Anchorman: The Legend of Ron Burgundy: Ron Burgundy is a regional newscaster for San Diego, the 28th largest media market in the United States. He seems to believe that he's some sort of broadcast superhero, however. The rest of his news squad all have shades of this as well, with the possible exception of Brick.
American Made rests on how Barry Seal thinks he's a far, far bigger deal in the drug world than he is. He actually says, "I built the Medellin Cartel," when that cartel was already set long before he ever started flying for them. It's obvious Barry is just one of the hundreds of crooked pilots the cartel uses, but he acts like he's their go-to guy. He also overestimates his value to the CIA, thinking he's a top asset when he's just a cog in their machine and, likewise, just one of the dozens of guys they have. Even when things go bad, Barry assumes he can play both sides to cut a deal because of how "vital" he is to both operations when they're both set to write him off.
Bostock's Cup: fictional team Bostock Stanley's top scorer, Alan Hardy is legitimately the best player at the club by a wide margin. However, he's still a largely unexceptional player even by the standards of the division that Bostock play in, and his attitude ends up causing the team's manager to drop him for the cup final (albeit also because the manager gets tricked into playing an illegally-imported ringer from Brazil's 1970 World Cup-winning squad).
The Brady Bunch Movie: Greg, an exaggerated example who is portrayed as a geeky, clueless loser but thinks he's a real ladies' man. He also believes he is the next big rock star, Johnny Bravo. (This is in direct contrast to the original TV Greg, who truly was one of the BMOC, and who also rejected Johnny Bravo as a manufactured Teen Idol gimmick.)
The Commitments is all about getting ten of these characters together and starting a band. Slightly subverted in that they're all either fairly talented, or improve significantly with practice, but the better they get as an act, the worse the ego problem becomes.
In Crooked House, Magda Leonides is convinced that she is a great theatrical star. One character describes her as starring in plays that no one sees, and another indicates that most of her career has been spent in provincial repertory.
In Doctor in Trouble, Wendover wins only a small amount of money on the pools yet believes himself to be one of the most important passengers on the Golden Horn.
Don't Worry Darling: Frank makes a lot of big speeches about how Victory is going to change the world, and the men, who know the truth about Victory, seem to believe him when he says the world will be theirs. Victory is actually a virtual reality simulation that has fewer than 100 participants, half of whom (the women) are in there unwillingly. The men have standard day jobs in order to keep the program financed and operational, despite claiming in-simulation that they're working on groundbreaking new research. It is not a wide-reaching and influential conspiracy, but a small cult of personality built around a charming reactionary misogynist with an obscure podcast who all hang out in a glorified video game.
Count Dracula gets a monologue like this in Dracula: Dead and Loving It: "They are fools to think they can match wits with me! Me who can control the forces of darkness! Me who has commanded the creatures of the night to do my bidding!" (says the guy who got knocked out of his hiding place by an old Englishman slamming a door) This is the same ancient evil who cannot rise from his coffin without banging his head on the chandelier. Not to mention that he crashes into Lucy's bedroom window as she closed it. Who would have thought you can keep out vampires with Windex?
Basil Underwood in It's Love I'm After is not only a Shakespearean actor, but a Large Ham at that who thinks he's the greatest actor that ever lived.
Basil: After all, what am I? Just the greatest actor in the world!
Rupert Pupkin in The King of Comedy is an aspiring stand-up comic with very limited talent and high hopes for fame and success.
Skeletor of the 1987 filmMasters of the Universe. When Skeletor (played brilliantly by Frank Langella in one of the best examples of the "Ham and Cheese" trope) finally gains all the "forces of Grayskull, all the powers of the universe" and dons a rather impressive-looking gold armor, he actually doesn't gain any more power, nor is he able to vanquish his nemesis, He-Man. He often berates his underlings for their incompetence even though he is guilty of it himself.
Jason in Mystery Team can act like this some time.
Paddington 2: Phoenix Buchanan is a legitimately skilled and talented actor, but his ego is still way out of proportion to his ability. His career is also shown to have been sunk due to his self-view; while there are plenty of people who would love to work with an actor of his skill, none of them want to deal with the ego that comes attached to it.
Lugo and Adrian from Pain & Gain think they are essentially gods amongst men because of their extremely muscular bodies.
Pirates of the Caribbean: Jack Sparrow— excuse me, Captain Jack Sparrow— plays with the trope. Amongst pirates he's actually quite well known, and in fact carries one of the Pieces of Eight, marking him as a Pirate Lord, but to basically everyone else he has to introduce himself. Even to people who should know who he is, but that's largely due to the fact that he doesn't visually live up to his reputation. But by Neptune's beard does he ensure everyone knows who he is and what he thinks he's capable of, whether or not he's actually capable of it.
Red Rocket: Mikey, a washed up former porn star, crows about his five AVN awards to make him seem like he was a big name. He later reveals that three of his awards were just for receiving blowjobs. It's later revealed that he was just one in a line of men receiving blowjobs from a porn star, and everyone involved in the scene got an award, suggesting that most or all of his awards did not come with any actual name recognition.
In Save Your Legs!, Stavros derives an immense sense of entitlement from being the Anglers' best player; so much so that he only shows up at half the matches.
In TheSettlers, Alexander always wears his red jacket from the British army and insists to be called lieutenant by lower status people. He eventually meets a former British officer who says that this is a mere soldier's jacket.
John Doe from Se7en qualifies as an example of this trope, as while he claims that who he is isn't important compared to his "work", that doesn't stop him from boasting about how much of an impact his Seven Deadly Sins-based killing spree will leave in the public's consciousness.
Superman II: When Lex Luthor meets the Kryptonian criminals Zod, Ursa, and Non, he proudly introduces himself and gets confused and angry when these newcomers to Earth don't react to his name. He then insults them and narrowly saves himself from being killed by providing useful information.
Edward Lionheart in Theatre of Blood, a Large Ham of epic proportions who believes himself to be the greatest living stage actor of his time. He believes it so much, in fact, that when the London Critics Circle gives its Best Actor award to someone else, he first attempts suicide and, when that fails, tries to wipe out the Circle instead. Quintessentially demonstrated when he kills one critic a la The Merchant of Venice, actually cutting out the man's heart. As one of the critics remarks, "It's him all right. Only Lionheart would have the temerity to rewrite Shakespeare!"
Alonzo in Training Day. He believes he's an untouchable narcotics officer with powerful connections. It's this belief that leads him to killing a man in Vegas with a big name and getting himself in trouble with the Russian Mob whom ultimately kill him.
In Turning Red, this is downplayed since Mei is by no means a Narcissist or a Jerkass, but the opening to the film shows her to have quite a bit of inflated ego insisting she does what she wants when she wants at all times. She also thinks turning 13 makes her officially an adult just because the Toronto Transit Commission gives her an adult pass at that age.
The Schofield Kid in Unforgiven talks himself up to be a tough gunslinger with a big kill count. But in reality, he can't match his boasts, he can't see or shoot for shit, he has never actually killed a man in his life before, and after his first kill (an unarmed man who died squatting in the outhouse, pleading for the Kid not to kill him), the emotionally-crushed boy skips town with his cut of the reward money, swearing to never pick up a gun ever again. There's also English Bob, who demonstrates some genuine skill as a marksman and is the subject of Dime Novels where he goes by the name "Duke of Death"... but it turns out all of his exploits are heavily embellished and the man is reduced to a joke by the end of the movie.
Up: By the time the film takes place, Muntz has largely been relegated to history if not outright forgotten, thanks in part to his previous humiliation over Paradise Falls. Even if he did bring Kevin back, few would approve of his methods at all, let alone know or care about his previous humiliation.
"Baby Jane" Hudson of Whatever Happened To Baby Jane believes loads of people would love to see her make a comeback. In reality, she's a long forgotten, One-Hit WonderVaudeville performer, and the world has left her far behind.
Withnail from Withnail and I is a similar case. What little is shown of him acting indicates that he is a legitimately skilled actor, but his substance abuse issues, his refusal to pay his dues and his massive ego killed his career before it started.
Kid Omega/Quill from X-Men: The Last Stand, who genuinely think he's threatening to Magneto at the gathering of mutants when he extends his quills. His sole kill in the movie is killing a single, crying woman by giving her a hug then extending his quills. Then he gets killed in an action that could be charitably called an afterthought.
