in the theaters. Case in point: part of the reason that the ''Franchise/StarWars'' rereleases got so much buzz in the mid-1990s is because they reinserted many cut scenes from the original films, which even the most devoted of fans had never seen before, and couldn't see anywhere else; in a time before audiences knew to ''expect'' {{Deleted Scenes}} in any $20 DVD, there was something undeniably exciting about getting to see lost footage in a classic film from 1977.
* ''Film/AceVenturaPetDetective'', ''Film/BillyMadison'' and ''Film/HappyGilmore'': It seems hard to believe that movies such as these were actually considered raunchy, filthy films when first released in 1994, 1995 and 1996. Today, they seem pretty tame compared to most comedy films being released.
* ''Film/{{Airplane}}'' was originally an intentionally corny, funny comedy. However, its corny style of humor has been imitated and parodied many, many times.
** On that note, up until 1980 Creator/LeslieNielsen was a respected dramatic actor, and the whole joke with his character was seeing him bring his usual gravitas to this kind of material. And of course, afterward his career took a hard right turn into doing nothing but these kinds of films, until [[LeslieNielsenSyndrome they completely eclipsed his public image.]]
*** This is the case with so many actors from that film: Robert Stack, Lloyd Bridges, Peter Graves, etc.
** The film ''Film/WrongfullyAccused'' can also suffer from this. At the time, it was actually part of the joke that the film cast such a wide net in the material that it parodied. Nowadays, every parody movie is like that.
*** 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.
* Creator/AlfredHitchcock. This trope could just as easily be called ''Hitchcock Is Not Suspenseful.'' Anything of his was '''the''' defining work in suspense when originally produced, but has been copied to death.
** ''Film/{{Psycho}}'' was groundbreaking for its time by essentially founding the slasher film genre, but now [[PsychoShowerMurderParody the infamous shower scene has been referenced (and often parodied) by other horror films to the point of saturation]]. When it was first released, the shower scene was an enormous shock - the idea of killing off the character played by the best-known actress in the film one-third of the way into the running time was quite literally unheard of.
*** Not only that- she was the main character in the film up to that point. Audiences initially didn't know who to identify with once Marion Crane was dead.
*** The movie was also probably the first to feature a twist ending based on [[spoiler: two characters turning out to be one individual with multiple personalities]]. Hitch went to great lengths to keep the ending's secret from leaking out, but today the idea has been imitated so many times that it's come to be seen as a stock plot device in thrillers. In the 2002 movie ''Adaptation'', Nicolas Cage's character remarks at one point, [[spoiler:"The only idea more overused than serial killers is multiple personalities."]]
** ''Film/NorthByNorthwest'' suffers from this. A modern viewer who has never seen it before can recognize trope after action movie trope, perhaps unaware that it was a defining film in that genre and that films like ''Film/JamesBond'' and ''Franchise/IndianaJones'' were heavily influenced by it.
* ''Film/AmericanBeauty'' inspired so many other "dark heart of suburbia" dramas that the film has lost a lot of its initial impact. In particular, the "dancing plastic bag" scene has been parodied/taken out of context so many times that the original sequence can come off as {{Narm}}.
** Interestingly enough, American Beauty is quite similar to ''Film/TheIceStorm'', another "dark heart of suburbia" movie, which came out two years before American Beauty. (The similarities between the two might be coincidental, though, as Alan Ball wrote the original version of ''The American Beauty'''s script before ''The Ice Storm'' – or the novel of the same name it was based on – had been released.) This would make ''The Ice Storm'' the original SeinfeldIsUnfunny example, except that ''The American Beauty'' is much better known, and therefore the likelier inspiration for the various films that followed.
** It also doesn't help that the StepfordSuburbia trope has been with us for nearly a century now, having first notably appeared in the SinclairLewis novel ''Babbitt'' in the 1920s - [[UnbuiltTrope at a time when the suburban phenomenon was just getting started]].
* ''Film/AmericanPie''. Although all of its bits are household shtick today (just try to find more than a few individuals who ''don't'' know what a [[StacysMom "MILF"]] is), it is perhaps impossible for anyone under the age of 35 to appreciate what a milestone that film was, even the EndOfAnEra. Look no further than the scene in which the boys [[TheInternetIsForPorn upload Web links]] of [[SensualSlavs the sexy Czech exchange student]] stripping down to her underwear and then taking off her bra before putting on Jim's ''unbuttoned'' pajama top. Not only does the camera ''not'' cut away, but it lingers on Shannon Elizabeth's 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, like ''Film/{{Porkys}}'' and ''Film/FastTimesAtRidgemontHigh''. You might even say that the ''Pie'' franchise, together with the internet and ''WesternAnimation/SouthPark'', triggered a second sexual revolution in American popular culture.
* ''Film/AnimalHouse'' was the TropeMaker or TropeCodifier of many of the [[WackyFratboyHijinx frat-house comedies]] that followed it. Nowadays, it seems cliched, but it was doing a lot of these jokes for the first time.
** 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 ''Film/TheresSomethingAboutMary'' (or another comedy from the mid-to-late 1990s) that originated such "gross-out" gags.
* ''Film/AnnieHall'' is the TropeCodifier for a great deal of modern American film, so much so that it won the Academy Award for Best Picture [[ComedyGhetto despite being a comedy]]. Its use of NoFourthWall and non-chronological editing was mindblowing for 1970s audiences. Now, not so much, as many films have aped its style, FunWithSubtitles first and foremost.
* ''Film/AustinPowers'', while not the first film to use an OverlyLongGag, was perhaps the first film to derive the ''majority'' of its humor from it. Nowadays, the OverlyLongGag has become such a comedy staple, it's become harder to tell why the ''Austin Powers'' films were such a big deal to begin with.
* Most avant-garde and experimental films from TheTwenties thru TheEighties are tame by today's standards that even Hollywood adapted its techniques.
* Creator/TimBurton's 1989 take on ''Film/{{Batman}}'' was considered [[DarkerAndEdgier dark and edgy]] at its time: perhaps not compared to the Batman comic books of that era, which influenced it, but certainly compared to the {{camp}}y [[Series/{{Batman}} 1960s live action show]] or the 1970s animated ''WesternAnimation/{{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 Creator/ChristopherNolan's [[Film/TheDarkKnightSaga Dark Knight saga]] and the Film/DCExtendedUniverse, which have greatly eclipsed it in terms of darkness. 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!
* The early Beatles movies, like ''Film/AHardDaysNight'' and ''Film/{{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.
* 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 anti-establishment American cinema, complete with a near VillainProtagonist (who's a sociopathic murderer) portrayed as a LoveableRogue, [[CoolPeopleRebelAgainstAuthority rebellion just for the sake of rebellion condoned and even encouraged]], and a DownerEnding 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 [[PlayedForLaughs 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 SociopathicHero is portrayed by Wallace Beery, an actor who is pretty much a walking ClicheStorm).
* ''Film/TheBestYearsOfOurLives'' was one of the first major Hollywood films to tackle the subject of post-traumatic stress disorder. The film deals with three soldiers returning home from World War II and their difficulties in adjusting to normal, mundane lives. It can be easy to overlook how ground-breaking such material was at the time. The American public had been bombarded with propaganda in the form of Frank Capra's ''Why We Fight'' series, emphasising the BlackAndWhiteMorality of the war. The public knew WarIsHell but the film told audiences that it wasn't just on the battlefield; it was the first film to show the war as it was. Nowadays with ReturningWarVet and ShellShockedVeteran being such stock tropes, it can be hard to understand the impact the film had at the time.
* ''Film/{{The Birth of a Nation|1915}}'' 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.
* ''Film/{{Blade}}''. The rebirth of the SuperHero movie genre also comes to mind. Most people credit ''Film/{{X-Men}}''[='=]s smooth cinematography and darker take... and completely forget that ''X-Men'' borrows heavily from it. At the time, it was a sleeper hit and probably the film that truly revitalized the comic book movie market after ''Film/BatmanAndRobin'' single-handedly killed it.
* ''Film/BladeRunner'' popularised a [[FantasticNoir number]] of [[WhatMeasureIsANonHuman sci-fi]] [[CyberpunkWithAChanceOfRain conventions]], and as a consequence, the impact can be somewhat lost on audiences who have already seen the many imitators and their intellectual androids, ugly dystopias, and drunken future cops.
* ''Film/TheBlairWitchProject'' was the film that brought both {{found footage|Films}} and internet-based ViralMarketing 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 concepts, and the fact that the passage of time has distanced the film from its revolutionary marketing campaign, this can be lost on modern viewers.
** There's also the fact that, as the first successful found-footage film, it was something of an UnbuiltTrope 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.
* ''Film/BlazingSaddles'' is rumored to be one of the first, perhaps the first film ever, to include a fart joke. It wasn't, since there were fart jokes as early as the Great Depression era. It ''was'', however, the first film to ''blatantly'' do a fart joke, without bothering to [[GettingCrapPastTheRadar Get Crap Past The Radar]].
* ''Film/BreakfastAtTiffanys'', one of the earliest "chick flicks," now appears passé compared to its numerous successors.
* ''Broadway Melody'', the second film to win the UsefulNotes/AcademyAward for Best Picture and the first all-sound musical, was a '''huge''' deal when it was released. However, its look at the goings-on on a Broadway musical became clichéd by the mid-'40s, thanks to nearly every movie about Broadway copying its basic set-up. Add the fact that, as it was the first movie musical, Hollywood still had a lot to learn about blocking musical numbers to avoid looking 'stagey'.
* Creator/BruceLee's martial arts movies. Today, his fights against opponents who [[MookChivalry attack one at a time]] can look cliche until you remember that at the time, he was pioneering not only the tropes of the genre, but the genre itself. ''Film/EnterTheDragon'' was ''Film/TheMatrix'' of its day.
* ''Film/{{Bullitt}}'' was considered the definitive car chase movie in its time, but others have copied it.
* {{Website/Cracked}}'s list of the [[http://www.cracked.com/article_18664_5-annoying-trends-that-make-every-movie-look-same.html "5 annoying trends that make every movie look the same"]] shows us how once clever and innovative cinematography techniques have been copied to death in the past 10 years to the point that they're almost in every movie.
* ''Film/CitizenKane'', often times trumpeted as "The Greatest Movie of All Time," tends to inspire "what's the big deal?" responses from first time viewers, especially since PostModern movies have become the norm and the cinematography has influenced so many other films.
* ''Film/CrouchingTigerHiddenDragon'', the first Chinese {{Wuxia}} (periodic Kung-Fu) movie to become truly successful in the West, suffers from this. It has been imitated repeatedly in many "Hollywoodian" action films for the past ten years. Of course, it wasn't original per-se, as Wuxia films were already seen as dated in their homeland (China/Hong Kong), 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.
* ''Debbie Does Dallas''. To modern eyes it watches like a porno ClicheStorm. That's because it was more or less the comedic template for the porn industry. Likewise, ''The Devil In Miss Jones'' for more dramatic fare.
* ''Film/LesDiaboliques'' was widely considered to have one of the most shocking original {{twist ending}}s of all time when it was first released. But after fifty years of films copying this ending, modern audiences are often able to predict what will happen.
* ''Film/DieHard''. In the eighties, action films preferred {{invincible hero}}es 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, a setup that this very wiki calls "DieHardOnAnX". (For example, ''Film/{{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 Creator/BruceWillis being an action star. Nowadays, what with TomHanksSyndrome, comedic actors doing serious roles aren't nearly so amazing. Plus, like with Nielsen, some people don't even know that Willis got his start in comedies.
** To a lesser extent, even John [=McClane's=] famous CatchPhrase ("Yippee-ki-yay, motherfucker!") suffers from this a bit. If you already know it as [=McClane's=] CatchPhrase before you see the first movie, it can be hard to realize that it was originally just a well-placed ShutUpHannibal to Hans Gruber when he tried to break [=McClane's=] spirit by mockingly suggesting that [[YouWatchTooMuchX he watched too many cowboy movies]]. Divorced from its original context, it's still an awesome line, but not quite the ballsy TakeThat that it originally was.
* ''Film/DirtyHarry'' and ''Film/TheFrenchConnection'', being from the early 1970's, attracted significant controversy on release due to their violence and featuring police officers who flagrantly violate the rules. Critics of the time went so far as to call the former film "fascist" and protests occurred over its release. Today, they are seen as defining examples of the CowboyCop and the crime genre in general, and the "offensive" content in both seems tame compared to the antics seen in ''Series/TwentyFour'' and other modern works.
* ''Film/LaDolceVita'' is a film where the "hero" is an amoral CasanovaWannabe journalist type who hangs around lots of decadent celebrity parties and [[Music/TheRollingStones can't get no satisfaction]]. Precisely what made it seem so racy and different in 1960 and so long and ordinary now.
* Creator/FritzLang. Ditto the sci-fi tropes in ''Film/{{Metropolis}}''. And the criminal mastermind/underworld tropes in the ''Film/DrMabuse'' films. And the backwards countdown in ''Film/WomanInTheMoon''. In fact, this might as well be called Creator/FritzLang Is Unoriginal.
* ''Film/GeorgyGirl''. 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 TheSixties have brought to Western society. Nowadays, it's considered rather tame and inoffensive, especially when compared to more revolutionary films of the era.
* ''Literature/GreatExpectations''. Modern viewers watching Creator/DavidLean's adaptation of the Dickens classic might roll their eyes upon seeing [[JumpScare Magwitch pop out of the frame at Pip in the graveyard like a cheap horror movie jack-in-the-box]], genuinely startling though it is - because they won't know that this was the first time that ever happened in a movie. The same thing might occur with [[spoiler: a seemingly dead Alan Arkin [[OnlyMostlyDead suddenly lunging out]] at Audrey Hepburn]] in ''Film/WaitUntilDark''. It shocked everyone at the time because they weren't used to [[spoiler: the villain doing that after he'd been apparently killed off]], but today most people will likely see it coming.
* From the SlasherMovie genre:
** ''Film/{{Halloween 1978}}'' seems today a clichéd slasher film. But it created the clichés and established the formulas.
** Ditto for ''Film/FridayThe13th1980'', which came out before slashers became predictable. According to the filmmakers, people watching it on the big screen would literally be shouting "don't go in there!" and "don't open that!" in genuine fear for the characters. These days, anyone exposed to slasher films knows that of course they're going to go in there and of course they're going to get killed in a clever and creative way.
* ''Film/HouseOnHauntedHill1959'' was revolutionary when it came out. Now the film can come across as just another old haunted house flick.
* When ''Film/HouseOfGames'' came out in 1987, the idea that [[spoiler:everything that happens in the movie is [[MassiveMultiplayerScam a huge con]]]] was still relatively fresh. (Though similar plots had been used in earlier movies, such as ''Film/{{Sleuth}}''.) Since then it has become such an established cliche of con artist movies that the viewers pretty much expect it, which is why [[spoiler: the PlotTwist]] is much easier to guess now than it was in 1987.
* When ''Film/TheIncredibleHulk'' came out in 2008, many people were awestruck by [[spoiler:Film/IronMan Tony Stark]]'s [[TheCameo cameo]] in TheStinger. This was Marvel's intent, as they were attempting to build a [[Franchise/MarvelCinematicUniverse shared universe of movies]] that would lead to, in Stark's words, [[Film/TheAvengers2012 "a team"]]. After ''other'' movies in the MCU, namely ''Film/{{Thor}}'', ''Film/CaptainAmericaTheFirstAvenger'', and of course, ''Film/{{The Avengers|2012}}'' - which was a culmination of the previous movies - ''TIH'''s Stinger no longer has the same awe that it once had.
** You can make the argument that ''The Incredible Hulk'' was the first to do the WorldBuilding and ArcWelding of the MCU. For instance, the Hulk was a product of a modern-day revival of the [[ComicBook/CaptainAmerica Super-Soldier Serum]]. Furthermore, the movie was the first MCU film to use the ComicBook/{{SHIELD}} logo, and some of the technology used to defeat the Hulk was from [[Film/IronMan Stark Industries]]. Again, the Incredible Hulk's reputation has been ignored by later movies in the franchise who have made more blatant examples of WorldBuilding.
* ''Franchise/IndianaJones'' is ''the'' TropeCodifier for most adventure movies - almost every AdventurerArchaeologist has at least some ShoutOut or {{Homage}} to Franchise/IndianaJones, whether done intentionally or not. However, Indiana Jones was not without his inspirations (including ''ComicBook/TheAdventuresOfTintin'').
* ''Film/InTheHeatOfTheNight'' comes off like a ClicheStorm these days: BuddyCops, [[DiscOneFinalBoss Decoy Antagonist]], VitriolicBestBuds in the DeepSouth. At the time, not only were all of these unique concepts, the storyline was contemporary, yet included such unbelievably edgy moments as a black man slapping a white man.
* Creator/JackieChan. Through the 1970s, Chinese martial arts films were a deadly serious business, with grim plots and frequent {{Downer Ending}}s probably best known today from the films of Creator/BruceLee. Then Chan came along with the idea that you could make a martial arts film that was supposed to be fun, or even a straight-out ''comedy''. Chan's autobiography gives a fascinating view of just how powerful a mindset he was up against when making his early comedy films like ''Half A Loaf Of Kung Fu'', with the public at large pretty much calling him a heretic. Today, these films can seem unoriginal.
** 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.
* ''Film/JamesBond''. When the movies starring Creator/SeanConnery first appeared in the early '60s, they were the sexiest mainstream movies at the time. Coming out of [[TheFifties the uptight '50s]] but before the sexual revolution in the later part of the decade, Bond was incredibly risque. The credits sequences alone were hotter than most movies during that period. The first film, ''Film/DrNo'', premiered in 1962 and made a big impact with Bond having casual sex and [[BestKnownForTheFanservice that famous (and much-parodied) scene of Ursula Andress coming out of the surf in the white bikini]]. ''Film/FromRussiaWithLove'' had a {{catfight}} between two scantily clad gypsy girls. In ''Film/{{Goldfinger}}'', one Bond girl was found dead, naked and covered in gold paint, and another was named "Pussy" Galore! However, while Bond did sleep with many women in each movie, [[SexyDiscretionShot all that's ever shown is the lead-in kiss and then cut to the next morning]]. As the years have gone by and sex scenes become more graphic, the seduction scenes in even the more recent Bond movies seem almost chaste, while the sexual innuendo and jokes that were part of Bond from the beginning now seems corny.
** Bond was even receiving this treatment by the late '60s, thanks largely to countless parodies and ripoffs. When reviewing ''Film/YouOnlyLiveTwice'' in 1967, a critic for ''Time'' magazine not-so-ironically compared the Bond franchise to that of ''Franchise/{{Frankenstein}}'', saying that "there have been so many flamboyant imitations that the original looks like a copy".
** With Creator/DanielCraig's portrayal of Bond, it's difficult to appreciate Creator/TimothyDalton's portrayal in ''Film/TheLivingDaylights'' and ''Film/LicenceToKill''. At the time, Dalton's portrayal was the darkest Bond had ever been. Because Dalton's predecessor, Creator/RogerMoore, had been [[LighterAndSofter the lightest of all the Bonds]] and [[LongRunners the longest tenured]], audiences had grown so accustomed to a light, wise-cracking Bond that they were taken aback by Dalton's performance.
* ''Film/{{Jaws}}'': The [[CrowningMusicOfAwesome so awesome]], but now sadly [[StandardSnippet so clichéd]] use of the movie's theme. In addition, it's now become a tradition of monster movies to not show the creature much until the end to increase suspense. Nowadays, everyone knows what a shark looks like.
* Creator/JohnHughes. When he was making teen films, it was rather rare for there to be films based purely on teenagers and their inner angst. It was actually unique to take the usual school archetypes and see what makes them tick. Nowadays, with at least three generations of teen dramas (as well as countless parodies and homages) that have replicated or even advanced from the analysis of such films as ''Film/SixteenCandles'' or ''Film/TheBreakfastClub'', Hughes's bite doesn't seem as sharp. [[Film/FerrisBuellersDayOff Ferris Bueller]] doesn't seem much like a suave troublemaker when compared to recent characters such as [[Series/{{Skins}} Tony Stonem]].
* Creator/JohnWoo. In a similar vein to Creator/JackieChan, he effectively created the HeroicBloodshed genre with his Hong Kong film ''Film/ABetterTomorrow'', pioneering the idea of [[GunFu highly stylized]], intricately choreographed [[GunsAkimbo two-gun]] action scenes and popularizing slow motion gun fight sequences in the west. However, after coming to Hollywood his career proceeded to hit the rocks somewhat, and he became associated with B-grade action fare. Today, the usage of the stylized gunfighting Woo helped to popularize tend to be derided as unrealistic and cliche in no small part due to the [[FollowTheLeader numerous imitations]] of Woo's work. His Hollywood films like ''Film/FaceOff'' are now regularly compared to ''Film/TheMatrix'' style of gun fights ([[OlderThanTheyThink even though Face/Off pre-dates the Matrix by two years]], and the Wachowskis explicitly named Woo as an influence), and the stylized violence and other tropes that used to be associated with him, such as the MexicanStandoff, are now credited to Creator/QuentinTarantino.
* ''Film/JurassicPark''. First, this is often considered ''the'' movie that introduced CGI creature effects to its audiences on such a large scale. Before this time, CGI in movies tended to be one or two scenes out of a whole two-hour movie due to its expensive nature, with the rest being taken up by puppetry, stop motion animation and miniature work. JP was one of the first movies to use CGI in the majority of its creature special effects. Now-days, with films like ''Film/{{Avatar}}'' and ''Film/SkyCaptainAndTheWorldOfTomorrow'' being more CGI than real, a few of the effects look dated (though it still holds up better than in even earlier films, such as ''Film/TheAbyss''). Second, this was one of the very first feature films with a wide audience to do away with a lot of old dinosaur tropes, having bipedal dinosaurs stand horizontally and having them act more like birds and less like lizards. However, the film gets hit by a bad case of ScienceMarchesOn (most glaring of all, the Raptors lack feathers, which scientists are now certain they possessed.).
* ''Film/KingKong1933''. At the time of its release, people thought it had the greatest effects in film. Now, with 80 years of technology advancement, two remakes of which used it, the power is somewhat lost on most people.
** On the other hand, the trope is reversed if you try to view ''Kong'' as a typical 1930s film. Most aficionados of Thirties cinema are more familiar with the mid-'30s and late '30s classics, made after UsefulNotes/TheHaysCode against portrayals of sex and violence in American movies began to be officially enforced. As such, it can be shocking for modern-day viewers to see things like Fay Wray being stripped nearly nude by Kong and blood gushing from the bodies of the dinosaurs after Kong kills them. Indeed, quite a few viewers of pre-Code (1930-1934) Hollywood films have felt their jaws hit the floor at what they are seeing.
** Another case of ScienceMarchesOn when people learned that gorillas in real life are basically peaceful creatures.
* ''Film/{{Koyaanisqatsi}}''. SlowMotion / TimeLapse footage of things like factories and traffic and clouds, put to music, was a new thing in the early '80s, but has since become standard.
* Among its [[SceneryPorn other]] [[Creator/PeterOToole virtues]], ''Film/LawrenceOfArabia'''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 FrenchNewWave; most movies still used traditional dissolves and fades. One only need compare ''Lawrence'' to David Lean's previous movie, ''Film/TheBridgeOnTheRiverKwai'', 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.
* ''Film/TheLostBoys'' (1986) and ''Film/NearDark'' (1987) were notable for contemporizing the vampire. Before these films, vampires were almost always either [[OurVampiresAreDifferent erudite seducers or grotesque monsters]]. In ''Lost Boys'', the vampires are a bunch of hip punk teens, while in ''Near Dark'' they're vagabond badasses in a van. By bringing modern culture into the vampire mythos, these films paved the way for such properies as ''Series/BuffyTheVampireSlayer'', ''Series/TrueBlood'' and ''TabletopGame/TheWorldOfDarkness''.
* ''Film/MadMax2TheRoadWarrior''. Pretty much every post-nuke movie since has featured crazed marauders on motorcycles and dune buggies fighting it out in the desert.
* ''Film/TheMagician'', a silent film from 1926 featuring a MadScientist Hypnotist. At the end of the movie, when the BigBad's castle blew up, you may think to yourself, "Hey, they stole that scene from ''Film/BrideOfFrankenstein''", but then you realize that ''Bride'' wouldn't be made for another nine years. While ''The Magician'' may seem like a hopeless ClicheStorm now (borrowing liberally as it does from Creator/MaryShelley, Svengali, and Victorian Melodrama), it ''did'' go on to influence many horror films that were to follow in the coming years.
* Most of Creator/MNightShyamalan's early movies count as this, in some way or another. Before his reputation as a director took a nosedive, and before a whole generation of moviegoers got their kicks by pointing out the logical flaws in his famous {{Mandatory Twist Ending}}s, his movies actually did get a lot of well-deserved praise for their unconventional retellings of popular Hollywood stock plots. And before everyone knew to expect them, the {{Twist Ending}}s in his movies were half of what made them popular.
** ''Film/TheSixthSense'': A supernatural horror movie that successfully masquerades as a psychological thriller for the first half, ends with a genuinely shocking TwistEnding that no one had any reason to expect, and manages to turn a ghost story into a heartwarming tale of an IntergenerationalFriendship. When it came out, that was notable. But when the twist became [[AllThereIsToKnowAboutTheCryingGame the most well-known thing about it]], many people forgot that its story actually had many other merits.
** ''Film/{{Unbreakable}}'': A superhero movie that successfully hides the fact that it's about superheroes for most of its running time, makes real-world superheroes seem plausible (doing it well before the 2000s superhero movie craze started, no less), manages to turn a superhero's origin story into an understated family drama about ignored potential, and ends with ''another'' genuinely shocking TwistEnding that no one had any reason to expect. Since 2000, though, superhero movies have become such a regular attraction at the box office that many people forget what an unconventional portrayal of superheroes ''Unbreakable'' was.
** ''Film/{{Signs}}'': An AlienInvasion movie that takes place almost entirely on a remote farm, manages to keep its aliens [[NothingIsScarier almost entirely unseen]], and successfully juggles family drama and religious dilemmas with the possible extermination of humanity. For all its flaws, it truly ''was'' unlike any other sci-fi film that audiences in 2003 had ever seen. And before its many plot holes were widely spread by word of mouth, its unconventional take on the AlienInvasion was the most well-known thing about it.
* ''Film/NightOfTheLivingDead1968'', ''Film/DawnOfTheDead1978'' and ''Film/DayOfTheDead1985'', George Romero's original "Film/LivingDeadSeries" trilogy.
** The series is credited with pretty much inventing, or at least solidifying, the modern ZombieApocalypse story: the Dead rising to feast on the flesh of the living, the total breakdown of society as a result, a small group of humans forced to work together to survive but generally failing due to HumansAreBastards, and fairly bleak endings stressing the InferredHolocaust, etc. Zombie films that don't follow this pattern are generally viewed as subverting the expectations of the audience. However, the film did not originate all aspects of the common Zombie Apocalypse playbook. For example, ''Film/TheReturnOfTheLivingDead'' 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. ''Film/TheBirds'' was another example of a film around this time that subverted the trend. Films with such open endings are much more common in recent days.
* ''Pee Wee Herman''. In 1985, the notion of having a child - or ManChild - character who [[TheUnfettered is completely uninhibited and does whatever he wants without regard to how annoying or disrespectful his behavior comes across]] was still pretty novel. Traditionally, this type of character had been cast either as a villain or as extremely unsympathetic (Lampwick in Disney's version of ''Disney/{{Pinocchio}}'', for example); the most heroic (or at least sympathetic) such character up to that time had probably been [[ComicStrip/DennisTheMenaceUS Dennis the Menace]]. Now, after [[WesternAnimation/TheSimpsons Bart Simpson]], [[Film/HomeAlone Kevin McAllister]], [[Film/MaxKeeblesBigMove Max Keeble]], and just about every character Creator/AdamSandler has played, Pee-wee is par for the course.
* ''Film/ThePoseidonAdventure''. Just try to watch a DisasterMovie and ''not'' spot any scene, plot, or subplot that hasn't either been spoofed, homaged, recreated, or otherwise by even ''any'' action movie. It can be quite hard to believe that this movie was so novel back in the 70s (even today, it's an unlikely premise).
** Another potentially off-putting thing in ''Poseidon'' would be the presence of Creator/LeslieNielsen in one of his many dramatic roles, as mentioned above.
* ''Film/TheProducers''. In 1968, only 23 years after the end of UsefulNotes/WorldWarII, audiences were shocked that Creator/MelBrooks created a comedy featuring The Nazis. However, the movie did exactly what he had intended: made Nazis such a laughing stock that nobody would ever take their ideas seriously again. Today the ThoseWackyNazis and AdolfHitlarious tropes are so prevalent that it has made the idea of a Nazi-themed musical tame to modern audiences.
* ''Film/PulpFiction'': The Tarantino-style dialogue, in which characters have long conversations about trivial, pop culture-laden topics that don't seem to relate to the plot, was virtually unknown and highly influential. TheNineties were littered with irreverent crime films heavily borrowing from ''Pulp Fiction'''s tone.
** 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.
* The ''Franchise/{{Rambo}}'' movies seem almost cliched by this point, having seen all the action movies inspired by them.
** The second film did copy an already common cliche. Gene Hackman had made ''Film/UncommonValor'', which saw release in 1983, two years before ''Film/RamboFirstBloodPartII''. (This film in turn resembles J.C. Pollock's novel Mission: MIA and a point in The Shadow Unmasks). Tom Laughlin introduced Vietnam Veteran Billy Jack in the late 1960's. Don Pendleton introduced Mack Bolan in 1969.
** The irony of the sequels is that they were made in response to the shift in the way that action movies were made in the 80's. ''Film/FirstBlood'' was nothing like them, and in fact is more of a thriller than an out-and-out action movie. The creators of ''Film/RamboFirstBloodPartII'' and ''Film/RamboIII'' found themselves competing with films like ''Film/{{Commando}}'' and ''Film/{{Predator}}'' and tailored their movies according to audience expectations. It can be odd to see Rambo as a trauma-wracked veteran on the run from an unjust pursuit, rather than the WeDoTheImpossible OneManArmy he became in later movies.
* ''Film/{{Rashomon}}''. RashomonStyle is always ''exactly the same trope'' they used in that other damn movie.
* In the late eighties, the idea of Detroit from ''Film/RoboCop1987'' being a crumbling, crime-ridden hellhole, {{Corrupt Corporate Executive}}s 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.
* Creator/RayHarryhausen, 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.
* ''Film/RebelWithoutACause''. In addition to being arguably the first true "teen movie" ever made, the film was also unique for being among the first to do away with the [[ChildrenAreInnocent utterly wholesome depictions of children and teenagers that were so prevalent in movies before then]] (the movie was, in fact, made in response to the youth counterculture movement that was bubbling at the time - which, of course, would be more fully realized in [[TheSixties the following decade]]). Creator/JamesDean'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.
* ''Film/SaturdayNightFever''. There was a time when this movie's dance with the diagonal pointing was actually a new idea.
* The ''Franchise/{{Scream}}'' films. While other horror films (such as the 1991 parody ''There's Nothing Out There'' and Creator/WesCraven's own ''[[Film/WesCravensNewNightmare New Nightmare]]'' in 1994) had featured GenreSavvy 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 PostModernism, [[BetterThanABareBulb lampshading every single horror movie cliche]] while still paying loving tribute to them, creating a tongue-in-cheek brand of [[SlidingScaleOfComedyAndHorror horror-comedy]] that has been aped countless times. As a result, some degree of GenreSavvy came to be all but expected from horror movie characters that came in ''Scream''[='=]s wake. Even ''Film/{{Scream 4}}'', made fifteen years after [[Film/{{Scream 1996}} the original]], [[https://www.youtube.com/watch?v=pKCEkyWGlMc 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. [[XCalledTheyWantTheirYBack 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 [[Franchise/FridayThe13th Jason Voorhees]], [[Franchise/ANightmareOnElmStreet Freddy Krueger]], and [[Franchise/{{Halloween}} 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 TooDumbToLive (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'' [[https://www.youtube.com/watch?v=BdOG2-Gn044 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... [[BuryYourGays you pretty much]] [[InvertedTrope have to be gay]]."
* ''Film/SevenSamurai'' was so influential to modern film that nearly ''everything'' in the movie - from cinematographic tricks to plot devices - has been rendered a cliche. It's hard for a modern viewer to realize just how fresh and original it all seemed was when it was first made.
* Creator/JohnFord's ''Film/{{Stagecoach}}'', to paraphrase the ''Halloween'' review above, "seems today a clichéd, formulaic Western film. But it created the clichés and established the formulas."
* ''[[Film/{{Solaris1972}} Solaris]]''. "Oh, so the aliens make clones of dead people and the guy decides to live in a [[LotusEaterMachine flawed fantasy world]]? It's been done."
* ''Franchise/StarWars'' both exhibits and inverts this:
** After having seen LukeIAmYourFather parodied a million times (which are, more often than not, more or less equal amount of [[DarthVaderClone Darth Vader clones]]) in the [[Franchise/StarWarsExpandedUniverse Expanded Universe]] (which has been officially declared defunct by new ''Star Wars'' owner Disney, perhaps in part because of this trope), and after getting to see villains like Exar Kun or [[VideoGame/KnightsOfTheOldRepublic Darth Revan]], and particularly after the three-plus decades of pulp sci-fi blockbusters that the film (directly or indirectly) inspired, the film might not seem so original.
** [[InvertedTrope In the other direction]], the original trilogy in particular had this effect on many of the older SpaceOpera tales that inspired them, such as ''Film/FlashGordon'' and ''ComicStrip/BuckRogers''. It didn't help that both of those series were revived (the former as a movie, the latter as a [=TV=] series) to [[Main/FollowTheLeader cash in]] on the post-''Star Wars'' sci-fi craze.
** At the time, it was so controversial that the first Star Wars film, ''Film/ANewHope'', didn't have opening credits. The Director's Guild of America let it slide for Creator/GeorgeLucas [[ItWillNeverCatchOn only because they thought it would tank in the box office]]. [[AndYouThoughtItWouldFail It obviously didn't]], but despite this, when Lucas did it again for ''Film/TheEmpireStrikesBack'', he got a huge fine from the DGA, which he paid before he quit the guild altogether. Today, many filmmakers forgo traditional opening credits or even opening titles that now, it looks as though [[DisproportionateRetribution the DGA overreacted]].
** With some female fans complaining about the use of TheSmurfettePrinciple 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.
* It also wasn't too long ago that ''Film/SpiderMan2'' was seen as the benchmark for what Superhero movies should try to achieve; mixing the fantasy/campiness of the comics with realism. Much like ''Superman'' before it. With the release of even more realistic and serious superhero movies (such as ''Film/IronMan'', ''Film/TheDarkKnightSaga'', and ''Film/CaptainAmericaTheWinterSoldier''), or less realistic but with ''huge'' action set pieces and witty dialogue like ''Film/TheAvengers2012'' and ''Film/GuardiansOfTheGalaxy'', the Sam Raimi trilogy isn't as special.
* {{Documentary}} ''Film/TheThinBlueLine'' was one of the first documentaries to actually dare to produce reenactments in order to provide greater information about events, not to include narration, and not to identify people speaking on camera. While revolutionary in its time (and, more importantly, its effect of having the case reviewed and eventually overturned) even the most basic of television non-fiction programs have since adopted many of its techniques.
* The twist in Orson Welles' ''Film/TheThirdMan'' has been done so many times that it's impossible for a remotely film-savvy person to watch it today and not see it coming from very early on, which is a shame because it's nonetheless a well conceived and sharply written film. In these days when writers feel the need to constantly pull the rug out from under the viewers, such a twist is usually just one part of a [[GambitPileUp Gambit Pile-Up]].
* ''Film/TheToweringInferno'': This was the first film to be a co-production by two major movie studios (Creator/TwentiethCenturyFox and Creator/WarnerBros), who have been bitter rivals for decades, and it was considered a risky venture. But when the film became a hit, both studios were handsomely given big payloads from the profits, and studio collaborations are quite commonplace today as the cost of making movies gets ever higher.
* ''Film/{{Tron}}'' introduced the concept of cyberspace (a virtual world) to most audience members for the first time, something that subsequently became entirely routine, such that by the time of ''Film/TheMatrix'' (1999), it only needed to be explained THAT Neo was inside a virtual world, not what a virtual world was. Tron's use of computer-generated graphics was revolutionary, and served as midwife to the modern visual effects industry. The film even helped popularize the word "user" for a computer operator. (There was no consensus of terminology at the time; the word "computerist" was another popular term.)
* ''Film/TwoThousandOneASpaceOdyssey'': Similar to ''Film/{{Jaws}}'' the [[CrowningMusicOfAwesome so awesome]], but now sadly [[StandardSnippet so clichéd]] uses of "''Music/AlsoSprachZarathustra''".
** One would be hard-pressed to find a scene from ''any'' Creator/StanleyKubrick film that hasn't been parodied/homaged to death.
** The famous "Star Gate" sequence, in which brilliant colors flash past the screen as the main character travels deep into space, required some extremely tricky cinematography and caused jaws to drop when the film was released in 1968. Thanks to the incredible advances in special effects since then, modern audiences often find the scene ordinary.
* Many of the original Franchise/UniversalHorror movies, particularly ''Film/{{Dracula 1931}}'', with its {{Melodrama}}tic style filled with SilentMovie conventions (despite being a talkie).
* ''Film/TheUsualSuspects'' is seen by many as one of, if not the greatest PlotTwist 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 [[spoiler: turned out to be a lie told by a UnreliableNarrator 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 [[spoiler: Creator/KevinSpacey]] 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.
* ''Film/WarGames''. More than half the world's hacker films are sons of this one. Yet, some of those who see it now thinks "another hacker-boy-saving-the-world movie". No, he was '''the''' hacker boy who saved the world. ([[UnbuiltTrope After nearly precipitating its destruction]]. Way to save on major characters.).
* The scene in ''Film/TheWizardOfOz'' where Dorothy opened the front door of her house to the Land Of Oz, which brought the film from a sepia tone to color for most of the rest of the movie, was radical for its time in 1939. Although the color comes out crude by today's standards, the fact that it was there ''at all'' was quite an achievement for the late [[TheThirties '30's]]. Remember that only a decade before, movies started to be released [[TheJazzSinger with sound]].
** Also, some of the effects and makeup used in the film were complex and realistic for its time, but can be [[SpecialEffectsFailure laughable]] by the standards of what could be achieved even in TheSeventies. Some effects such as the tornado still do hold up today, though.
* The first two ''Film/XMen'' movies have largely been overshadowed in recent years by more bombastic fair like ''Film/TheAvengers2012'', but at the time, the [[Film/XMen1 first movie]] was a surprise hit that proved vital in convincing Hollywood that {{superhero}}es could be viable again after ''Film/BatmanAndRobin'' had [[GenreKiller killed the genre several years earlier]]. People tend to forget that alongside ''Film/{{Blade}}'', the original ''X-Men'' movies were massively influential in terms of tone and costuming, arguably becoming the TropeCodifier for MovieSuperheroesWearBlack. 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 ''Film/{{The Phantom|1996}}'' and ''Film/TheRocketeer'' 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 TheNewTens movie landscape where star vehicles have given way to ensemble pieces driven by premise and spectacle, superhero films have no qualms about casting [[Film/{{Thor}} unknown actors]] or [[Film/GuardiansOfTheGalaxy 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 TheSmurfettePrinciple, something Marvel Studios [[Film/TheAvengers2012 still comes under fire for.]]
* ''Film/{{Zombi 2}}'', after thirty years of zombie movies about scientists looking for the source of the zombie outbreak (and possibly [[FindTheCure a cure]]), people holed up in buildings with an assortment of guns and melee weapons, and {{Downer Ending}}s, can come off as derivative of every zombie movie ever made... even though this film, together with ''Film/DawnOfTheDead1978'' (which ''Zombi 2'' was an [[SpiritualSuccessor unofficial sequel]] to) helped [[TropeCodifier codify]] all of the tropes listed above.
* A lot of slapstick comedy from the first half of the 20th century like Creator/CharlieChaplin, "The Keystone Kops", Creator/HaroldLLoyd,... Today most of the gags, comedic archetypes and situations have been used by later comedians. As a result many of these slapstick comedies now don't look so original.
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