2001: A Space Odyssey: In the book The Space Odyssey Series by Arthur C. Clarke, HAL-9000 is a beautifully-defined and deeply sympathetic character who is so human that he develops a psychosis, and his reasons for why he takes the actions he does are completely explained. The instructions that he was given from the White House to conceal the monolith clashed with his basic programming not to conceal information from the crew. HAL was working on a non-murderous solution to the problem, but overheard plans from Mission Control to temporarily disconnect him. HAL didn't understand the concept of sleep and thought that this would kill him, so he panicked.The movie, deprived of the ability to use a narrative voice to make this clear, makes HAL seem far more monstrous than the original intent, and sadly the film is often cited as an example of A.I. Is a Crapshoot. The movie of 2010: The Year We Make Contact sticks more closely to the book and redeems HAL, but it's often regarded as a very poor relation to the original movie.
In Abbot and Costello Meet Dr. Jekyll and Mr. Hyde, Jekyll has none of the good qualities he has in Stevenson's book, purposely using his murderous Mr. Hyde persona as an assassin against anyone who risks exposing his illegal experiments. Mr. Hyde himself is a near-mindless brute sought by the police as a Serial Killer.
Abominable: This film portrays sasquatches as far more violent and destructive than traditional folklore depicts them. The sasquatch in this film is extremely violent and dangerous, being a bloodthirsty man eater. In contrast, most folklore depicts Bigfoot as rather timid and peaceful. Justified if you take the title and Dr. Suessmeyer's belief at face value and assume this is actually a yeti, as the yeti is traditionally depicted as far more violent than a North American sasquatch.
Aladdin (2019): While Jafar in the original movie certainly wasn't above murder, this version of the character is far more murderous, killing people (or attempting to do so) for much less reason. For example, he pushes a lackey down a well for unintentionally pressing his Berserk Button, and when he becomes a genie, he comes very close to wiping out all of Shirabad. Also, he's much more of a General Ripper, trying to urge Agrabah to attack other kingdoms even before he takes the throne, whereas the original seemed pretty content to Take Over the Citywithout bringing up the issue of war.
The Gender Flipped character Dr. Kafka is an evil Mad Scientist, rather than a well-meaning psychologist who genuinely tries to treat her patients as in the comics.
Harry Osborn is notably less sympathetic than he was in the comics, being the Big Bad of the film, and the Green Goblin that's responsible for Gwen Stacy's death, rather than his father. In the comics, Harry was genuinely upset by Gwen's death.
Aquaman: In the comics, Black Manta's father was a boat captain who helped his son hunt for treasure, and who was accidentally killed by an enraged Aquaman. In the movie, he's instead introduced as a ruthless pirate and killer, and his death is arguably his own fault (as he ends up pinned underneath a torpedo after fighting Aquaman during a botched submarine hijacking).
Around the World in 80 Days: Detective Fix is a misguided Scotland Yard detective who pursued Phileas Fogg because he mistakenly thought that Fogg had committed a robbery. In the 2004 film, he is a Corrupt Cop hired by Lord Kelvin to stop Fogg out of of petty jealousy.
In the show, Lynch was an Inspector Javert who was just doing his job by pursuing the Team. The worst things about him were his buffoonery and his Glory Hounding. The film's version of Lynch is a lot more ruthless and we eventually learn that he's responsible for framing the Team in the first place, as part of a plan to swipe valuable engraving plates for his own personal use. But since "Lynch" is portrayed here as a codename and he's replaced at the end, it is possible he's not meant to be the same character.
In the show, Colonel Morrison did give the Team the orders that made them fugitives, but he did it to bring an end to the Vietnam War, and the only reason he didn't clear their names afterwards was because he'd died. The film's version of Morrison was complicit in Lynch's plan to steal engraving plates and frame the team, then faked his death and betrayed Lynch to keep them for himself.
The Beast from 20,000 Fathoms: In the short story that the movie is inspired by, "The Fog Horn" by Ray Bradbury, the dinosaur is a much more sympathetic and tragic figure which usually avoids humans, but comes to a lighthouse every year because it mistakes the fog horn for the cry of a member of its own species. It is strongly implied to be the only survivor of its species and desperately lonely. Although it destroys the lighthouse in a rage when the horn is turned off, no one is killed, and it returns to the ocean in peace without destroying anything else. The human characters even remark that this turn of events is for the best, as it spares the dinosaur from wasting its feelings away on something that can't return them. In the film, the creature is a mindlessly violent Prehistoric Monster which destroys the lighthouse, along with many other places, for no reason and must be killed to end its threat, with none of its tragic qualities from the short story.
Beowulf: The film adaptation of the classical tale portrayed Beowulf as being seduced by Grendel's mother, lying about it, and having the dragon with her. Also, King Hrothgar is Grendel's father, something he wasn't in the original poem. The film seems to interpret the original epic poem as having been written by Beowulf himself (or at least based on his testimony), and that he was an Unreliable Narrator.
In most versions of Beauty and the Beast that have a rival suitor, said suitor is usually a boorish idiot. Even more sinister versions, like Gaston, are more stupid than malicious. However, Sven of Blood of Beasts uses the Beast as a way to do a coup on his kingdom.
The Book of Masters, a Disney production yet filmed in Russia with Russian cast and crew, does it to the Mistress of the Copper Mountain. In the original tales by Pavel Bazhov she was quite harsh, with a peculiar sense of sarcasm, and sometimes kept guys that she fancied for years in her mountain but, nevertheless, she was always honorable in her own way, was always there to help if a real Big Bad turned up, and always rewarded the good guys. In The Book of Masters, renamed the Stone Princess, she is an Ax-CrazyBig Bad herself. Just the main things include: ordering her soldiers to go raiding villages For the Evulz, killing off stone-carvers because they fail to bring a magical stone to life, trying to pull out her adopted daughter's soul for the sake of the same Impossible Task, turning her most trusted minion to stone because he fell in love with her daughter, and planning to take over the world and turn all of it to stone.
The Brady Bunch: In the original series, the Dittmeyers were simply the Bradys' neighbors. In the movie, Mr. Dittmeyer wants to destroy the neighborhood in order to build a mall and is willing to break the law to do it.
Brideshead Revisited: In the book, Lady Marchmain is a well-meaning mother with understandable anxiety about her son's drinking problem and a sincere Catholic faith that unfortunately gets on the nerves of her male relatives. In the movie, she comes off more as a domineering religious zealot who continually undermines her children's happiness.
Scrooge in A Christmas Carol (1984) comes across as a great deal colder than most. Rather than being indifferent he seems to find the suffering of others darkly amusing. He also makes more efforts to defend himself from the spirits than in most versions.
Cinderella (2015): In the animated film, the Duke was a bumbling minion to the boisterous king. In this film, the Duke is a schemer more closely mirroring Lady Tremaine, and who wants the Prince to marry based on politics rather than on love. That said, he's definitely more honourable than Lady Tremaine, and it's worth noting that he has clearly the kingdom's welfare in mind. While a schemer to achieve his ends, the novelization states that he is looking out for the kingdom and the king.
Cirque du Soleil: Worlds Away: The creatures that emerge from the sand to spook and separate Mia from the KÀ good guys here are comic relief in the original show.
Medusa is very much a Designated Villain in the first Clash of the Titans. The remake increases her villainy by having her cackling cruelly, clearly enjoying murdering Perseus's comrades. Likewise taking her head is the second option, as the soldiers first say that she can't be reasoned with. Oddly enough the movie also paints her as a Tragic Monster — with Io revealing her sympathetic backstory.
Cloud Atlas: Mephi, who in the book was a University professor who joined the Union not knowing it was part of Unanimity. In the film, he is a major antagonist and head of the Neo Seoul police.
Batman Begins: Henri Ducard (Liam Neeson) proves himself a ruthless villain. In the comics, he's not really much more than a cynical French detective (whereas the movie leaves his nationality ambiguous). While the comic book Ducard is certainly an unsavory figure (in addition to being a Misanthrope Supreme, he's a sociopath who has no problem with shooting enemies In the Back), he's far from being a supervillain and will even help Batman and Robin if he believes it is in his interest to do so. The film turns this character into a mass-murdering lunatic...although the plot eventually renders this forgivable by revealing that "Henri Ducard" is nothing more than an alias for Ra's al Ghul, another comic book character who is portrayed more or less accurately, and possibly with more sanity than he deserves, since the relatively-realistic setting cuts out Lazarus Pits.
In the comics, Ra's Al-Ghul's daughter Talia Al-Ghul is a gray-shaded character constantly going between Anti-Hero and Anti-Villain, and has sincere feelings for Batman. In the film, Talia is a flat-out villain with none of the moral conflicts she has in the comics, instead being just as much of a Knight Templar as her father. And her feelings for Batman are revealed to have been all an act: she never loved him, she loved Bane.
Bane himself, possibly, depending on whether you think the version that occasionally verges on Noble Demon but doesn't care about anyone but himself is more or less evil than the nihilistic destroyer with the bomb who serves the League of Shadows
The Da Vinci Code: Bishop Manuel Aringarosa, the head of Opus Dei, was originally just an unusually conservative clergyman who got roped into helping The Teacher out of desperation, since the Catholic Church was planning to disown Opus Dei and he needed help to keep it afloat. The film version makes him a member of a splinter cell within the Church that actively wants to find and destroy Mary Magdalene's remains to hide the truth about Jesus' descendants, and it has him manipulating Fache (an Opus Dei member in the movie) into hunting down Langdon despite his innocence. Notably, the book gives him a happy ending, where Fache realizes that The Teacher manipulated him and ensures that he goes free. In the movie, he's last seen being arrested by an angry Fache and hauled off by the police.
In the original film, Gort the robot was an enforcer of peace, generally not attacking until Klaatu was threatened. In the remake, GORT, who is actually a Swarm Of Alien Locusts designed to only attack people and things made by people, is the aliens' method of destroying the human race.
In the original short story by Harry Bates, Gort doesn't attack anyone at all. He tries to resurrect the dead Klaatu, eventually succeeds (after causing some damage and scaring the bejeezus out of some Earthlings), then they both leave.
In Batman v Superman: Dawn of Justice, Batman outright intended to kill Superman before he could even become a threat. In one of the movie's major influences, Batman: The Dark Knight Returns, Batman merely intends to beat Superman up in a Humiliation Conga and other stories have Batman come up with non-lethal countermeasures in dealing with a rogue Superman. The combination of Superman mentioning the name "Martha", the subsequent PTSD episode where he recalls the death of his parents, and Lois explaining who Martha Kent is and what's going on is what snapped him out of his murderous rage.
Rick Flag undergo this as in the comic, he is one of the more moral officials and members of the Squad in the DC Universe. In the film, he is willing to look the other way when he sees Waller gunning down her staff.
Amanda Waller herself, in the comics she's a flawed and militant figure but she still does genuinely care about saving innocent lives and forming shady organisations like the Suicide Squad can be seen as an extreme case of Good Is Not Nice on her part. In the film any affable traits Waller has are removed, her General Ripper traits are dialled Up to Eleven and she's willingly to personally gun down all her employees in cold blood so they dont see classified information.
Death Note (2017): In the original Death Note, Ryuk is a neutral figure who was only interested making sure Light used the Death Note. He had no issues with how Light used it as long as the Death Note was used, but also made it clear he was not Light's friend and wouldn't help him unless he got something in return. In the film, Ryuk is more outright sinister and sadistic, not only goading Light into using it for the first time but also being the one who tells Light he can specify a cause of death. It seems he also has a habit of betraying previous Death Note keepers, as a warning Light finds informs him to not trust Ryuk, and Ryuk states that past owners have tried to use the Death Note to kill him.
In the famous 1931 movie, and many other adaptations after it, Renfield is a willing slave to Dracula. In the original book, while Renfield is under Dracula's control, he isn't so happy about it. He even tries to kill Dracula at one point to protect Mina, although unsuccessfully. He's something of a Composite Character. At the start of the movie, Renfield fills the role of Jonathan Harker in the book; a skeptical young solicitor sent to take documents to Count Dracula. Unlike Harker, Renfield is fed upon by Dracula and apparently is largely under his control or possibly even part-cursed with vampirism. The actual Harker in the movie, is a supporting character mostly serving as assistant to Dr. Stewart or Dr. Van Helsing, and being properly concerned when Mina is preyed upon by Dracula.
A more mild example is that of pre-vampire Lucy. In the book, she's borderline Purity Personified. In various adaptations she's portrayed as anything from a Femme Fatale to The Vamp (no pun intended) thus introducing a rather unfortunate Madonna/Whore comparison between herself and Mina, with Lucy as the silly flirt who "deserves" to be vamped and staked.
Dracula: The Dark Prince: Renfield gets this once again, whereas most adaptations and the source material depict him as a mistreated slave at best or a sycophantic minion at worst, this version is a vampire (albeit one subservient to Dracula) and revealed to be responsible for his master's descent into evil, as Renfield conspired with other advisers to assassinate Dracula's wife when she was left in charge of their castle. The other conspirators became fall guys and were executed, while Renfield walked free and was turned into a vampire when Dracula renounced God and turns into The Starscream during the climax where he tells the whole truth.
Mai gets this along with Adaptational Badass. In the source material shes a fairly Harmless Villain, just like her pathetic boss Emperor Pilaf and shes terrified of actually evil characters like King Piccolo. In Dragon Ball Super Mai actually heels turns to good and becomes Trunkss Love Interest. In the film Mai is a ruthless Dark Chick loyal to Piccolo whos willing to shoot a cowering mother and child, she doesnt show any good qualities like her manga and anime version.
Goku himself gets this in a roundabout way. To explain in the film its revealed in the climax he is Oozaru, the monster henchmen of Piccolo who turned into a human baby and was found and raised by Gohan. In the show Oozaru is just a Saiyan race transformation Goku (and all Saiyans) go through at the full moon and Goku despite his warrior race heritage was always good thanks to Gohans upbringing, inherited compassion from his kind hearted mother Gine and hitting his head and getting Easy Amnesia for good measure. In the film, it appears Oozaru is Gokus true evil nature before he regained his humanity through Roshis dying words.
Pazuzu, the demonic entity from The Exorcist, was originally a more ambivalent figure from Sumerian mythology. In mythology, while Pazuzu was a demon, his image was also invoked as protection for women and unborn children against his rival Lamashtu and to drive away other demons.
There are a lot of film adaptations in which the monster is portrayed as, well... a monster. In the original book, Frankenstein's "monster" is actually a tragic, erudite victim of circumstance. In the most famous adaptation, it's suggested that the monster became evil and dangerous because Frankenstein was given a criminal's brain to create it, while the book, where the monster becomes violent and vengeful after bad treatment from humans, comes down on the "nurture" side of the Nature vs. Nurture debate.
Victor Frankenstein himself is also a complex character with plenty of sympathetic moments, but many films portray him as a two-dimensional cackling Mad Scientist who is often willing to kill people to use as parts for his monster, while Victor in the book, for all his faults, never killed anyone for his creation. For instance, in The Curse of Frankenstein, Victor murders an elderly college professor to use his brain for the monster, which he does not do in the book. He also uses the monster to kill his maid Justine, while in the book Justine was deliberately framed by the creature for the murder of Victor's brother and Victor is genuinely upset by her trial and execution.
Throughout the various films, Godzilla has at best been a force of nature, neither good nor evil, a large animal that only attacks humans when provoked or needs radiation for sustenance who just happens to pass through cities on the way to nuclear plants, and unintentionally saves them from a greater threat. However, the Godzilla in Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack! is the original Godzilla (the film's version is nicknamed "Ghost Godzilla" by fans), brought back to life through the vengeful spirits of victims from World War II, and is attacking Japan out of purely evil reasons.
Godzilla 1985 has some changes in its portrayals of the Cold War superpowers that reflect the perceptions of those powers in the US as opposed to Japan. What's the same in both versions is that a nuclear missile is launched at Tokyo from a Soviet satellite when Godzilla appears there, and the US military successfully intercepts it with a missile of its own. In the Japanese version, both the US and the Soviet Union are shown to have nuclear-armed satellites and while the Soviets do launch a nuclear missile, it was more out of desperation and misguidance than malice. In the US cut, produced by New World Pictures under the direction of conservative studio executives, the shots depicting the American satellite are removed and while the USSR still want to nuke Godzilla, the Soviets are more ruthless and malicious in intent.
In Godzilla: King of the Monsters (2019), the Ptero Soarer kaiju Rodan is depicted as an outright antagonist, siding with King Ghidorah and becoming The Dragon to him after being defeated by him. Notably, Rodan in previous films has often been depicted as Godzilla's ally, or the very least a neutral figure playing off as a Token Evil Teammate. At the end, though, Rodan joins Godzilla's side after Ghidorah is defeated. Speaking of which, King Ghidorah himself is much more vile than he was in the original Toho version, being a direct Satanic Archetype who goes out of his way to try and kill a small girl who crossed him.
Played With regarding Godzilla vs. Kong featuring MechaGodzilla. The original version was built by aliens who wanted to conquer Earth, while future films reinvent the character as built by humans for to defeat Godzilla. This version is based more on the more recognizable take on the character, but is instead built by a Not-So-Well-Intentioned Extremist who seeks to assert dominance over the Titans rather than any actual good. This version of Mecha G has one of the brains of deceased King Ghidorah as part of its computer, so when it awakens inside its new body, it kills off its creators and goes on a rampage.
Hairspray: While Velma Von Tussle is the villain in all versions, she is portrayed as a considerably darker character in the 2007 film, which shows her rigging the Miss Hairspray pageant, attempting to seduce Wilbur, and even implying she may have murdered her husband for startup money ("He... accidentally suffocated himself"), none of which she did in the original stage musical or the original film. This is also apparent in her ultimate fate in each version: in the 2007 remake, she is taken down by Wilbur and Edna in an Engineered Public Confession, while in the show she does a last-minute HeelFace Turn due to The Power of Rock (the original movie, for the record, ended with her and her husband arrested for trying to bomb Tracy with an explosive hidden inside a wig).
Harry Potter and the Goblet of Fire excised a lot of Barty Crouch Jr.'s more sympathetic traits, particularely his love for his mother and the scorn and neglect he received from his father, which partially explained why he looked up to Voldemort as a mentor figure. In the film he just seems to join the Death Eaters entirely For the Evulz.
Umbridge was still a horrifically vile person in the books, but she only inflicted her "Blood-Quill" punishment method on two students (Harry and Lee Jordan), as well as getting Fred, George, and Harry a lifetime note ban from playing Quidditch. In the film, she did it to practically every student who disagreed with her, even first years, and threatened McGonagall with everything up to legal action on trumped-up charges.
Pius Thicknesse, the nominal head of the Ministry when the Death Eaters take over, was explicitly Mind Controlled in the books. The movies give him a slightly bigger role but don't even hint at this, making him seem like The Quisling.
Peter Pettigrew. In the films, he seems generally nastier than in the novels, giving quite a few taunting Psychotic Smirks on his reveal, whereas in the books he's more of a Dirty Coward.
Grindelwald, while being the Predecessor Villain in both the books and the films of Harry Potter and the Deathly Hallows, doesnt have the Redemption Equals Death moment he does in the book. When Voldemort comes to get the Elder Wand from him, he snarks at him, tells him hell never understand its true power, and then lets him kill him. While why he ultimately does that is open to a few different interpretations (see note)note Voldemort was going to desecrate Dumbledores and he doesnt want that to happen. This could be out of romantic affection, just general respect, or he could just draw a line at desecrating a grave. It could also be out of genuine remorse for what hed done. Another way to look at it is that he was a Death Seeker after being looked in a prison for half a century, especially after the only person hed arguably ever cared about had died., in the movie he gleefully tells Voldemort where to get the wand.
Crabbe's actor was unable to appear in the final film, so Blaise Zabini was brought in to round out Draco and Goyle's trio. In the books he's a Fantastic Racist, but nothing implies that he's an actual Death Eater.
How the Grinch Stole Christmas!: In the 2000 film adaptation, the Whos are for the most part more materialistic and unsympathetic than they were in the book, in part to make the Grinch more sympathetic. In the film, while well-meaning and never deliberately nasty, they are extremely commercial and need to learn what Christmas really means. In the book and animated special, the Whos kept up the Christmas spirit, even after the Grinch stole their gifts, without any prompting, and this is what impresses the Grinch into a HeelFace Turn.
The Iliad (AKA The Trojan War): Film and TV adaptations of this mythological tale tend to play up the villainy of the Greeks while portraying the Trojans in a more sympathetic light - despite the fact that it was started because their prince Paris stole Helen, wife of the Greek warrior king Menelaus. The 2004 film adaptation, Troy, in particular went to great lengths to portray both Menelaus and his older brother, the supreme king of Greece, Agamemnon, as the bad guys. Agamemnon comes off as a shallow, superficial, one note mustache twirling bad guy. Now in the original poem Agamemnon's not exactly a nice man to begin with, but in the 2004 film he's practically a Nazi.
Cinderella's Prince. At least in the musical he had nine plus months to get bored with married life; here he turns around and cheats on Cinderella with the Baker's Wife practically the day after their wedding!
The Witch also comes off worse in the adaptation, as her warnings to Rapunzel (who apparently survives) about the dangers of the world come to naught, taking away the (thin) justification for having kept her locked up but "safe" all those years. She also seems more villainous for wanting to turn over a younger Jack over to the Giantess, compared to the older versions of Jack seen onstage, and also because she doesn't have the trauma of having watched Rapunzel get squashed by the giantess to drive her over the edge into despair.
It's a Wonderful Life: In the short story that the film is based on, "The Greatest Gift", Mr. Potter is only the owner of a photography studio and doesn't meet, much less cause problems for, George Bailey. In the movie, he is a corrupt slumlord, Jerkass, and all-around nasty piece of work who goes out of his way to make George's life a living hell (and almost drives him to suicide).
In the books, Ernst Stavro Blofeld was a thoroughly nasty individual. However, he did have lines he wouldn't cross and some humanizing moments. For example, when he learns that a young woman he'd been holding hostage had been raped while in his captivity, he executes the minion responsible and refunds part of her ransom. The movie version lacks these moral standards and moments of altruism, and his schemes — if successfully carried out — would have even more devastating consequences. This contrast is especially pronounced in the book and film versions of You Only Live Twice: in the book, he's "collecting death" by letting people commit suicide at a Japanese castle he owns; in the movie, he's trying to start a war between the United States and the Soviet Union.
In Spectre, Big Bad Franz Oberhauser is one of the worst villains in the Bond franchise, being that he relishes in wanton violence. It's later revealed that Oberhauser was not only the man who was behind all of the misery Bond faced since Casino Royale (2006), and is later revealed to be not only Bond's older but estranged step-brother, and has renamed himself ErnstStavroBlofeld. In short, Blofeld in the Daniel Craig era is really a monster compared to the icy sociopath he was in the earlier films.
Kronsteen gets this treatment in From Russia with Love. While he was hardly a nice guy in the book, he was nevertheless just a Soviet operative doing his job. Here, he's a high-ranking member of one of the world's worst criminal organizations.
John Carter: In the book, Sab Than gets very little characterization but comes off as something of a Worthy Opponent, while the movie version is a straight-up villain. This is due in part to his being a Composite Character of book!Sab Than and his father, Evil Overlord Than Kosis, as well as the emphasis on the Helium vs. Zodanga conflict (Sab being the leader of the latter).
Judge Dredd: Judge Griffin is one of the bad guys here, filling a similar role to Judge Cal from the comics in framing Dredd and trying to take over the city, but with the insanity toned down and paired up with Rico. Judge Griffin in the comics was one of Dredd's main allies against Cal and served as a decent Chief Judge for some time afterwards.
The Jungle Book (2016): In the Disney animated version, King Louis is a goofy, bebopping orangutan who gets a bit cross but ultimately isn't terribly threatening when Mowgli can't give him fire. In the new movie, he's a Gigantopithicus with the mannerisms of a mob boss who tries to crush Mowgli to death when he doesn't get his way.
Donald Gennaro the lawyer, while a bit of a Jerkass, is reasonably brave; he volunteers for several dangerous missions, he goes on to punch out a Velociraptor at one point, becomes The Lancer to Alan Grant (and survives). In the film, Gennaro is a Dirty Coward who abandons any concerns about the park's safety and readiness once he realizes how lucrative it could be and gets bitten in half by a T-Rex while sitting on a toilet. The movie version of Gennaro inherited all his worst traits (including his depraved cowardice and his violent death) from the character Ed Regis, who appeared in the novel but not the movie. So he's actually a twofer—Adaptational Villainy combined with Composite Character.
In the book, Dennis Nedry had a reason for sabotaging the park and stealing the dinosaur DNA beyond sheer greed: InGen had essentially blackmailed him into adding extensive modifications to their already-extensive computer systems for no pay. In the movie, he's given no such justification and is in it for the money, being essentially an unscrupulous backstabber who is open to bribes. Though the book's explanation is given a nod when Dennis warns Dodgson, "Don't get cheap on me. That was Hammond's mistake."
Inverted with Hammond himself, who is much more sympathetic in the movies than in the book.
In Jurassic World and its sequel, geneticist Dr. Henry Wu turns his talents to designing dinosaurs as weapons, creating powerful hybrids like the Indominus rex and Indoraptor, both creatures intelligent, uncontrollable monsters even compared to the Velociraptors. On top of this, he associates with unambiguously villainous characters and intentionally created the I. rex as part of a conspiracy to sabotage Jurassic World. In the original book, Wu's worst crimes were overconfidence and his reluctance to take responsibility for the consequences of his work, but he's not a full-on villain and uncovers Nedry's sabotage of the park. He never shows interest in using his creations for military purposes and actually wanted to modify the dinosaurs to be slower and more docile than the "real" thing. His earlier appearance in a small role in the Jurassic Park film was closer to his original book counterpart morally speaking, but when he got a bigger role in Jurassic World, that's when the trope set in for him.
In The Kingdom of Crooked Mirrors by Vitaly Gubarev, Anidag is a cruel and scheming Rich Bitch, but she does genuinely love her father. In the film adaptation, even that sympathetic trait is gone and she plots to poison him so that he wouldn't hinder her rise to power.
Eggsy's comics counterpart's upper-class, Oxbridge-educated fellow recruits do make some comments regarding his background, but they're mostly friendly and even fight alongside him in the finale. They're mostly all absolute dicks in the movie, though. One of them even turns up in Valentine's bunker party in the end and betrays Eggsy to Valentine.
Sir Giles, Arthur's equivalent character in the comics, does not join forces with the villain and attempt to poison the protagonist. This role is fulfilled by Rupert Greaves, Merlin's comic equivalent instead.
Krampus. In most of the original tales, Krampus was simply doing his job of tormenting children who were naughty as he was a servant, or friend in some cases, of Santa Claus. In this film, Krampus is acting on his own and is pictured as a cruel, sadistic demon who enjoys tormenting children and adults, although the ending suggests he may have been simply trying to Scare 'Em Straight.
Lady and the Tramp: Downplayed. In this version, Elliot is hell-bent on capturing Tramp and strays out of normal procedures, such as barging in on the Darlings to do so. However, when they adopt him at the end, he drops the issue without argument.
The Last Airbender: Fire Lord Ozai actually manages to be even worse in this version. Like in the cartoon canon, he scarred and banished his son, but in the cartoon he at least gave his son a small ship and crew, even if they were not royal guards or special forces. Zuko's Story revealed that when Zuko was banished from the palace in the film universe, he was forced to live on the streets and try to recruit a crew from bars and failed. Ultimately, Zuko had to resort to asking Azula to ask Ozai to give him a ship. And even then, Ozai only give Zuko the ship to get rid of Iroh.
Last of the Mohicans: In the film version, Duncan Heyward, although he has a Heroic Sacrifice, is significantly more of a jerk than the character in the book, who not only survives the book, but his descendants remain loyal to Hawkeye.
Two American film versions came out in periods of major hysteria about Communism, one in 1935 during the First Red Scare and the other in 1954 during the Cold War, and both of them portray Enjolras in an incredibly negative light, as a dangerous fanatic who co-opts Marius's nonviolent protest movement and turns it into a bloody rebellion. The '34 version even cast John Carradine, better known for numerous turns as Dracula, in the role. In the original novel and more accurate adaptations like the stage musical, he is of course the leader from the beginning and a borderline Messianic Archetype, and what's more, Marius isn't even all that die-hard of a follower. This change was quite obviously made because nobody would have accepted a violent revolutionary as a hero at the time.
Inspector Javert, while not that nice to begin with, is much more cruel in quite a few adaptations (such as the 34, 35, 52 and 98 versions).
The book version of Denethor was a complicated man with genuine wisdom and virtues, who had reasons for his obstructionism and harmful decisions—secretly, he had access to a palantír of his own, which Sauron had used to fool him into despair and increasing madness with disinformation. The film was obliged to skip these details, and the character looked far more malignant and callous as a result. His favoritism of Boromir and his dislike for Faramir are also much more blatant, and he's much more hostile towards the latter.
In a case that's more Adaptational Anti-Heroism, Faramir, although on the good side in both, is more antagonistic towards the hobbits in the film version of The Two Towers than he was in the book. He also falls under the Ring's spell in the movie - in the book, he's smart enough to know that anything made by Sauron is probably dangerous, and is one of the only human characters to reject the Ring. Word of God says it was because they didn't have enough time to do the complex character development that scene would require to explain why Faramir is able to refuse without even being tempted.
In the books, Saruman does not seek a sincere alliance with Sauron, merely to give the impression of one until he can take the One Ring for himself and then use it against Mordor. The films turn Saruman into a sincere ally of Sauron who has completely gone over to the latter's side.
Ugluk, Saruman's uruk-hai leader, while evil in the book as well, is shown to have a code of honor, believes himself to be heroic, and is very offended at the thought of eating orc flesh. In the movie adaptation, Ugluk's Even Evil Has Standards moments are cut, as opposed to disdaining cannibalism, in the film Ugluk gleefully kills and eats one of his men.
In The Hobbit, the Master of Laketown is a greedy, corrupt coward but doesn't actively get in Bard's way. In The Hobbit: The Desolation of Smaug, he is more openly antagonistic towards Bard, who he sees as a rival, to the point of locking him up while the dragon is approaching the town.
Thranduil/The Elvenking, while more a Jerkass than a villain, has his unpleasant and racist side played up to the hilt in the movies, with less emphasis on his redeeming quaities. In the book, he is the most reluctant between himself, Thorin, and Bard to start a war over Smaug's treasure, shifts his priorities from claiming the dragon's hoard towards providing relief to the survivors of Smaug's attack on Laketown, and is considerably warmer to Bilbo. He also seems to be on good terms with his son Legolas by the time of The Lord of the Rings (he's the one who sent Legolas to the Council of Elrond), while his actions ultimately estrange them in the films.
The Hobbit: An Unexpected Journey The Great Goblin, only in comparison of his reasons for being a villain in both versions. The sole reason is his willingness to help kill Thorin for Azog even before the dwarves are caught in Goblintown, whereas in the book, he and the goblins believe the dwarves are spies and have come to attempt to destroy them. It doesn't help that Gandalf kills him in attempt to save the dwarves. Not to mention the goblins pursued Thorin's company to avenge their ruler, and even worse, later in the book after the slaying of Smaug, the goblins believed the dwarves, elves, and men to be more of a threat with Smaug's treasure, regardless of the three armies not exactly willing to share the treasure. In the first film, Gandalf's killing of the Great Goblin is justified as Azog and his own orcs are pursuing the dwarves since the beginning, and instead of the Goblintown goblins following Thorin's company, Azog's orcs continue to follow. Additionally the Great Goblin valued goblin lives in the book, while in the movie version kills his own men For the Evulz.
Smaug the Dragon, while still a wicked and greedy Dragon is still far less vile than the other evil forces in Middle-earth like the Orcs and Sauron. In the movie, Smaugs evil traits are dialled up and its clear he butchered the Dwarven race out of sadistic pleasure not just for their golden treasure horde. Additionally Smaugs attack on Lake Town in book was because he mistakenly thought Bilbo and the Dwarves were working for them (thanks to Bilbo calling himself Barrel Rider) meaning it was Misplaced Retribution more than anything else. In the movie Smaug sees first hand that its actually Thorin and the Dwarven company trying to kill him, but For the Evulz Smaug goes and attacks the unaware Lake Town anyway, just to spite them and Bilbo in particular. The Extended Edition of The Hobbit: The Battle of the Five Armies puts the cherry on top revealing Smaug was an ally of Sauron all along.
In a similar case to Faramir above, Beorn, while not a villain by any means, is harsher and more menacing towards the dwarves than he was in the book, and is introduced attacking them in bear form. In the book, he's a generally more comical character and ultimately reasonable after a bit of convincing from Gandalf. He's still Anti-Hero-ish and potentially dangerous - although mainly to goblins and Wargs.
Maleficent: King Stefan in Sleeping Beauty was a loving Bumbling Dad who was fiercely protective of Aurora. He is a much nastier character in Maleficent, in which he is the Big Bad of the movie. He betrays Maleficent and cuts off her wings to become king, provoking her into cursing Aurora, and becomes increasingly tyrannical, paranoid, and unstable throughout the film, showing little love to his wife and daughter.
Man-Thing: In the original comics featuring Man-Thing, he is a mindless, neutral being who burns people who feel negative emotions around him. However, he is a sympathetic character who usually only really harms Asshole Victims and can be protective of the innocent. In the movie, he is intentionally murderous and much more monstrous than the comics' Man-Thing.
Matilda: The school's cook. In the book, she disapproves of Miss Trunchbull's abuse, but is unable to do anything about it due to her old age. In the film, the cook appears to be in cahoots with Miss Trunchbull and happily supports her child mistreatment.
Mission: Impossible: Jim Phelps in the first movie. In the original series, he was a major protagonist. It seems almost like a deconstruction of what the movie thinks is the 'idea' of Jim Phelps. He's a Cold War agent who ran his own show, but when the conflict is over he finds himself in a low-paying job without a say in policy and a lousy marriage to a woman he doesn't love, so he throws his morals out the window by selling out his country to work for money. Ethan Hunt works as a reconstructed successor to the antiquated "old spy" Jim Phelps, reaffirming his loyalty to his country after they turn on him and ushering in a new era of espionage.
Thaddeus Valentine in Mortal Engines. While certainly no hero in the book, in the movie he murders Magnus Crome and tries to sacrifice London itself to destroy the Shield Wall.
Though he was always a murderous, amoral assassin, the Bi-Han joined the tournament in the first game to kill Shang Tsung. Here, he's one of Shang Tsung's loyal enforcers, and helps in his plot to conquer Earthrealm. Also, while Bi-Han did kill Scorpion in the games, he was not involved in the death of his family, and had no idea that they and the rest of the Shirai Ryu clan would be murdered by Quan Chi. Here, Bi-Han not only killed Scorpion, but also his wife and sonto ensure that the Hasashi bloodline would end there.
While he later returned to villain in Deception, Kabal was a good guy in his first appearance and fought against the forces of Outworld. In the movie, he works for Shang Tsung against the heroes of Earthrealm.
Harry Warden in My Bloody Valentine 3D compared to the original. The original Harry was motivated by a desire to avenge himself and his fellow miners, as he was the only one to survive the cave-in, all the other miners were killed instantly. Harry only killed the two men he blamed for the cave-in. The Harry in the remake is motivated by selfishness and sadism, as other miner survive the cave in, and Harry kills them himself to preserve his own air. After awakening from his coma, Harry massacres an entire hospital consisting mostly of invalid patients and (according to news reports) children, all seemingly for no reason.
The Nutty Professor (1996): In the original Nutty Professor, Buddy Love is pretty obnoxious and conceited but doesn't do anything villainous. In this film, Buddy starts out as a likable guy but becomes evil as the film progresses, eventually attempting to make the transformation stable and permanent which would cause Sherman's identity to be entirely consumed and replaced by that of Buddy (as opposed to Sherman's being killed outright).
October Sky: Homer's father is turned into a Jerkass, presumably because there wouldn't really be a villain otherwise. In the book it was based on, his father is much nicer and more supportive of his rocketry work.
The Outlaw Josey Wales: A lot of the atrocities committed by the Union and the Redlegs in particular were invented wholesale for the film. For example, the massacre of surrendering Confederate bushwhackers never happened in the novel; there their oath was accepted and everyone parted ways with no more than a few insults. Also, the novel's Redlegs were pro-Union bushwhackers rather than Union regulars, and considerably less savage in their hunt for Confederate sympathizers.
The Parent Trap: In the original book, Lottie and Lisa, the father's fiancée is clearly an unsympathetic antagonist, but hardly a villain she seemed to genuinely like the girls' father (even if attracted to his fame as well), wanted to have her own children with him and only planned to get rid of his daughter (by sending her to boarding school) after the latter came to her house to openly object to their marriage. The fiancée didn't actually get to do anything villainous. However, in both The Parent Trap (1961) and The Parent Trap (1998) she's portrayed as Child Hater and Gold Digger (in the original, she's in fact much richer than her would-be husband) who Would Hurt a Child and resents the daughter he has custody of just on principle.
Paycheck: In the original short story, the only real threat for Jennings comes from the security police, not from Rethrick (who after the end of Jennings' contract actually offers him to work for the company again at any time). In the adaptation it's almost inverted - to the extent that Rethrick, of practically neutral alignment in the original, seems to be motivated primarily by For the Evulz in the film.
Percy Jackson and the Olympians: Hades in the book series is imposing and menacing, described as resembling every dictator in human history, but it turns out that he isn't one of the bad guys, and he eventually helps fight against the Titans while his son Nico becomes an important ally of the protagonists. Not so much in the movie. In the book, his main goal was revealed to be to reclaim his Helmet of Darkness (which he wrongly believes Percy stole along with the Master Bolt), only wanting the bolt to use as a bargaining chip if Percy was not the one with the helmet. In the film he plans to use it to overthrow Zeus.
In Pet Sematary (2019), the titular burial ground is apparently worse than it was in the original novel. In the novel, it was stated that most animals brought back to life in the sematary just come back 'off' rather than explicitly bad, but here Jud explicitly states that everything he's heard of that was brought back to life came back mean and cruel, and also acknowledges that the place has the power to twist minds so that they tell themselves it might work out better this time. This is explicitly demonstrated in Church, who far from the stinking, slightly dull cat of the novel or the hissing glow-eyed feline of the 1989 film, is actively malicious. It's implied that Church lured Ellie out into the path of the truck in revenge for Louis abandoning him outside of town.
The Phantom: Byron, Diana's love interest in the archaeological expedition, gets handed a Jerkass Ball near the end and becomes an antagonist for the sake of monetary gain. The Byron of the comics, even as a rival to the Phantom for Diana, was never less than honorable.
Planet of the Apes (2001): The entire ape society. In the original movies, they evolved from slave apes who Turned Against Their Masters. In the remake, there's no sign that the apes were oppressed in any meaningful way but still rebel against humans due to a particular power-hungry ape among them (from whom General Thade descended). Also, the humans they have currently enslaved themselves are shown to possess actual sapience, whereas Nova and her people, in the originals, were mute and had an intellect on par with cows. Finally, Thade's reasons for wanting to exterminate all humans are driven more by bigotry and lust for power compared to Dr. Zaius' genuine worry about the inherent destructiveness of humankind since he's actually seen the results of their atomic war. Zaius would certainly never consider casually murdering another ape to advance his own plans like Thade did.
The Satan Bug: Alistair MacLean's novel has a climax taking place aboard a helicopter. In the book, the pilot is an innocent bystander forced by the villain to fly the copter for him, and he and the hero cooperate to defeat the villain. In the movie, however, the pilot has become a henchman of the villain and even tries to kill the hero.
The book The Seven-Per-Cent Solution treats Moriarty's status as a criminal mastermind as something that Sherlock, in a drugged up state, only imagines. The movie does this too, but he is not entirely innocent either. In the book, Moriarty is merely the person who informs Sherlock of his mother's affair and death at her husband's hands. In the film, Moriarty actually is Mrs. Holmes' lover, and Sherlock sees him flee the scene after Squire Holmes shoots his wife dead, right in front of Moriarty and Sherlock.
The Shawshank Redemption: While the various wardens and headscrews aren't nice people in the novella, they don't go as far as to murder anyone, as Samuel Norton and Byron Hadley do to Tommy Williams in the movie. In the novella, Norton instead transfers Tommy to another prison in exchange for his silence on Andy's innocence, and Hadley retired before Norton's tenure.
She (1965): Billali, a leader of the Amahaggers who in the novel is a friend and helper to Holly and Leo, is evil in the film, kidnapping Leo on Ayesha's orders and trying to kill Leo in order to gain immortality in the fire.
The Shining: The book version of The Shining makes Jack more sympathetic than in the movie and he ultimately redeems himself and doesn't kill anyone in the book. It was this factor that launched criticism from its creator, Stephen King (mostly because Jack is an Author Avatar for King himself when he struggled with alcoholism).
Sodom and Gomorrah: The sins of Sodom and Gomorrah are only vaguely described in the Bible. Here, the film omits any homosexuality (per censorship at the time) aside from it being implied with Bera and her handmaid. Drunkenness, greed, sadistic punishments, selfishness and slavery take its place (some of which are at least somewhat implied in the Bible's later references to the cities, but not elaborated on).
In the original stage production, Rolfe finds the Von Trapp family and calls for his Lieutenant, but decides not to turn them inafter seeing Liesl. In the movie, Rolfe almost lets them get away after the Captain takes his gun but ends up calling for the Nazis anyway.
Spider-Man 3: Venom (the Eddie Brock version) from the comics is an anti-hero, when not obsessed with killing Spider-Man. While using lethal force, Venom still had a sense of ethics, twisted admittedly, and did not want to harm innocents even when he had to. In this film, Eddie is a self-centered Jerkass who gloats, cheats his way to success and sleazily hits on any pretty woman he meets. He loses his job for far more legitimate reasons that previous incarnations; Spider-Man would unintentionally cause him trouble, while here Peter (under the influence of the symbiote) reveals he made a fake photograph of Spider-Man robbing a bank to get a desk job. Furthermore, in the original comics Eddie is at the church where he receives the symbiote to confess sins and pray for forgiveness as he decided to commit suicide before the symbiote merged with him. In the film, he's praying for Peter to be killed.
The film gives a darker view on Khan's origins. In the original series, Khan's origins depicted him as a "benevolent tyrant" who was repressive but not wholly murderous (though he may have just been a Villain with Good Publicity; it's rather odd, but nobody in Starfleet had even heard of the guy, even though he was supposedly a prominent warlord). Into Darkness has Spock state that history indicates that Khan and his followers were planning to destroy those deemed inferior. Khan doesn't confirm it but doesn't deny it either. The tie-in comics clarify the situation: Khan was genuinely a Well-Intentioned Extremist who saw himself as the savior of humanity and wanted to rule, not destroy. However, he used very questionable methods (including nuking Washington D.C. and Moscow) which would certainly justify humanity recording in their history that he was an Omnicidal Maniac.
While we never knew what Admiral Marcus's intentions were in the original series, it would be safe to assume he wasn't a Manipulative Bastard who wanted to start a war with the Klingons.
In the games, Yoshimitsu is an honorable, Robin Hood-like warrior who helps those who cannot help themselves, while in the movie, he's corrupt and accepts a bribe to kill Jin during their bout, even though he ultimately fails.
Likewise, Kazuya lacks his tragic origin story and is just straight-up evil from the beginning, with it even being implied that he raped Jun when they were younger.
Law is an Arrogant Kung-Fu Guy who seems to take pleasure in hurting his opponents, in contrast to his humorous, good-natured characterization from the games.
While they didn't become villains of their own free will, in The ThingBennings and Norris are absorbed by the title creature and become alien agents. In "Who Goes There?", the original short story, these two characters were never assimilated and remain human throughout the story. In particular, the scene where Thing!Norris kills Dr. Copper is absent, and Copper survives, too, Norris in particular remaining a useful ally in exposing and defeating the alien. While Bennings's fate is a little more ambiguous, he isn't listed by Copper at the end as one of the casualties, heavily suggesting he survived.
In The Thing from Another World, the scientists are naive in general but Dr. Carrington sticks out as The Load, thinking that the blatantly hostile alien is Not Evil, Just Misunderstood long after it starts killing people - he actively sabotages the heroes to protect the alien, who clearly couldn't care less, and grows miniature Things for his own research. Since this version of the Thing has no assimilation powers, he doesn't even have that excuse. In the short story, while many of them do vote to thaw the creature, none of the scientists are under any illusions that the alien can be reasoned with once it reveals itself as hostile. Dr. Blair in particular, likely Carrington's original counterpart, snaps under guilt over his vote and stress and tries to kill everyone in an attempt to stop it from spreading, although this only gets him locked up and assimilated. Other scientist characters, like Norris and and MacReady himself (a trained meteorologist in the short story) are both competent and heroic. In the Truer to the Text 1982 film, both of the characters whose scientific training is highlighted, Blair and Fuchs, quickly realize how dangerous the Thing is and try to take an active role in fighting it. Not that it does either one any good - Blair becomes too unhinged and paranoid to work with the others and is infected at some point while Fuchs, in the best-case scenario, committed a painful suicide to save himself from being digested alive, his research giving the alien a reason to take him out quickly.
In most film adaptations, Rochefort is turned into The Dragon of Cardinal Richelieu and is usually killed in a climactic fight with d'Artagnan. In the novel, he insults d'Artagnan and steals his letter of recommendation in the beginning. He barely appears in the rest of the story. Occasionally d'Artagnan spots him and tries to chase him down to have a duel, but never catches him. At the end, Richelieu orders them to become friends, which they eventually do after several non-lethal duels. The Musketeer from 2001 even elevates him to Dragon-in-Chief who goes rogue and takes the Queen and the love interest hostage with his army of mooks, horrifying Richelieu (well, the character is named Febre and Rochefort is actually in the film as well separately, but Febre is clearly based on Rochefort, so this is just a case of Decomposite Character). Both The Musketeer and the 1993 Three Musketeers make him the killer of D'Artagnan's father. In the novel, D'Artagnan's father is still alive.
Richelieu himself is probably one of the biggest examples in all of fiction. Several adaptations make him out to be the Big Bad with diabolical intentions when in fact the original novel portrayed him as an Anti-Villain at worst. He's not exactly a good guy and he is a devious schemer, but he's more interested in making sure that he has more influence over the King than the Queen or anyone else does. Otherwise, all of his actions are ultimately intended for what he views as the good of France. He's willing to commit some small crimes and immoral actions to get that far, but he isn't trying to have the King or Queen murdered or attempting to take over the country. Doubles with Historical Villain Upgrade as well, since the novel version is much closer to the Richelieu of real life.
The real villain of the original novel ends up being M'lady de Winter, Richelieu's actualdragon who he eventually decides is a dangerous liability because she's a dangerously homicidal Manipulative Bitch. She's the instigator of most of the Musketeers problems -part of her problem with D'Artagnan is 100% his fault, but she severely overreacts- and her vendettas and manipulation eventually tick off not only the Musketeers but her ex-brother-in-law.
The Three Musketeers (2011) does this to Buckingham, along with a Historical Villain Upgrade. In the books he's an adversary of France just by virtue of being English. And shtupping the Queen. But otherwise he's presented as a wise and honorable man who assists d'Artagnan and the Musketeers on a number of occasions in their duties to the Queen, before Milady is sent to assassinate him by Richelieu over his support of Protestant rebels at La Rochelle. In this film he's working with Milady.
There was a possibility that it could have gone even further, with early treatments and call sheets putting future Autobot leader Ultra Magnus in Sentinel Prime's role, but this was changed after early test screenings.
In Jules Verne's 20,000 Leagues Under the Sea, Ned Land is one of the main heroes, and even more emphasized in the 1954 Disney film in which he's pretty much THE lead hero. However, in the 1997 TV-movie adaptation starring Michael Caine as Captain Nemo, Ned Land (Bryan Brown) is a despicable villain. Probably because being a harpoonist, thus making a living out of killing whales, was no longer fashionable enough to be a good guy in the 90s.
Happens to Shuichi Saito in the film adaptation of Uzumaki. In the original manga, Shuichi is a well-intentioned Waif Prophet who Looks Like Cesare from spending too much time without sleep. He and the protagonist, Kirie, spend about equal amounts of time protecting one another from danger or at least attempting to. In the film, he's an abusive twenty year old "dating" the much younger Kirie while trying to take the place of a lost parent. He's also the primary antagonist.
In Victor Frankenstein, the Monster is not a sympathetic Anti-Villain or childlike creature. It's just a mindless killing machine that needs to be put down.
Vikingdom: Thor in the original Norse myths was considered mankind's friend and protector who frequently defended Midgard from giants and monsters. In this movie, he is a vengeful Omnicidal Maniac bent on destroying Midgard by fusing it with Vallhala and Hel in response to humans abandoning their religion in place for Christianity. It could be possible this version is a Fallen Hero, but he seldom lacks positive qualities, as he commits many atrocities as well as being generally a Bad Boss who doesn't care for his mortal underlings.
War of the Worlds: The 2005 film adaptation of The War of the Worlds presents Harlan Ogilvy as a violent madman. In the book, Ogilvy is an astronomer who, far from being violent, was the narrator's friend who was killed by the Martians early on during an attempt at communication. The character's more antagonistic and unhinged personality comes from the deranged curate that the narrator meets in a cellar, not Ogilvy himself.
Veruca Salt, like in the book, was an insufferable brat, but despite having a rich dad, she is willing give the Everlasting Gobstopper to Slugworth for more money. This is what sets Charlie apart from her. Despite losing out on the chocolate he was promised by sneaking fizzy-lifting drinks, Charlie doesn't have it in his heart to cheat Wonka and gives back his Gobstopper.
Violet was very much a Designated Villain in the book. While not as mean as she is in the 2005 film, here she's shown to be far more arrogant than she is in the book - as well as frequently fighting with Veruca.
Slugworth is only given a brief mention in the book as one of Wonka's candy making rivals. Here, he's portrayed as a Corrupt Corporate Executive who bribes the golden ticket finders with money and a better life in exchange for stealing an Everlasting Gobstopper from Wonka. Ultimately subverted when "Slugworth" reveals himself to be an employee of Wonka who subjects the kids to the Secret Test of Character.
In the novel, the Flying Monkeys were neutral and were bound by an enchantment to serve the Wicked Witch of the West (she owned the Golden Cap, which meant that she could command them three times). They even serve Dorothy once the Witch is destroyed and she gains control over the Cap - her third wish releases the Monkeys from its power. In the film they are the willing servants of the Witch. This follows through to other Oz adaptations where the Flying Monkeys retain their role as henchmen, sometimes even after the Witch's death.
The Witch herself counts too, sort of. In the book, she does not appear until near the end where Dorothy and the others are told to retrieve her broomstick, and her arc in the story is minor, although she does want the (unknown) power of the Silver Slippers. The film expands her role to make her the lead villain, wanting revenge on Dorothy for the death of her sister, the Witch of the East, and, more importantly, to get the ruby slippers from her.
The 1925 film version, which omits the Witch, instead does this with the Tin Man and Uncle Henry, of all people. The Tin Man ends up betraying Dorothy and her allies, and Uncle Henry is abusive towards Dorothy. It can be shocking for those used to the book or the much more famous MGM film adaptation.
In The Wolfman 1941, Sir John Talbot, while he has a strained relationship with his son Lawrence, is genuinely horrified and upset when he learns that the werewolf he killed in both self-defense and to protect Gwen was his son, and in sequels it's stated that the grief killed him. In the 2010 remake, Sir John is a werewolf himself, was the wolf who infected his son, and in his backstory killed his wife while transformed. He then sent young Lawrence to an asylum to force the memories out of him. Over the course of the film, he kills his other son Ben, murders his manservant whose weapons he sabotaged, and outright tries to murder Lawrence more than once with no hesitation or remorse.
While in the original comic book Bolivar Trask wasn't a good guy by any means, he did eventually come to realise that mutants are not a threat to humanity and even performs a Heroic Sacrifice to stop the Sentinels. Neither of those happen in X-Men: Days of Future Past.
X-Men: Apocalypse sees Storm, Archangel, Psylocke being among Apocalypse's Horsemen of their own free will. And even before meeting Apocalypse, Archangel is depicted as a very vicious and cruel young man. Pyslocke is just as cruel and Ax-Crazy judging by the climax, showing none of the compassion or nobility of her comic counterpart. Storm still retains her better qualities, but she also stands by as Apocalypse kills thousands of innocent people in front of her, something comic Storm would never do.
The Dbari gets in this X-Men: Dark Phoenix in the comics theyre an innocent alien race that are decimated when Jean Grey destroys their solar system as Dark Phoenix during the The Dark Phoenix Saga. In the film the Dbari are tyrannical shapeshiftingalien assholes who try to temp Jean into destroying the Earth and serve as the antagonists in the latter half of the film. This is likely as a result of the filmmakers compositing the Dbari with the Skrulls, whom Fox didnt have the rights to.
In New Mutants the main antagonist Dr Celia Reyes in comics was an ally to X-Men and Actual Pacifist who rejects Xaviers offer to join the team because she wants save lives in a hospital like a real hero, get turned into a manipulative Mad Scientist whos willingly to kill a teenage girl. This, coupled with a Race Lift, renders her practically unrecognisable.