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Dethroning Moment / Live-Action Films

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In the long winding history of Hollywood, people reflect on the movies they've seen and gauge the quality of the movies, the best scenes, etc. But often times, there will come a time where you're watching a movie and see a part that will strike a chord with you and make you wonder what the hell the writers were thinking.


These are those moments.

  • Sign your entries.
  • One moment per movie to a troper, if multiple entries are signed to the same troper the more recent one will be cut.
  • Moments only, no "just everything he said," or "The entire movie," entries.
  • No contesting entries. This is subjective, the entry is their opinion.
  • No natter. As above, anything contesting an entry will be cut, and anything that's just contributing more can be made its own entry.
  • Explain why it's a Dethroning Moment Of Suck.
  • No Real Life examples, including Executive Meddling. That is just asking for trouble.
  • No ALLCAPS, no bold, and no italics unless it's the title of a work. We are not yelling the DMoSs out loud.
  • If you are adding an animated film entry, please go to Animated Films.

Series that have so many that they have to have their own Articles:


  • Dr Zulu 2010: From Maleficent, it has to be how Maleficent (or MINO as I like to call her) is the one who awakens Aurora from her sleep. Not only does it cement Prince Phillip, the first proactive prince in the history of the animated canon, as a waste of space, not only does it rip off Frozen (2013) only replacing sisterly love with motherly love, it cements MINO's Badass Decay from the mistress of all evil and the greatest villain of the canon into a lame shadow of her former self. Not only that, but they gave her an unambiguously happy ending?! Did Disney hate the original movie or what?
  • KingBowser9001: In Spectre, even if Blofeld's Hijacked by Ganon over the previous Daniel Craig-era films isn't the absolute worst moment in the franchise, it's definitely the most laughable. Even if the motive was incredibly stupid, what really annoyed me here was how sloppily-implemented it felt, to the point of feeling like a cheap Retcon. So, Blofeld, you say you specifically engineered the deaths of M and Vesper Lynd, right? Well, then, how is it that after re-watching those movies to see exactly how well this was implemented, I know that Lynd essentially committed suicide outside of your machinations, and M was killed by what's basically a stray bullet? How the hell do you plan a stray bullet? How the hell do you engineer suicide?! It's almost as though Bond spared Blofeld in the climax because he didn't buy it, either. It also undermines and cheapens the actions of the previous Craig-era villains by essentially retconning them into more pawns to Blofeld. It's extremely difficult to believe that he planned this from the beginning, and the execution feels extremely poor.
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  • duralict: This line from the 2003 film Camp (2003): "Someday I'll have to make guy friends who don't wear lipstick." What an unbelievably awful thing to say to your gay best friend.
  • terlwyth: I never liked the idea of a campy reboot because Batman Returns didn't make enough money, but I was hoping it'd be decent. That however was instantly not the case when the Graysons decide to dispose of the bomb (which looks stupid) Two Face planted themselves instead of fleeing and getting proper authorities. There are other problems I have with this scene, but I'll skip to the death. So basically Two-Face shoots wildly and happens to cut the ropes the Graysons are on (except Dick) and they plummet to their deaths in what appears to be a little too peaceful while Two-Face conveniently finds a trap door to escape and then there wasn't a funeral and they weren't referenced next film.
    • Spidey Terry: Batman Forever as a whole was lacking, but the introduction of Robin to the series is a real DMOS. It doesn't work because we don't get a ten-year-old Dick Grayson grieving over his parents (who were killed mid-act simply for being in the wrong place at the wrong time) and having nowhere else to turn but a sympathetic Bruce Wayne. The movie essentially uses the Broad Strokes of this origin (though throws Two-Face into the mix and makes the parents chronic heroes with deaths boarding on Senseless Sacrifice), but utilizes a young adult Dick Grayson. Bruce naturally feels sympathy for a fellow orphan, but it doesn't ring nearly as true as it does in the comics because of Dick being aged up. Dick in this movie is perfectly capable of living on his own. This sizable lapse in story and logic just kept nagging me for the rest of the movie. It's Plot-Induced Stupidity just to get him to Wayne Manor and as the comics long-since demonstrated, it wasn't even necessary! Frankly, Dick comes across as a sponge that lucked into a big meal ticket rather than a grieving would-be hero wanting to make things right.
  • YoungPrincessZelda: The ending of The War of the Worlds with the unnecessary church choir and church bells. This is a Scfi/Horror movie, what gives? They got the reason why the martians die at the end right, but the last two lines of the monologue explaining it throw in religious stuff into an adaptation of an atheist's novel. H.G. Wells probably would've flipped over the ending if he saw it.
  • Leaven: In the movie 40 Days and 40 Nights, Nicole, Matt's ex-girlfriend, wants to stop Matt from completing his vow to abstain from sex for Lent. Her reason for doing this is to win the prize money that has collecting from people betting on whether Matt will complete his vow. So, Nicole goes to Matt's apartment where he has chained himself to the bed in order to ensure that he completes his vow, and rapes him. That's bad, but what makes this movies even worse is Erica, his current girlfriend, comes into the room and assumes he cheated on her. So, he has to apologize to her for being raped! Nicole wins the prize money and gets away with her crime. What the fuck were the writers thinking?
  • CAD: There is one scene in the Doom movie which stands out for how atrociously bad it is. In the final fight scene, The Rock breaks off a metal wire and wraps it around his arm. This is how the movie nods to the Cyberdemon (note this is not fan conjecture, but actual Word of God).
  • Korval: The Eragon movie has one. Anyway, Eragon has a dream about Arya, a woman he's only ever heard of by this point and one he first met in a dream. She's being tortured. So naturally, he wakes up and wants to rescue her. Then, Jeremy Irons as Brom uses his acting talent to its fullest (well, the fullest that the writing lets him) to try to convince Eragon not to go off half-cocked, to act responsibly and so forth. Irons' performance gives you a real sense of the urgency in Eragon not doing this. And then Eragon says, "Your shame is not mine!" At this point, liking Eragon (the character) has been rendered 100% impossible. It's like crossing the Moral Event Horizon, only without having to actually kill anyone. It would have been much more acceptable if Irons hadn't been so damned convincing in his performance, because Eragon's blowing him off so easily and so harshly just makes you want to reach through the screen and choke the shit out of him.
    • Jonn: Mine was when Brom asks Eragon how old he is—"15? 16?" And our hero retorts "seven... teen!" in a terribly acted manner. Why did they hire this kid?
    • Stele Resolve: I hated pretty much the entire movie, but if I had to choose one thing, it would be the hatching. The book has a cool series of events where Sapphira hatches from the egg, and Eragon is forced to hide her and care for her in secret, slowly raising her from infancy to something approximating adolescence, and even having to find an appropriate name for her. He does everything from feeding her to teaching her to associate human words with objects around her. In the movie? She hatches, and in a magical moment flies off and turns into an adult dragon, complete with an understanding of human language and a fully developed mind! Presto, no character development needed, just add Narm!
  • Peteman: In Serenity, when we find out just how deep the corruption and particularly the incompetence runs in the Alliance, and given how tired and overused that theme is in Joss Whedon franchises, I felt like he was reaching out of the screen to insult me personally.
    • ondarisa: For me, it was the scene where the crew returns to Haven to find it wiped out. Mal orders the crew to cover his ship with the blood and corpses of their dead friends, and he'll kill anyone who dares to confront him about it. Particularly jarring when in the next scene he shrugs off the Operative's "Not So Different" Remark speech with "I don't kill children"... he just threatens to kill the people he thinks of that way. I simply couldn't view him as a hero after that.
    • Allronix: "A leaf on the wind..." *crash* *thud* C'mon, Joss. That was totally pointless, didn't advance the plot, had no impact on the rest of the plotline events, and was a bit of cheap shock by reverting to your usual cliche of killing off a character just to invoke the Anyone Can Die trope. At least Book got to take down the sons of bitches in that cruiser! But this just proves that Joss can't tie his shoes without some cheap character death.
  • Slowzombie: Repo! The Genetic Opera, the scene where Shilo stands up to her father for the first time. Not a bad moment in itself, but the song that follows is not at all pleasant. For one, it feels out of place, with a sudden swerve from the established "we sing to talk"-style to the more music video-like "band and dancers out of nowhere"-style. In addition, it is a little... creepy. Agony Booth gave it a particularly vicious recap:
    Now, I'm sure there's a perfectly good reason why they would stop their 'serious' musical to include a 'rocking' teen rebellion song that has nothing to do with padding the soundtrack, but whatever it is, this song is just awful, so much so that TV Tropes, which is run by people who like everything, lists this scene as Repo's Dethroning Moment of Suck.

  • Danny Lilithborne: Lady in the Water was treading water, but I was along for the ride for awhile. I could even tolerate the director being a main character in the story. But then... a kid reads plot-oriented messages from the backs of cereal boxes. Judging from the expression on the faces of everyone I saw leave the theater, I think the cheated feeling was mutual.
    • Time Traveler Jessica: For me it was the critic getting killed brutally. The movie before had been pretty light-hearted, if a little spooky, and I was totally willing to except it as a goofy fantasy. And then that happens. A character being brutally killed, just because he was a movie reviewer and kind of a jerk. M.Night, seriously, that just came across as whiny and mean-spirited.
    • Tropers/Hyrin: For me, the movie was tolerable until Shymalan declared himself (through his character) a misunderstood Christ figure that we should be ashamed of ourselves for not liking. Any chance the film had of being watchable after that went out the window.
  • X 2 X: In The Village, yet another M. Night Shyamalan classic, we had the obligatory Twist Ending. The eponymous village is not set in 1897, but was actually founded during in the late 1970s and is essentially a human wildlife reserve/science observatory plant. The female lead learns this when one member of the community falls ill and requires medical aid that is only found in the modern-day society. Fittingly enough, this movie is almost unanimously hailed as the point where his movies were thrust into third gear... right into the realm of suck. What a tweeeest, indeed.
  • Crazyrabbits: The "dance scene" in Memoirs of a Geisha, where the newly-minted geisha Sayuri (Zhang Ziyi) performs a dance amid a blanket of fake snow onstage... the only problem is that it's not a dance, despite what the characters claim. Sayuri walks onto the stage in six-inch platform shoes, waves her umbrella around for a few moments and jumps around acting spastically for a few seconds. She dances for less than two minutes. Yet, everyone thinks this is good enough to give her a standing ovation. Putting aside all the other problems with the film (slow pacing, unlikable characters, cultural inaccuracies), the dance scene proves that Hollywood didn't understand the concept of a geisha at all.
  • Igordebraga: The ending of The Departed. Kill 'Em All is not always the answer! Of all the people I know, only one didn't hate all those meaningless and anticlimactic deaths! (for me, the one for Memento too - though in a different way: The Departed, he wasn't liking it and the ending capped it off; Memento, it was going well, then it ends with something that takes all the sense away, and made him hate the movie)
  • baronobeefdip: I find Godzilla: Final Wars to be a Guilty Pleasure for the most part, but I find there's one glaring DMOS going agaisnt it. What is it, you ask? It's during the final battle when Monster X transforms into Keizer Ghidorah. What? Ok, Toho, I can forgive the ridiculously short "Godzilla VS (Insert monster here)" battles. I can forgive the silly Matrix/X-Men/Star Wars inspired "human vs alien" plot. I can forgive that the "Mothra VS Gigan" plot point lead to nothing but a rather pointless cameo by Kamikaze Mothra at the end. What I can't forgive however, is that you turned what was an exciting battle between Godzilla and a new foe into yet another Godzilla VS Ghidorah battle. Yes, Toho you made me lose interest at the climax of the film due to turning an original fight into a cliched one.
    • fluffything: For me, it was the aforementioned "Kamikaze Mothra's pointless cameo". While most of the monster fights are short, they are excusable in that all the set-up we get for them is that they're going to fight Godzilla eventually. But, with Mothra, it's set up that she has a past history with Gigan and that the Shobijin summon her to aid Godzilla in battle. Does this mean we get to see scenes of Mothra flying after Godzilla to battle? Do we get an epic build-up to an awesome monster-team up? Nope, Mothra shows up at the climax of the film, fights Gigan, gets set on fire, and rams into him killing them both (There is a deleted scene showing Mothra flying back home to Infant Island, but, that doesn't make sense since she's, ya know... dead.). What a waste. They set up Mothra as being crucial to the plot of the film and utterly waste her on-screen time. It's the equivalent of setting up Batman to guest-star in a Superman film only to have him make a brief cameo where he and The Joker fight and fall off a building to their deaths. Disappointing to no end.
  • bobdrantz: While the remake of Godzilla (1998) was an awful movie all around, the absolute worst moment of the film was when Dr. Tatapolous finds out that the titular monster is pregnant... You mean to tell me that Dean Devlin and Roland Emmerich actually thought that would be a good idea to turn what originally was a walking allegory of the atomic bomb into a freakin' pregnant iguana!? Devlin and Emmerich, you managed to take one of the most iconic movie characters of all time and turned him into a sick joke (And not the funny kind either.)
    • fluffything: The fact that Zilla was killed by freakin' missiles is what made me say "Fuck this movie". What's worse is how he's killed by missiles. He doesn't go down fighting like King Kong or his far-better Japanese counterpart. Oh, no. Instead, he gets tangled up in the wires of the Brooklyn Bridge (Which by the way, is a suspension bridge and should've collapsed when the wires snapped) while the Air Force pretty much blast the shit out of him. That's right, the film pretty much turns the climax into an inverse Curb-Stomp Battle in which the giant monster is the one who gets pwned. This and the previously mentioned "Pregnant Iguana" aspect of the movie are why GINO is the ultimate example of Character Derailment in any film. This movie doesn't deserve to be called "Godzilla" by any stretch of the imagination.
  • Miracle @ St. Olaf: Woah, Godzilla (2014) is shaping up to be a fantastic improvement over Hollywood's last crack at the franchise! With such a strong performance from Bryan Cranston and such a very compelling and tragic motivation for his character, I'm really looking forward to how he'll help carry the film, especially compared to the person-shaped plank of wood that's supposed to be his son— Wait, what just happened? No, don't do this, movie; we're only a half-hour in! Oh, come on; he has to be okay, right? Like, maybe he just got really sick, and they didn't want him to sneeze on anybody so they're zipping him into a... *sigh* into a body bag. Welp, there goes any compelling human element to the film, but hey; at least we'll get to see plenty of Godzilla breaking shit up, which is what we bought a ticket for in the first place, isn't it? Annnnnd now they're closing the shelter doors on the camera just as the big guy starts fighting the MUTOs. Yaaaay. While it's still a better movie than Godzilla '98 and finally delivers some sweet payoff in the end, there's nothing enjoyable about suffering the cinematic equivalent of blue balls for the two hours leading up to it. Sometimes less is more, true, but when it comes to Godzilla showing up in his own movie, less is just plain... less.
    • The Master Chand: The sequel, Godzilla: King of the Monsters is a massive improvement in many respects that I personally really like. So it's painful for me to do this, but the part where Vivian Graham is eaten by King Ghidora is just sadistic and unnecessary. We know Ghidora is an evil, irredeemable monster who lives for the killing, the rest of the movie, as well as his status in the franchise in general, make this very clear. Having a well developed, sympathetic character die in agony and become King Ghidora's crap was not going to add to that in any way. All it did, was put a damper on an otherwise spectacular film. In fact, every single time, without fail, that I consider whether I'm going to watch this film, and decide not to, this scene is the exact reason, 100% of the time.
  • Hoodiecrow: Saving Private Ryan, "James, earn this." Um, you know, Ryan hadn't exactly asked for any of this as a personal favor. The boy simply wanted to do his duty, and did so gallantly to the end; how can he be in your debt? The film should have been named Condemning Private Ryan to a Lifetime of Regret and Guilt instead.
  • Cabbit Girl Emi: The Breakfast Club isn't the worst movie out there (far from it), but I found it fairly boring for a movie from The '80s. However, there is this one scene at the end that was uncalled for: when the teens open up to each other, Claire demonstrates that she can apply lipstick with her breasts. Everyone is impressed except for Bender, who has the nerve to insult and yell at her. Seriously, there was no reason for this! He might have been abused by his dad, but that is no excuse for hurting the poor girl's feelings!
    • SickBoy: The DMOS for me was at the end when they paired up four of the characters for no real reason. They decide at the end that they are who they are, and even if they're not really compatible as people, that's okay. Then for some reason the "weird girl" gets an unnecessary makeover and ends up with the jock, despite them not showing any interest in each other before now. And the "princess" ends up with the deadbeat who's been teasing and sexually harassing her all day. The whole scene undermines the conclusion of the movie (along with the audience's intelligence). It would've been much more effective if they all went off their separate ways to just continue living their lives, having gained a little bit of understanding and empathy for other people.
    • Mighty Mewtron: I also have issues with the forced romances, but the specific scene that contributed to that is when Bender peeks under Claire's skirt while he's hiding under the desk, and it's heavily implied he touches her nether regions. Him constantly flirting with her despite her not wanting him is bad enough, but that's something even hard to stomach with Values Dissonance in mind. It doesn't help that we get to see an unnecessary shot from Bender's POV of her upskirt view. If that scene weren't there- and it really could be easily cut- it would make it a little more believable that they end up together.
  • Trombone Child: I didn't feel this way initially, but the more I think about it, I think that Dropping an Air Conditioner on the van in The A-Team movie might be this, especially since B. A. didn't rebuild it during the course of the film. What was the point of introducing it, then, and why would the writers want to destroy something so iconic?
  • One In Twenty: In the movie Dungeons & Dragons (2000) when Elwood (the Dwarf, I don't think his name is actually said in the movie though) rants for about five minutes about how Snails should hook up with a dwarf instead of an elf. Not only is this breaking his character as a character that almost never speaks, breaking WSOD about any and all interpretations of dwarf behavior, as well as the commonly cited understanding that dwarfs and humans are incompatible on a biological, social, behavioral and any other level of intimate interaction.
    • Man Called True: The scene where they distract a beholder with a tossed pebble. A beholder... falling for a tossed pebble. Beholders have genius-level Intelligence (18 as a racial average, the maximum for a starting character in 3rd Edition), are master magicians, and - oh yeah - have independently-moving eyestalks. Any beholder worth its copper pieces would have followed the pebble with one eye and wiped out the heroes with all the others. If you're going to use an iconic D&D monster, don't just throw it in and then treat it like Standard Cliche Hollywood Guard #221.
      • WRM 5: To be... well, for lack of a better word we'll say "fair" there was supposedly going to be a battle with the beholder, but they didn't have the budget for it. That said, I want to make it clear that's not me trying to justify the movie's flaws, because I absolutely don't mean that in a good way. This movie enters some kind of weird inverse form of this trope, where the actual worst part of the movie isn't a bad scene, it's a good scene that they didn't use. Specifically, when the main character Ridley is resting in the elf village to recover from his wounds, there was supposed to be a dream sequence wherein he learns the importance of dragons: all life in the world comes from magic and dragons are the physical embodiment of magic, therefore if too many dragons die the universe itself will cease to exist. This is why the Red Dragon Rod is so dangerous, this is why the threat of a war between dragons is treated as an apocalyptic scenario, and this is why Ridley becomes so resolved to win no matter what. Without this scene the entire movie just stops making sense.
  • Mac Phisto: Halloween: Resurrection — aside from one of the worst Ass Pulls ever in order to bring Michael back, at the climax this formerly unstoppable monster gets his ass kicked by Busta Rhymes! Who was imitating moves he saw in a Bruce Lee movie!
    • Spidey Terry: What I found so irritating is that they killed off Laurie in the opening minutes and left it at that. Now, that was a really good sequence, but what's next? Tracking down Laurie's son, the apparently last living relative? You'd think so since Michael's M.O. is going after his relatives. However, instead, he goes home and essentially plays janitor in his home. Eesh. The basic plot could've made a decent horror flick, but no way this should've been the direction for a Halloween movie. Eesh, if they were gonna bring back Michael, they should've gone all out - not just inserted him into a plot that could've been anyone else's.
      • Zuul MF: The idea is that he has finished his task after killing Laurie and is sort of just laying low in some weird kind of retirement until the kids come and bother him. That's right: they ended the series at the beginning of the movie, not the end. And Laurie's stupidity was such an Out-of-Character Moment. I believe one reviewer whose name escapes me put it that it's like beginning Moby Dick with: "Call me Ishmael. We caught the whale."
  • Stele Resolve: Funny Games. A psychotic couple of creeps holds family hostage, plays mind games with them, yada yada yada. The only thing that made this movie different from most others like it is how real the emotions of the characters seemed, and how one of the villains routinely broke the 4th wall. So the mom finally demonstrates a crowning moment of awesome when she grabs the elephant rifle that the villains carelessly left lying around and blows one's guts all over the wall. Then the movie erases this and turns everything following it into a dethroning moment of suck when Paul grabs a TV remote control, rewinds the movie, and prevents her from getting the gun.
  • De Luman: Law Abiding Citizen. At the very end of the movie, the character Clyde, who had been shown to be a Magnificent Bastard par excellence, makes stupid mistake after stupid mistake in order to let the DA Nick figure out how to stop him. Not only this, but the movie tries to turn the phrase "Fuck his civil rights" into a CMOA.
  • Valkir: That fucking stupid "Chaos Reigns" fox in Antichrist. The movie was slow, dull, and by-the-numbers "humans suck and our director is depressed" nonsense up to then, which was not awful, but that completely ridiculous and jarringly awful moment of Narm fully established that it was all a bunch of artsy pretension disguising a really basic and unremarkable film with some handwave explanation misogyny thrown in.
    • Devoured By Robots: God, I didn't even manage to make it seconds before my dethroning moment, which was the baby clearly committing merciful suicide to escape its completely unlikeable parents having graphic sex in the bathroom to opera in pretentious black-and-white slow-motion. The rest of the film was like a Dragging Footnote of Suck to compliment the opening sequence.
  • Stele Resolve: Hellbound: Hellraiser II was a kind of pointless and confusing sequel to the first movie, but it was interesting at the very least for most of the movie, and Pinhead and the other Cenobites reprized their roles as badass villains. Then the Smug Snake doctor is lured into a trap and subjected to horrible torture within the realm of the Cenobites (really should have seen that coming, he literally walked into it). Fine and dandy. A little later, though, he returns transformed into a Cenobite. Okay. Then a giant phallic tentacle attaches itself to his head and carries him around. What. He immediately proceeds to chew the scenery of the rest of the movie with corny Pre Mortem One Liners like "The doctor is in" and "I recommend... amputation!" As if that wasn't bad enough to ruin the movie, the true Dethroning Moment of Suck occurs when the original Cenobites not only renounce their roles as badass villains, but promptly get slaughtered like cattle by the most cliched and hammy Big Bad the horror genre has ever seen. Congratulations, you've successfully stripped this movie of everything that kept it from completely sucking.
  • Stele Resolve: I wasn't greatly impressed with Black Christmas (1974) (the original); it was rather dull, predictable, and the character stupid. But the unforgivably moronic moment came at the very end, with the police burst into the sorority house to find the supposed killer dead at the hands of the last survivor, Hussey's character. So they haul his body off and talk about what a horrible event this has been... and then they just leave. Yeah, that girl's been through some pretty severe trauma and shock, but I'm sure leaving her alone in the very house where the source of her trauma occurred, without so much as a single cop or doctor to watch over her, is a perfectly sound idea.
    • timotaka: Same here, but I would also like to add one more tidbit: the ending shows undiscovered corpses in the attic of the house, implying that the police don't even bother searching through the house to find people who are still missing!
    • Lord Crayak: There was one cop shown guarding the front door as the credits roll... a seemingly lone guard doesn't make things any less bad though.
  • Dan Dan Noodles: The Rock was a silly movie start to end, which, OK, don't expect subtlety and nuance from Michael Bay. But one scene in particular is so egregiously dumb that it turned me into a bad theater neighbor, as I was compelled to say, out loud, "Oh, come on!" — when Mason cuts through a plate glass window with... a quarter. Not a special diamond-edged, super-secret spy window-cutter cleverly designed as a quarter, mind you. A plain old quarter, straight out of his pocket. Seriously, they aren't even trying at that point, just seeing how much they can put over on moviegoers so long as they sandwich it between lots of shiny lights and explosions.
    • pvtnum11: Possibly handwaved; I recall Mason slams the metal chair leg onto the quarter before picking it up, and that might have put a sharp edge on the quarter. Maybe. My DMOS on that movie was having every single SEAL getting waxed by the wayward Marines. Yeah, okay, high-ground and all that, but really?
  • Stele Resolve: Sleepaway Camp was a pretty ridiculous movie, a cheap cash in on the then-popular slasher franchise. It's not a very good movie, poorly acted, whatever. The real problem, the unforgivable moment of stupidity, is when Angela, the most likely killer, turns out to be the killer. Why is that such a big deal? Because the movie clearly makes an effort to disguise the killer's identity until the very end, but does such a poor job that a child could call it from the half-hour mark. Seriously, it was so obvious that the creepy, thousand-yard-stare psycho girl is the killer that throughout the entire movie, I kept turning to my roommate and saying "There's no way it's her. It's so obvious that it's her that it has to be someone else." Guess what? It was. Though the other reveal about her kind of makes up for it.
  • Stele Resolve: Dogma was an all around hilarious movie, almost perfect. The one small thing keeping it from being a golden movie? The shit demon. Goddamn it, that was so unforgivably stupid. I mean, an extended Toilet Humor joke? Really? And the rest of the movie was laden with insightful and biting wit...
    • Erwin: It was at least a missed opportunity to introduce the Golgathan by saying Azrael "called in the Calvary."
  • Enchanter468: The scene in the Wing Commander movie where the Tiger Claw has to hide in an asteroid crater to avoid a Kilrathi ship, and everyone aboard the Tiger Claw has to be very, very quiet so that the other spaceship doesn't hear' them! You know, I'm okay with sound in space; I don't go after Armageddon or Star Wars or Star Trek for it, but when a movie flat out states that not only can the audience hear the sound in space, but so can the characters, that is freaking pushing it.
  • CodaFett: Kick-Ass 2 wasn't nearly as good as the first one but one moment in particular stands out as abhorrent in my mind, what you ask? 2 words: Sick Stick. For those who haven't seen the movie and don't know what I'm talking about. Here's the rundown; in the subplot the High School Queen B, Brooke comes into conflict with Mindy (Hit-Girl) over jealously which ultimately culminates in the classic "The boy you just asked out is actually working with us to prank you and embarrass you" which leaves Mindy walking home at night. After talking to Our Hero Dave Mindy gets the idea to bring a police device to school that cause whoever it's pointed at to magically void their bowels and vomit at the same time with a sound. So in the cafeteria Mindy uses the aforementioned lethal fucking weapon to make the bullies do just that, with dozens of students watching. Brooke was an Alpha Bitch, obviously. She's also 16 and still just a fragile teenager. While there's no excuse for setting Mindy up to be embarrassed, the last thing she deserved was to be humiliated in such an inhuman fashion. I especially want to emphasize that this is essentially a biological weapon that Mindy decided to unleash on other teenagers. Most disgusting of all is how this is set up to be a cheer for the "hero" moment as Mindy gets suspended and Brook n' friends will likely consider dropping out of school or even suicide.
  • GREGOLE: While Aliens vs. Predator: Requiem was already an unsatisfying film, the moment that really sold it for me was the bit where the predalien infects an entire room full of pregnant women. While the little kid being chestbursted earlier was cringe-inducing, it was one death out of countless. We're shown that both monsters are ruthless and inhuman, and will not make distinctions between their victims... The filmmakers apparently felt that we forgot about this, so they decided to go even more over the top, to the point where the shock is gone, and it becomes a sick snuff fantasy for the writers. It was the single most tasteless thing I have ever seen in a movie since the Toxic Avenger disemboweled a man dressed as a baby who was trying to blow up a school for the retarded on Take A Mexican To Lunch Day.
    • Grumpy Old Man: I agree, it's less Horror, and more "make the good guys suffer, just because".
    • fluffything: For me, it was the fact that the "Predalien" is supposed to be a "Predqueen". For one thing, it doesn't even look like it would be a Queen (Previous films establish that the Queen is significantly larger than the regular Xenomorphs). The Predqueen should be this massive horrific monstrosity, not a "Xenomorph with Predator dreadlocks". Second, the explantation is that it hasn't matured into a full-grown Queen yet. Then, shouldn't it be a chestburster still? I don't recall previous films having a stage between Queen Chestburster and Adult Queen. Third, even if we ignore all the previously mentioned nonsense (Which is already nearly impossible to do), why in the name of sanity would it have a completely different mode of reproduction? Yes, Word of God said that it hasn't developed an ovipositor yet. But, that just makes the whole idea even more idiotic. As utterly cheesy the "Newborn Alien" was in Alien: Resurrection, at least it made sense within the mythos of the film... Which is more than what I can say for the "Predalien", sorry, "Predqueen".
    • TroperBravo104: The lighting appears to have been done by someone who has no concept of actually being able to see what's happening. The General's plan also makes little sense; he nukes the town to stop the aliens escaping, fair enough. But he then tricks one of the protagonists and some redshirts into waiting for evac so they'll die. Uh... why? It's not to cover up the events; he lets the four protagonists who escape through other means go free. There's no reason he couldn't have just actually sent the Evac anyway. Not to mention how the town appears to have no land connections between it and the rest of the world; everyone seems convinced that the only possible way to escape is by air, even when it would be infinitely times easier and quicker to just jump in a car and floor it until they're out of town. Instead, they waste their time climbing to the top of a hospital filled with xenomorphs.
    • larry4163: Speaking of the lighting, it should be noted that if you had ever happened to watch the film on a projector in a room with poor window shading, this would have made the film's darker scenes downright impossible to make out at times, if at all!
  • sephiroth144: In Avatar, what happens when Jake goes to tell the Na'vi what the Skypeople want. "Hey, we want a certain rock that's under your tree" And they couldn't slant-mine? Etc... He never did his damn job, and essentially caused both sides of the slaughter that occurred.
    • Daedalis: The moment the commander in his shiny battlemech pulls a knife in smackdown with Sully's avatar. Supposedly someone took the time to design a mech with removable weapons (therefore susceptible to disarming), then machined a sword for it to draw in such a situation? Why not just bolt blades to the undersides of the forearms, or exposed spikes on the fists?
    • Time Traveler Jessica: Many people have said the whole movie has an ableist tone to it, but one particularly cringeworthy moment was when Jake was called "numb nuts" by another character. To quote the film's Rifftrax: "What a sensitive nickname for a paraplegic character." Well played, Cameron, well played.
  • Kenya Starflight: Don't get me wrong, I love Pacific Rim with all my heart, to the point where I've written my own fan sequel. But the script writers really should have known that the plural for kaiju (yes, it's an actual word) is "kaiju," not "kaijus." Yeah, yeah, a movie bursting with Hollywood Science and it's a language fail that I take the most issue with, but it raises my hackles every time I hear it.
  • The Dog Sage: Salazar from the Day of the Dead (2008) remake, particularly his reply when asked by another soldier 'so you're making a spear?' is 'What's the matter? You see a black man with a pointed stick and it automatically gotta be a spear?' Made infuriating because, regardless of race, what he has is, in fact, a spear. And apparently he doesn't know that the spear has been used by just about every culture since prehistory, with the bayonet turning even a modern rifle into a spear.
  • Camera Beard The Pirate: The scene in Cowboys & Aliens where the Mysterious Waif is being carried away by one of the eponymous aliens. The protagonist gives chase, and, for no reason, the alien flies into a small canyon, giving the hero ample opportunity to leap onto him and save the girl, rather than just fly away!
    • fluffything: While I enjoyed Cowboys & Aliens as a So Bad, It's Good action film, there is one glaring problem I have with it. At one point in the film, we find out the aliens are invading the earth because they want gold. Why do they want it? Because it's valuable. That's it. I'm sorry... what? It doesn't make sense for so many reasons. First, value is subjective and you need context to explain why it's valuable. Do the aliens use gold for fuel, money, building material, food, weapons? It's never explained. Second, if the aliens want gold, why not set up a trade system instead of invading the planet? Third, it contradicts the previous scenes since it implied earlier that the aliens are harvesting humans for some reason. Fourth (and related to third), it's stated that the aliens are abducting humans to find their weakness and exploit it. (Beat) Why?! These aliens are explicitly stated to be able to blow up entire planets with ease, and are also shown to be able to steal gold with little effort and without anyone noticing. It doesn't make any sense. These aliens can easily just siphon up all of the gold, blow up the Earth, and be on their merry way without anyone knowing about it until it was too late. Them kidnapping people to study their "weakness" just overly-complicated an already stupid reason for invading Earth.
    • Zaothus: In addition to the above points, there's also the blatant plotholes with regard to Daniel Craig's character's amnesia. It's revealed at the end of the film that the aliens subject all of their human captives to some sort of light that erases all of their memories, albeit temporarily. The presence of such a machine is an obvious contrivance, but not in itself a DMOS. That comes when Craig's character starts to overcome the amnesia and has flashbacks to his escape from the aliens, revealing what happened to his old love interest, how he got the mysterious device on his hand - all plot points that were played up as mysteries at the start of the film. But, I reiterate, this flashback is to his escape from the aliens, which is to say, after he was exposed to the mindfuck-light. So why would he have forgotten it at the beginning of the film? I have nothing inherently against amnesia as a plot device, but this is one of the most half-baked attempts at it I've seen in a long time. Considering the extent to which the film's marketing campaign focused on the whole "mystery" side of things, you'd think at some point in quality control they might have picked up on such a gargantuan continuity error.
  • Long Gunner 15: Die Hard 2. Two words: Glock. Seven. No such model has has ever existed (the Glock 17 pistol was the first Glock pistol, and the model numbers just get higher) and McClane claims that it is a ceramic pistol impervious to airport x-rays and metal detectors. That's perfectly correct-- the 80% metal by weight, completely X-ray opaque pistol (not to mention brass and steel/lead ammunition) is invisible to x-ray. This wouldn't be such a problem if these pistols were not the entire fact that they are a significant threat to airport security. The mooks were shown to be rather cold-blooded. It would not have been far-fetched for them to have used ceramic knives (which actually exist) to kill several security guards and take their firearms.
    • Tropers/maxwellsilver: And even if you can get past that painful scene (McClane also says Glock is German when it is in fact Austrian and that it costs more than the chief of police makes in a month, when the Glock 17 retails for around $450), the plot hinges on planes sticking to their original destinations and never detouring to any of the six airports or the Air Force bases nearby when they can't land at Duluth, defying FAA regulations, or that their manipulation is stated to be the ILS system and changing it to display the planes' altitude as 200 feet lower... except the ILS uses antennas mounted ont he ground, and to do that they would have to be buried 200 feet underground, and would not change the altimeter readings, or the Windsor 114 crash, which explodes when it crashes and breaks up on the ground, which isn't possible due to the construction of a 747, and the fact it ran out of fuel means it wouldn't explode even if it did rupture.
  • fluffything: I already despise Simon Birch to begin with due to its copious amount of Glurge and because the titular character is a smug holier-than-thou Jerkass. But, to me, the absolute DMOS of that film is when Simon accidentally kills his friend's mother with a wayward baseball while playing a game. The circumstances that cause the whole thing are so contrived they'd be better off for an over-the-top comedy than what is supposed to be a Tear Jerker moment. Not to mention that it would be impossible for Simon to even be able to hit a baseball hard enough to kill a human being. It's just a forced way to make Simon (who is already an unlikeable character in my eyes) look sympathetic by accidentally causing a tragedy that would be, again, impossible for a person of his size to do. It's so utterly stupid that I still can't believe anyone would think it could be taken seriously.
  • fluffything: While Gremlins 2: The New Batch is a movie I really enjoy, there is one scene that always grinds my gears. That, of course, being the whole "Kate hates President's Day" speech. It's a parody of the "Kate hates Christmas because her father died" speech, but it fails miserably. First of all, her reasoning for hating President's Day? Some guy who looked like Abraham Lincoln freaked her out when she was a child. That's it. No over-the-top tragedy. Just a guy who looks like Lincoln. Second, there is no indication or build-up to this revelation apart from a single line Mr. Futterman says ("Washington never gave up. Lincoln never gave up."). At least the first film drops hints throughout the film that Kate dislikes Christmas and has legitimate (and very tragic reasons) for doing so. Yes, it was pretty over-the-top in terms of what happened. But, keep in mind that Kate's father died on Christmas, and quite horribly as well (IE: Getting stuck in a chimney and breaking his neck). Undermining such a heartbreaking revelation with a poorly-written "parody" of that scene is just mean spirited.
  • Blackbird Mizu: The Last Airbender was a lousy movie all around and did have a ton of DMOS. But one of the real kickers was the prison camp scene where earthbenders are imprisoned... on earth. And they don't even try to fight back until the Mighty Whitey heroes come in and give an rousing and inspirational speech. It made more sense in the TV series: they were stuck on a boat with no earth for a long time. There was plenty of time for them to be psychologically broken, so even when they were given weapons (some coal) they didn't bother fighting. But in the movie, they could've broken out the second they went in. It was completely moronic and you have to wonder who is dumber: the Fire Nation for imprisoning earthbenders on earth, or the earthbenders for not escaping.
    • RAD Dman: Along with the above, there are three things I'd like to point out about the earthbender prison scene (yes, there is more to complain about besides the jaw-dropping, reality-bending stupidity of putting the prison for people with control over the earth on a location literally surrounded by and on top of miles of earth). In the show, the episode with this situation helps establish Katara as a motivator and inspirational character, a very important part of her personality. In the film, this integral aspect is ditched and Aang gives the rousing speech instead. There are plenty of cardboard characters in the movie, and this certainly does not help Katara's status as one of them. Furthermore, directly preceding the trio being taken to the prison, a firebender guard arrests a young earthbender because he "was bending small rocks" at them. The DMOS here is what he says after, in the most ridiculous whining voice ever: "It really hurt!" It's something that should be watched for one to understand how awful that dialogue is. The worst part about that is that if this were actually said in the series (and maybe it was, I don't recall), it would have been a genuinely funny joke. But because up to this point the movie was taking itself so obnoxiously seriously and all humor was replaced with brooding, this line just comes out of nowhere and leaves people laughing for the wrong reasons. Finally, when the earthbenders do their prison riot and start using the tons of earth around and under them as weapons, we are treated to a shot of six earthbenders doing an unintentionally comical choreographed series of actions accompanied by silly-sounding shouts. The routine is ten steps or so and the only result is that a small poorly-CG'd rock starts moving slowly past them. It is hammy, it looks stupid, and the lameness of the result is stupefying. That one scene is a DMOS for anything related to Avatar: The Last Airbender, not just the movie.
    • Dr Zulu 2010: There is actually an even worse scene who shows Katara in an even worse light. And that would be her duel against Zuko. In the show, it was one of my favorite moments as it show how Katara has grown not only as a character but as a fighter as well, who almost defeated Zuko if it weren't for the fact that the sun came up. How does the movie decides to honor it? By having her blocking his attacks and getting knocked on her ass without laying a single blow out of him. Did I mention that Shayamalan's daughter's favorite character in the show was Katara? That must make for some awkward family dinner.
  • Dr Zulu 2010: Highlander: The Source was already an insult to the fans of the series, but the biggest middle finger of the franchise is the ending. In which Duncan managed to beat the Guardian not by decapitating him but by not attacking him while he's defenseless. Which allows him to gain the price which is the ability to have a baby. I'm not kidding. That actually means that all the good immortals and friends who died (Connor, Methos maybe, Joe and Reggie) died for nothing. Even worse, Anna outright says that there can be more than one immortal at the end. So yeah. Not only many immortals died pointlessly, they all died for a prize who is not worthy in the first place and can be earned not by violence but by love and being selfless. No wonder why the creator says it was all a nightmare by Duncan.
  • Kenya Starflight: I'm not saying that The Oogieloves in the Big Balloon Adventure is a good film by any means... but it crosses a line from being bad to being downright insulting with the introduction of Lero and Lola Sombrero, two Ethnic Scrappies that embody everything that's wrong with the Spexico trope (with a bizarre jab at East Indian culture for good measure). As if being a bad parody of Hispanic/Spanish culture wasn't enough, neither of them are actually played by a Spanish/Hispanic/Latino actor! Did the filmmakers honestly think that when viewers think Hispanic/Spanish culture, they think of Jaime Pressly and Christopher Lloyd? Or did they just not care?
  • baconhead: I love David Zucker movies (except for this movie), I tolerated An American Carol up to a certain point, and that is the court room, and what the movie tell us? That we need guns to kill ACLU lawyers! I'm not even joking about that last one, they flat out say we need guns to kill people who disagree with us on politics, what the... I'm not even a pro-gun guy, and I could have made a better pro-gun argument; that's not funny, that's just Fascist.
    • SickBoy: Yeah, Zucker was always one of the best parody makers (second only to Mel Brooks in my opinion), but the ham-fisted political agenda in this movie, pretty much exemplified in that scene, drained him of his credibility. The whole scene can be summed up with this exchange: "We can't just shoot people!" "They're not people, they're the ACLU!" They even portray the ACLU lawyers as mindless zombies out to literally destroy the 10 Commandments by having them flock to the tablets in the courtroom and start wrecking them. They don't satirize anything silly the ACLU might have done, they don't offer any rebuttal to anything they disagree with, they just portray them as Too Dumb to Live and shoot them. The satire in this movie really started to shift into propaganda territory at that point.
  • Averyvill Animation: It was very difficult for me to choose a true DMOS for Son of the Mask (One of my most hated movies). The painfully unfunny jokes, Jamie Kennedy's pitiful attempt at mimicking Jim Carrey's Mask, the hideously poor CGI effects on the mask powered baby, the disgustingly sappy ending, the way they conveyed the "message", the many textbook examples of They Wasted a Perfectly Good Plot, but even with all those I've simply decided on one particular scene that made me despise this movie. Tim's wife Tonya returns home late at night and sees the house is a wreck, and then Tim appears. Thinking she's Loki in disguise (long story), Tim brutually assaults his wife, while intense music plays no less, with the dark lighting and atmosphere. Now, I'm not a guy who's easily offended, I tend to laugh at some pretty dark, brutal and mean spirited shit (I love the Pony.MOV series, for Christ's sake), but, here I actually felt uncomfortable at the fact that this intense scene of what is basically domestic abuse was played for laughs. And not only is it expecting us to laugh at this horrifying scene, but the sporadic tonal shift is also bothersome, as it feels like a completely different movie when you compare it to earlier scenes. It was more like something out of a psychological horror movie than the wacky surreal comedy this movie was attempting to be (albeit poorly). It was right there, right there that I realized "This movie is despicable"!
  • Animeking 1108: While I enjoyed Clerks II, the whole Star Wars vs The Lord of the Rings debate was an unnecessary Author Filibuster. They make the LOTR fanboy a Straw Loser that only uses awards and critical praise as a justification. As for Randall, his reasons for bashing it were the Ho Yay between Frodo and Sam (which makes Kevin Smith come off as a homophobe) and that all three movies were nothing but walking (which shows that Kevin Smith pressed skip too many times on his remote). Randall ends his rant by saying the movie should have ended with Frodo and Sam 69ing each other. Real mature, Smith. Not only did this turn Randall into The Scrappy for me, but my respect for Kevin Smith drastically dropped.
    • k9feline5: For me, what makes that scene a DMOS is the ridiculous notion that LOTR fans would be so shocked and demoralized by someone making Frodo/Sam Ho Yay insults, they'd have no option but to vomit, as if LOTR fans had never heard gay hobbit jokes before. Any chance there were still LOTR fans out there that sheltered was dead by late 2004 (and Clerks II came out in 2006, so no excuse there, Smith) with the release of the LOTR: Return of King Extended Edition DVD, which included a comedy sketch where Hollywood executives try to get Peter Jackson to make a LOTR sequel that would be all about Frodo/Sam Ho Yay. If Randall had made those Ho Yay jabs to Real Life LOTR fans, they'd most likely start quoting from that sketch.
  • Sophie 1322: The moment in Dark Shadows where Barnabas murders a bunch of hippies for absolutely no good reason at all. Now, to be clear, Barnabas was never the nicest of protagonists - he's killed innocent people before without being fazed by it in the slightest. But at least those murders were somewhat justifiable by extreme bloodlust. There is absolutely no excuse for this. Barnabas had been around humans for a while without harming anyone, and had plenty of opportunities to find safe alternatives for human blood, which he never once considers. He didn't even lose control, he calmly told them he was going to kill them all before doing so. I know that hippies are Acceptable Targets, but even these ones weren't portrayed as being bad people. On top of all that, it's Played for Laughs, and could have easily been removed from the film without affecting the story too much. After this scene, I found it completely impossible to like Barnabas.
  • Saiyan Warrior 006: 300, ye gods what a mess. What with the way the Persians and Ephors are portrayed as deformed monsters (Immortals anyone?) to the buttering up of Spartans as heroic defenders of Justice who abhor slavery despite keeping three to five slaves themselves, but no, the real Dethroning Moment to me is the way they excluded the rest of the Greek army who joined up with them. There were seven thousand Greeks total there facing off against the Persians in real life and in the film we only see a handful of those who aren't Spartan and they are portrayed as cowards afraid to fight and looked down upon as ready to flee at the first sign of trouble. Yeah, when the odds were against them and it was hopeless they did withdraw, but that was under an order to go tell Greece to prepare its army and there were over a thousand Thespians and Thebans who stayed behind as well and died fighting to the death alongside the Spartans. A scene with a group staying behind despite being told to leave would've been nice and a nod to what they did in real life. But nope, let's all pay attention to Leonidas.
  • fluffything: Reign of Fire: The way they defeat the dragons is so utterly idiotic, contrived, and utterly pisses in the face of basic biology that it makes a cheesy Godzilla film from the 70s look like a well-researched documentary in comparison. To put it bluntly, they kill the only male dragon (Yes, there is only a single solitary male within the entire dragon population) and that somehow makes it so that the female dragons are unable to breed and slowly die off. Quick question-How the fuck did these dragons manage to survive in the first place? This trait of the dragons is such an evolutionary flaw that they should've gone extinct long ago. Yes, it's true that many animal species live in groups with one male and several females. But, here's the thing, there's often other males of the species to mate with the females in case one male dies. Likewise, certain species of animal can change sex from male to female (or female to male) in order to breed. Or, heck, certain species of animal can reproduce via parthenogenesis (IE: A female is able to produce young without a male to fertilize the eggs). Considering all the numerous ways organisms in Real Life are able to find ways to reproduce and form new generations in order to survive, how is it that these dragons, which lack any said reproductive traits, and are wiped out so easily because of them, able to survive for so long? By this movie's logic, the singular male dragon could've simply died by choking on a bone and they would've gone extinct that way. Horrible writing at its worst.
  • Lady Stardust: Now I like Beyond the Black Rainbow and find it to be a very underrated movie but this moment bugs me. After Elena escapes Barry goes after her. Along the way, we see a couple of guys and in this scene the movie suddenly becomes a slasher film. Which is very jarring to how it was before and it just seemed like an excuse to have a bit more blood in the movie. Very unnecessary and out of nowhere.
  • Blazar: Now, I really liked X-Men: First Class. With the introduction of Darwin, however, the first thing I thought was literally "Black Dude Dies First." I was really hoping to be wrong about this, but guess what? He's Killed Off in the first confrontation, without even getting to do anything important, and the others (none of them racial minorities, with the possible exception of Mystique) immediately seem to forget that he was even there in the first place. And this from the film purported to speak out against racism and bigotry!
    • Lady Stardust: Nice to see i'm not alone. I thought this character was fascinating and to see him thrown away like that was very disappointing
    • purplespooon: One of two characters in the whole franchise who should have been able to survive that, and he doesn't.
    • Tuomas: On top of Black Dude Dies First, the movie ends with every female and/or non-white mutant on the side of the bad guys, while all the good mutants left are white men. Talk about Unfortunate Implications.
    • WRM 5: While Darwin's death was definitely terrible, for me the worst part was the movie's portrayal of Beast. Beast was always one of my favorite X-Men because he was intelligent, patient, and one of the few mutants who was completely at peace with who and what he was despite also being one of the few mutants who could never pass for a normal human. So of course, I should love a movie where he's the exact opposite of that, right? Yeah, we get to see a self-loathing Beast so bad that he has to be lectured on being proud of who he is by Mystique of all people. (Also, really? Mystique is not the best advocate for "Mutant and proud." She can look however she wants. She never has to face anti-mutant prejudice unless she just wants to for some reason.) And instead of the brilliant Beast we all know we get a piss-poor scientist who's so stupid that his "mutant cure" actually accelerated the effects of his mutation! Seriously?! Little kids with Toys 'R' Us chemistry sets have better results than that! (Seriously, though, the stupidity of the "mutant cure exacerbates your mutations" thing can not be overstated. Pharmacology does not work that way - bad cures just don't work, or have side effects. They don't magically overclock what they're meant to fix, that would require an entirely different chemical compound, and the only way Beast could have accidentally done that is if he just had absolutely no idea what he was doing at all.) Maybe this is actually canon to how Beast was as a young man, I don't know. What I do know is it's freaking awful to watch.
    • Ciel 12: Another case of a flawed message for me is how Charles behaves towards Mystique. She gets insecure and asks if he would date her in her natural form, blue skin and all. Instead of reassuring her, he instead gives a non specific response that she is worrying about her looks too much. Sure, he was probably being serious, but it comes off as though he genuinely doesn't like her blue form, and in him telling her to cover up her true self all the time it seems as though he agrees with the people who dislike mutants! Then by the end, he tells her that going with Eric is what she needs, and the whole thing comes off as 'Since your true form is blue and therefore you can't fit in if you decide to be yourself, you don't belong with the 'good mutants', as the good mutants agree with the notion that we should cover up our powers and not be proud of what we can do'. The whole thing comes off as confused in terms of its message, and when you combine it with Charles' 'They were just following orders' justification of the US and Russian navies trying to kill them at the end of the movie, which he says to ERIC, a Holocaust victim, I find it incredibly hard to believe the directors intend us to support Charles at all.
  • Alvarocasalino: I never liked very much the Twilight films. I never read the books, so I don´t know how faithful those adaptations are in comparison with its source material, but for me the ultimate DMOS in all those films is the resolution of the final battle in the second part of Breaking Dawn. After all the boring buildup in the first part of Breaking Dawn there is finally a big battle against the Volturi where a lot of characters die fighting, where the Volturi finally got what they deserve and it almost seems that at least those movies were going to have some kind of proper resolution... Until it is revealed that none of it was real. None of it mattered anyway. It was only a vision of the future which Alice shows to Aro. And finally there is no battle at the end and the Volturi just leave. Seriously, what the hell? So basically, all was just a huge buildup to nothing and instead of a proper Grand Finale we get a boring, corny scene with Edward and Bella in the meadow. Ugh.
  • Scarlet Nebula: Gamer. The film as a whole is rather poor but i can't list the whole movie so, the moment where you see Angie is being controlled by an obese man (and would be a possible rapist if not for his weight problem) who uses her for his disgusting desires. I knew from there what the film makers thought of anyone who played video games and it makes my stomach churn. What about female players? If i didn't know any better i'd think Jack Thompson wrote this script. To Neveldine and Taylor. Grow up.
  • Gess: The "soap drop in the shower" scene from I Now Pronounce You Chuck and Larry. The joke itself is rather stupid if you think of it, but as stupid, offhand gay jokes go, meh, there are worse ones. So if they just mentioned it, or used it as a short gag, then ok, no harm done. But they build a whole scene around it, a lengthy, really intense scene, where everybody involved (adult men, mind you) treat this stupid situation completely seriously, with apprehension and distress that befits not so much a prison shower scene, but an encounter with an actual predator. It is like they were going to make fun of that dumb short joke, but then forgot and played it as, uh, straight as possible.
  • taylorkerekes: Alright, I'm pretty sure most people are gonna disagree with me, but while Joyful Noise is a lousy movie all around, the one moment in that film that has really left a scar on my heart is the infamous scene in the hotel where Music/QueenLatifah delivers a strong parental rant towards Keke Palmer. Now while I get that it was trying to convey the concept of real inner beauty and how we should always honor our parents, the way Queen delivers that rant is just harsh and abusive. How, you ask? Think about it: the slap, the condescending remarks about "hanging mirrors all over the house" and giving yourself CPR (which may I add is impossible!), and telling her to respect her snoring ("You treat my snoring like it's a Marvin Gaye love song!")... are you kidding me?! What kind of parenting do you call that?! Do you have any idea how wrong that all sounds?! You don't slap your own teenage daughter in the face! And do you honestly think that hanging mirrors around the house just so you can look at yourself all the time will help prove anything?! Finally, telling your child to respect your snoring is just petty, because 1.) it's condescending and petty, and 2.) it does not come from exhaustion! Bottom line is, of all the crap Joyful Noise has to offer, this scene alone is the biggest mistake they made! If there's any advice I could offer to parents out there, it's to never take a tip from Queen Latifah's character in this movie! It isn't good Christian parenting, it's practically outright demonic!
  • Loekman3: In the live-action movie of Tekken, during the segments before Jun's death, Jin is shown to be making out with his girlfriend Kara, sure it is completely different than the Jin we know but I suppose I can tolerate that. But my real DMOS is when he woos Christie and he suddenly decided to make out with her at the nightclub dance, effectively cheating on Kara who Jin never thought about again in the later parts of the movie. This is a massive Protagonist-Centered Morality regarding him cause not only did he gets away with this act of adultery but also it portrays as if rape and assault is wrong while cheating and adultery is A-okay.
  • Scarlet Nebula: The bit where Tonto comes dressed up as an Asian in Disney's The Lone Ranger. So basically it's fine if that happens but Song Of The South is embarrassing and racist? Disney, I think you might wanna apologize to a few people.
  • Garfield 2710: Uwe Boll's Assault on Wall Street borders on being awful and even potentially dangerous. The film starts off slow and melodramatic, but nothing really horrible in it. There's a cop who loses all his money when the housing bubble burst, (from mistakes that he made that I should add), and then spends the rest of the film trying to figure out what to do. However, when his wife kills herself, he then decides to go on a rampage, killing anyone who was involved with him going broke. Never mind the fact that he lost his money because he was being stupid with his investments, the film is basically advocating ignoring responsibility for your own mistakes, and killing the people involved vigilante style. However, regardless of how dumb that was, I was still with it, and could even see it as being a good cathartic film if that's your cup of tea. However, the film completely lost any semblance of logic or reason when the main character goes on a final shooting spree where he kills people on Wall Street who were not remotely involved with him at all. Except for one guy he happened to pass who he found out had a pregnant wife. One guy out of 50 men and women. All of whom probably had families of their own. Then the film cements itself as a true atrocity, when after the cops come and arrest him, his friends (who fully know what he did) remove the handcuffs and let him go. After he murdered dozens of innocent people. And we're supposed to agree with this. Screw, this, movie!
  • Maths Angelic Version: Pay It Forward was all right, at least until the ending ruined everything. While trying to defend their victim, Trevor is suddenly killed by two bullies. They get away with it. It comes from nowhere and obliterates the positive message the film would've had otherwise. Were the creators desperate enough for a Tear Jerker ending to ruin the inspirational message of spreading goodness, and replace with the Accidental Aesop "being good will get you killed needlessly"? All they accomplished was ticking me off and making me not want to touch the film ever again.
  • Tropers/WhyNotNow: Evan Almighty. For me, it was not the behavior of God that was so unforgivable, but the behavior of his wife, the woman who was pledged to support him, when told what he was doing, and to cap off this DMOS, she is forgiven far too easily to the point that you just wanna slap her. Whatever happened to for better or for worse? Does loyalty mean nothing to anybody anymore?
  • Tropers/Tyrannosauruses: The Lonely Ones combines, to an extent, splatter horror with character-driven horror, to the point we're given about 35 minutes of character establishment. So the writers should at least kill the characters in respectful ways, right? Well, though the only stupidity in any of the first three deaths was understandable. But then, the nerdy guy, Jimmy, faces off with the only ghoul who's currently a threat (the others being too far away). One ghoul earlier tore a jock's head clean off, so naturally Rinoa whose survival instincts were praised, Blake and Jimmy's best friend Dante, who's currently wielding an axe, wait until the ghoul disarms Jimmy, punches him hard enough that he coughs up blood, and snaps his leg before doing anything. Then, Dante's attack on the ghoul utterly fails, because the ghoul didn't need to focus on Jimmy anymore, and after they save him, they place him on the table - right by the doors, which were ripped off. Another ghoul later prety much walks over and takes Jimmy away. Rinoa could've shot this ghoul, then decapitated her, except she just stood there doing nothing. And again, Rinoa's survival instincts were praised. Incidentally, by Blake, who himself is the only known survivor of a previous ghoul attack.
  • RA 2: In Olympus Has Fallen, the ridiculously stupid circumstances that led to the near-decimation of the US. The Koreans have taken control of a device that needs three passcodes to activate, one of which is only known by President Asher. When Kang begins brutally torturing the other two code holders, the President tells them to surrender their codes, swearing that he'll never spill his. There's just one problem - the Koreans have a codebreaking device - which means that all Asher's done is help them get the codes in one-third of the time. Nice going, Mr. President. Oh, and Mike almost fails to punch in the deactivation code in time because he doesn't know what a "hashtag" is, and not one person in a room full of people over 40 can give him an anachronistic name for the # symbol.
  • Animeking 1108: The famous Atomic F-Bomb scene in A Christmas Story. First off, why would Ralphie think his mother wouldn't believe him if said he learned it from his father? The Old Man has been shown to not be the best role model, considering that he swears like a sailor and he proudly displayed a sexualized lamp. Second, there was when he scapegoated his friend, Schwartz. If the scene had just ended with Ralphie's mother calling Schwartz's, it would have been fine. But instead, we hear Schwartz getting beaten by his mother, complete with him crying for her to stop. I get that it was the 1950s, and child discipline was a lot more strict, but playing child abuse as comedy is just sick.
  • 1810072342: Superman '78, with the ending. The idea that Superman flies around the Earth millions of times in one second: cool. The idea that he does this to slowly reverse the Earth's rotation: nice. The idea that this action will cause time to run backwards: What?! Just... why did they think this was a reasonable plot device?
    • Miracle @ St. Olaf: Speaking of child abuse played for humor, there's also the scene where Superman rescues a little girl's cat from a tree. She runs home to excitedly tell her mother what happened, and we hear her mother yell at her for lying, then slap her in the face. The joke's setup wasn't funny to start with, so it's safe to say that omitting the punchline —a young child being struck— wouldn't have detracted from the "humor" one tiny bit.
  • Sam Max: Howard the Duck was So Bad, It's Good overall, but the beginning had a particularly loathsome scene. The one where, as Howard is being pulled away from his apartment, it cuts to a scene of a female duck taking a shower. Her breasts are seen here, uncovered, without so much as a censor bar. Why did the filmmakers feel the need to put this in?! Made worse by the fact that you could take this part out, and the film wouldn't be affected by its removal, so there's no reason it couldn't have been cut! It wouldn't surprise me if it made people think "This Is Gonna Suck" afterward, and if people left the theater due to this.
  • Kakai: In general, Jack Ryan: Shadow Recruit was a nice action flick to watch and forget, but one moment just kicked me out of Willing Suspension of Disbelief: when Ryan breaks into Big Bad's headquarters to hack his computer system... and does it by plugging into power socket. Hollywood Hacking at its worst and you'd think that filmmakers know that power grid and intranet are not connected...
  • WhizzerMckwoff: Cheaper by the Dozen is a god-awful movie in my opinion, but the worst thing about it would have to be the teenage son. He's this nasty, fanservicey dude (played by twenty-something year old Tom Welling. We're supposed to feel sorry for him when he's picked on by a bully (for the dumbest of reasons), but all I see is someone I feel we barely know who easily could have either ignored or dealt with that bully. I dunno, perhaps it just the wrong choice of actor. Later, said character acts gives his dad a "Reason you suck speech" that makes me lose any respect I had for the character. He freaking acts like he's superior, and knows everything that went on with his dad and his dad's friends in high school. He's unlikeable it almost makes you want to see the school bully (a storyline that gets dropped without any resolution). And on top of that, he completely ignores one of his younger siblings when they cheerfully greet him. To be fair, he does humbly apologize to his dad shortly after this, but the dad just tells him "you were right!", cancelling out any positive aspect of the scene, and that's pretty much the last time the character speaks in the film. OK, so maybe if it was a different actor, it would have worked better. I still feel, though, like this character acted too superior, and that the bully story was just put in to make viewers actually like and feel sorry for him. Uh... didn't work.
  • Cuchulainn: Superman Returns. A terrible movie all around, but this was the moment that caused me to blurt out in the theater, "Oh, are you fucking kidding me?" At the beginning of the movie, it's mentioned that, in the time Superman was away, Lois Lane wrote an article, called "Why We Don't Need Superman", and that she's won a Pulitzer for it. At the end, while Superman is watching over her house, we have a tracking shot inside, where we see she has started writing a new article called "Why We Need Superman". That is writing that doesn't merely "suck". That is writing that could suck a golf ball through a garden hose.
  • CJ Croen 1393: Ben & Arthur can barely even be called a movie, but probably the worst moment would be a point somewhere in the middle wherein Ben and Arthur (who are married) get into an argument culminating in Ben punching Arthur so hard he gets knocked unconscious and wakes up with a nosebleed. Ben's response? "Well, that'll teach you not to say stupid things." ... What? No seriously, what? What kind of lesson is that? That if you argue with your spouse the best solution is to punch them until they're unconscious and bloody and then tell them it's their fault for saying something stupid!?
  • TheBattyOne: That's My Boy is, in my honest opinion, an awful movie. Its DMOS happens in the beginning sequence: we are introduced to a 13-year-old boy who has a crush on his teacher, as teenage boys sometimes do. His teacher reacts to his inappropriate comments about her by assigning the boy detention... during which she has sex with him. The teacher continues a sexual relationship with the boy until she is caught and sent to prison, pregnant with his baby. Meanwhile, the reactions of everyone who learns about this incident are the same: "Wow, that boy is so lucky! He got it on with the hot teacher!" This kid was - let's call it what it is - raped, and the situation is played for laughs for the entirety of the movie. The most despicable example of Double Standard: Rape, Female on Male I have ever seen.
  • Sanfranman91: While watching Fantastic Four (2015), it became crystal clear to me that Josh Trank hates those who have read the comics only five minutes in. Before Ben Grimm's abusive brother batters Ben, he says "It's clobbering time". I understand that many directors have been creating darker adaptations of comic books. However, seeing The Thing's classic battlecry transformed into a prelude to sibling abuse is perhaps the most despicable perversion of a classic and beloved catchphrase I had seen in any form of media. i09 asked if this was the worst moment in the entire film and, while the film was terrible in general, I can say yes because that scene was essentially Trank giving Fantastic Four fans like myself the middle finger.
    • King Clark: I've given a lot of thought about what the absolute worst moment in Fant4stic is. I've considered the above butchering of a classic catchphrase, the expedition only happening as a result of the characters getting drunk and getting inspired by Victor's rant full of many Critical Research Failures, Sue being left out of said expedition while Ben (who had nothing to do with the construction of the teleporter) is inexplicably brought in, Reed abandoning his friends without any motivation whatsoever, and the hilariously awful climactic fight scene as potential things to include as my choice for this movie's DMOS. What I've ultimately decided is the absolute cherry on top of this cinematic disaster is what immediately follows the only action sequence in the entire movie: after our "heroes" have stopped the villain and hundreds of thousands of people die, they act like they're entitled to have their own base and work away from the government. While annoying, this wouldn't have been so bad if it weren't for the fact that they actually threaten the government with a terrorist threat when they first say that they might not comply (which is Played for Laughs in a pitiful attempt at humor). Bear in mind that, for whatever reason, the government is presented as completely vile in spite of not actually doing anything remotely reprehensible, and that the last superpowered individual they came in contact with very nearly destroyed the planet, meaning that they'd actually be justified in being apprehensive toward answering to their demands. The movie essentially turned these iconic superheroes into bratty, egocentric terrorists in the course of a single scene, and the writers of the movie expect us viewers to be on their side. It goes utterly against the world that Jack Kirby and Stan Lee invented, and it's utterly disgusting to see the Fantastic Four get this treatment. They deserve better treatment on film than this.
  • Kitchen90: Pitch Perfect had the scene in which Beca is caught singing as she prepares for her shower by one of the head runners of the Bellas, and that disgusted me to the point of wanting to shower myself. I just found it awkward, and just couldn't believe that this was Played for Laughs — the way that Beca obviously looks uncomfortable with Chloe standing there staring at her, the smug grin Chloe gives her when she finds Beca's singing good enough to be in the Bellas group, and then the pair of them caught naked in the cubicle by a male student. I didn't laugh at all at any part of it, especially at the implication of Chloe liking to pleasure herself to the David Guetta hit tune "Titanium", which just made the scene entirely gross and stalkerish. Seriously, it sounded like Chloe was bragging about that rather intimate detail, making me glad that worse things didn't happen in that scene, and practically thanked God when it vanished from the screen.
    • The Lucky Cat: You think Chloe's a stalker? She has nothing on Jesse. His subplot with Beca is actual garbage. To wit, Jesse spots Beca from the back of a taxi on the first day of college, and from then on he basically acts Entitled to Have You for the rest of the film, from whining about Beca having the audacity to not share his interests (along with obnoxiously claiming Star Wars has "the biggest plot twist in cinema history" - because wow, we totally needed some guy sucking off that hugely overrated franchise in a female-driven movie about a singing contest.) He pouts and snarks at Luke because Beca obviously thinks he's hot, claims he knows Beca from the five seconds he saw her, despite Beca being obviously uncomfortable with how stalker-y he is, then he has the nerve to call her out on pushing everyone away when he's done nothing but encroach on her space, demand she watch movies he likes, telling her she'd be pretty if she took out her "scary ear-spike" and generally acting like he wants to give Beca a roofie. The movie even has the nerve to treat Beca yelling at him to back off when he interrupts an argument between her and her father like a Kick the Dog moment, but Beca was right - he's not her boyfriend, isn't for nearly the whole movie (and they gratuitously hook up at the last second) and he has no right butting into her personal business. I love Pitch Perfect, but that subplot screams, "Guys! If you whine and beg and pester enough, then you too can get the hot girl of your dreams, even if her interests and preferred way of dressing aren't what you want them to be and she says no!"
  • Cabbit Girl Emi: I got through Synecdoche, New York feeling a strange combination of feelings, but I had solely negative feelings for one scene, in a bad way. Somewhere within an hour after several years have passed, Caden Cotard visits his dying daughter Olive in Berlin. They use translators because Olive now speaks German. Long story short, Olive refuses to forgive Caden because of lies about being gay told by her stepmother (which happened off-screen), and then she dies. The stepmother then rubs the events in Caden's face. Not only was it tonally confusing for me, but was it necessary to give poor Caden an unwanted kick to his emotional crotch on top of other crap he's went through?
  • WRM 5: I get that The Book of Eli relied heavily on Rule of Cool, but there was one moment that was so dumb I had to stop watching. It happens shortly after Eli first arrives in the survivor city. After some trading one of the characters ends up with a scavenged bar of soap, and makes a comment that it might very well be "the last bar of soap on Earth." ... really? Go out. Kill an animal. Make some damn soap. This is literally stone age technology - the earliest recorded use of soap dates back to 2800 BC. And don't say "it's the post-apocalypse, they don't have time for that sort of luxury!" either, because that's BS. Washing yourself off is not a luxury, it's hygiene. Surely preventing the spread of disease would still be important in a post-apocalypse environment. And it's not as if animals are all dead either, the movie opens with a scene of Eli hunting, and even if all the animals were dead, there is such a thing as non-animal-fat soaps, like castile soap. This was the point when I realized that this movie about rough-and-tumble survivors in the post-apocalypse was written by sheltered city kids who had no idea how living in the wilderness would actually work.
  • Miracle @ St. Olaf: Okay, so Ali G In Da House already isn't up to par with the series that spawned it, but overall it's a watchable and serviceable comedy. Except, of course, for that goddamn "knob polishing" scene. It's not that it's inherently unfunny, but rather that all the humor is packed into the ludicrously complicated setup, and yet the film still spends way too much time slowly creeping towards a punchline that even the dumbest person in the room can spot from a mile away. Sometimes less really is more.
  • InsertCleverNameHere: William Shakespeare's Romeo + Juliet. Oh my god... that ending was just infuriating. Not only are Romeo and Juliet's deaths painful to watch (Juliet is revived just as Romeo drinks the poison), but the scene where their families come to terms is also dropped. Yes, one of the key scenes from the play was written out and now the families are probably going to spend the rest of their lives fighting and causing gang violence. I'm never watching this movie again.
  • Cheedo: While Grease is overall a funny, entertaining classic movie, I have always had a huge problem with how the movie allows Sandy to be treated- and how it makes her respond to it. Danny constantly picks his shallow, Jerkass friends over a kind girl he genuinely likes. What does Sandy do? She gets an Unnecessary Makeover. Now that we know modesty is uncool and pounds of makeup and tight clothes are what strong women wear, Sandy will be accepted by his friends. Oh, and that clean athlete image Danny worked hard at? Now that Sandy has conformed to the cool kids' standards in a way her parents will inevitably disapprove of, he throws it all away to go back to his old ways. On top of that, the extremely catchy virgin-shaming song is so very unnecessary and is never treated as wrong as much as Rizzo getting slut-shamed is.
    • Dr Zulu 2010: Agreed. While the ending was unique for its time,note  the sad truth is that time was not kind to this manner of thinking in two ways. First, this could be see as sexist in hindsight (and I don't use this word lightly considering my tastes in video games) with Sandy deciding that the only way to be with Danny was to look and act like a prostitute. Two, the message to not follow the crowd and be yourself is broken since Sandy gave up her identity, personality and even her looks to be with a group of people. But that's okay! They are such likable rebels! This ending is why I couldn't enjoy Grease even though the songs are catchy; it gave me such a bad impression even when I first saw it that I'm not surprised the sequel, which is just the first movie with the gender roles reversed, killed any chances for the movies to become a multi-media franchise.
  • larry4163: The Three Flavours Cornetto Trilogy films are all far from being bad films. That being said, the third and final film, The World's End can, for the most part, be considered just as funny, touching and epic as the two films that came before it. That is, all except for one very important part of the film that it caps of the entire trilogy with, that being right after the thrilling climax of the film, we get the ending and resolution to the film. And Oh, My, Gracious is this a truly shark-jumpingly stupid let down of an ending not just to the film, but to the entire trilogy as a whole!
    • First up, after the surviving characters leg their way out of the destroyed Newtown Haven we soon find that not only has the pulse destroyed the town where it started, but now it has sent out a chain reaction of pulses that have wiped out all the advanced technology across Britain and presumably the rest of the world and has sent humanity back to the Dark Ages. What??? Okay, I could accept that in this world, some aliens were behind the development of today’s telecommunications and computer technology, but first off, exactly how long have freaking aliens been influencing human technology, to begin with? In the movie, Basil claims that they arrived in Newtown Haven in 1990, which would make sense given the rise of the internet from then on, but even then, there’s a tattle-tale sign on the Newtown roundabout sign that hints aliens might have originally founded Newtown as far back as the 1900s! So, is this basically like in Ancient Aliens where aliens have been influencing/living among humans since older times?

      Further on, as the epilogue unravels, we suddenly find that there are more blanks outside of Newtown, presumably from other penetration spots, or so it would seem, as given there are now many of them; are we now supposed to assume that this whole time Britain’s major population centers were populated with humanoid robots without once making a slip-up? No resistance movement, no unrest, just a happy population? And not because of an easier lifestyle but instead because they got replaced by robots?

      But it gets better! Now that technology is gone, Andy says that life is now simpler, and Gary King is looking to restore human civilization through a new movement to be "The King". Did none of the creators of this movie ever watch films like The Day After or Threads? The fact that the alien pulse has wiped out their technology would also mean that it would have destroyed most of its infrastructure as well. And as with many poorly written apocalyptic disaster movies, this issue seems to be almost completely overlooked, as Andy only mentioned how a few people that weren’t converted into blanks lost their lives after the great pulse. Realistically, it is entirely possible that more people were wiped out by exposure/starvation than were simply mulched and replaced with blanks, and Gary and his posse were essentially partly to blame for this! Not because the whole blank program was something humans would have wanted to begin with, but because most humans didn’t even need to be replaced, as the infrastructure was keeping them alive and well, to begin with. And what makes it even worse, is that in spite of the title, the ending just doesn't work as an endpoint to justify any of the film's themes or messages because of the sole reason that it was not properly built up at any point in the film and winds up being a nearly literal last-minute Ass Pull that happens directly after the film's climax. There was no need to literally bring The End of the World as We Know It if the blank invasion meant the end of humanity all by itself, and in fact rather than just having the aliens take away their blank production facilities and leave humanity to its own devices in an uncertain future, what happens instead winds up invalidating Gary's awesome Screw Destiny maneuver of defiance that he carried with him all throughout the film!

      Essentially, both The Network and Gary’s crew are in some ways responsible for the film’s ending; whereas Gary and his friends simply freaked at the existential threat and The Network’s vaguely socialist agenda of destroying free will between free men, The Network, despite claiming to be an omnipotent and well-intentioned alien entity, seemed to show absolutely no regards towards the idea that since all humans think independently, they would never be capable of seeing another person’s idea of "perfect" as their own idea of "perfect". This means that The Network, despite what it claims itself to be (calling humanity out as a bunch of "Fuckups" for their repeated cycles of self-destruction) is, in fact, committing the same "Fuckup" that many socialist human leaders have done in the past, (holding people against their will and probable existential genocide) which it might have also done on the other planets it claimed were more "developed"!

      To top it all off, there is the idea that Gary’s quest would be a sign that humanity would be able to put itself back together again under the hopes of striking back at The Network once it was back to its former status. Again, this seems to ignore the notion that aliens have been influencing human technology for many years, and thus seems to place this "present-day world" in a setting where humans on their own could never advance their own technology beyond Medieval Stasis, and could never even so much as get of the ground on their own without the intervention of aliens. And considering that the pulse has destroyed all infrastructure on Earth, basically, thanks to both The Network and Gary’s crew, all of humanity is now thoroughly screwed for a long time to come, with little more than sticks and stones fend for themselves, let alone get off their Insignificant Blue Planet to stop the network and its domination of other systems... Oh yeah, and there isn't even any actual Mint Cornetto (save for a wrapper) anywhere in the movie.
  • The Titan Prince: I like TRON, but there's one thing about it that really annoys me: the entire existence of Yori. Granted, it's been a while since I last saw the film and I could be misremebering a few things, but I can't remember her existence ever being foreshadowed. She randomly shows up brainwashed by Sark's forces, is un-brainwashed by Tron through powers that, like her, were never foreshadowed or shown before, and then she joins him for no apparent reason. Even more enraging about this is that this comes shortly after the death of Ram, a far more likeable character than Yori. Yori gets pretty much no character development (the only thing she really does the whole thing is make out with Tron and Flynn, convince Dumont to help them, and create a Solar Sailor). From what I've been told, there were some deleted scenes that developed her character more, but she just feels like a waste in the final cut.
    • Allronix: Flynn's creepy behavior towards Yori and that damn kiss. First of all, Flynn behaves like a creep to her because she looks like the ex he's still hung up on (and Lora was obviously the one who dumped him...and upgraded to Alan, who actually behaves like a responsible adult). Yori was clearly unsettled by him, and he kept making attempts to get in her space. It was also clearly obvious that she and Tron were a committed couple, and Flynn wasn't able to respect that. Digging himself deeper, Yori is (from a certain point of view) Lora's daughter. Yuck! Oh, and she had no idea what he was doing to her or what it meant, judging from her kissing Tron later, and Tron having no idea what it was. And to add a gallon of gasoline to the dumpster fire in progress, he's technically a deity over her, meaning that even if she did know, she wouldn't be in a position to tell him "no," making it a downplayed (but still awful) case of Double Standard: Rape, Divine on Mortal. Just how many lines was El Duderino trying to cross here?

      On the flip side, her absence from the TRON: Legacy canon can also be one. Bridges, Boxletitner, Warner, and even Dan Shor were asked for some kind of Role Reprise, while Cindy Morgan got hammered hard with Men Get Old, Women Get Replaced, reduced to a couple bits in the ARG. Yori and Lora were characters that ran on a lot of Fridge Brilliance, with Lora being the one who invented the laser, made the decision to warn Flynn, and got Flynn and Alan on the same page to make the Encom break-in Power Trio. Yori was implied to help run the laser, handled strategy, planning, diplomacy, and built/piloted the getaway vehicle - everything but the fighting. Come the sequel, neither one was worth even a mention, with Flynn apparently appropriating the laser that was Lora's life's work, taking it for joyrides, and setting himself up to take full glory and credit for his "digital frontier," basically doing to her exactly what Dillinger did to him. And there's no one calling his ass out for this, because Morgan's characters were shoved out of sight as fast as possible.

      The dethroning moment of suck for the TRON franchise? It's the Badass Decay of Flynn. In the first film, he was something of a Jerk with a Heart of Gold; even with the trail of "what were you thinking?!" moments (like sexually harassing Yori - not cool, El Duderino), you knew he'd do the right thing when the chips were truly down. But then the coup, running off to the Outlands with Quorra and then what? He pretty much sits on his ass meditating while The Grid burns around him. We get this token line about how he fought Clu and it "made him stronger," but the fact that Clu's pretty much taken the whole thing over makes the whole line sound like an excuse. We don't even get a mention in TRON: Uprising about Flynn resisting Clu (you'd think that if the local Deity of Human Origin and the local batshit crazy avatar were at active war with one another, someone would mention it). But no, from all the evidence presented, Flynn essentially buggered off to a cave with Olivia Wilde, knifed the Programs in the back, and let Clu have whatever he wanted until Sam knocks some sense into him.
  • Senor Cornholio: No mention of the Jem movie yet? Just watching The Nostalgia Critic tearing it apart was enough to keep me away from this mess, even as someone who never saw the original cartoon. It had nothing to do with the show, everything is changed up aside from the idea that the characters are in a band, and pretty much everything I could potentially say about it has already been said by people like Doug and Pan in the past. However, one moment in the movie, I have to mention. In case you were blissfully unaware, the creators of the movie gave the fans a chance to be in the movie by simply stating how much they loved the show. Sounds like an interesting idea, right? It seems like they're being nice to the fans. However, that's not what they did; what fans got instead was their own gushing over Cartoon!Jem being used at the end of the film, and edited to make it look like they're talking about Movie!Jem. Wow. Not since Return of Slade have I seen such an insult towards a fanbase in my entire life. Give the other moments on this page credit; at least they didn't go out of their way to insult a franchise's fanbase to such a degree.
  • JEFFWONTLEAVE: Coming from a person who considers the first two Spider-Man films as extremely important to comic book movies and are a wonderful homage to the original run in the 60s and 70s, I can not understand why anybody would defend The Amazing Spider-Man 2 or be shocked that Sony decided to reboot the character. While the first film was a flawed and predictable film, it at the very least gave me some great versions of Spider-Man and Gwen Stacy and a story arc about Peter’s parents that would build up in future installments. Not only does the sequel fail to do anything cool with that arc, not only does it ruin those versions I loved in the first and made them almost complete idiots, not only did it not fail to give me the most laughably awful villains since Batman & Robin, but it also flat-out stops the movie with no reason whatsoever to poorly hint at potential film sequels and spin-offs. Take for example a scene that happens 38 minutes in, where Harry just drops a conversation where he acts like a smug little brat to the suits at Oscorpnote  to just say randomly chat to a girl named Felicia who just happens to be his father’s assistantnote  and that everybody now must work for her because she works for him. There are two reasons this scene doesn't work at all.
    • 1: As a person who has read a good chunk of Spider-Man comics, I know that the most common Felicia in those books is Felicia Hardy a.k.a. The Black Cat. So it’s pretty obvious to me that this is Sony's way of saying “Hey guys we got Felicia in the movie and she may or may not be Black Cat one day, who knows!?” And yeah it’s cool that she’s here and all, but I would rather see Felicia actually be like her comic book counterpart in some way instead of just being a random shout-out in the middle of a scene. If anything I’m annoyed that you’re wasting a beloved side-character like this.
    • 2: Let’s say you don’t have much knowledge in Spider-Man lore and you were just a fan through the movies and TV shows. Now try watching the movie and this scene in the particular. What the hell does this have anything to do with the story at all? She barely shows up at all for the rest of the movie, nobody actually worked for her or anything, she wasn’t even a love interest for Harry. The movie stopped for about a minute for a character that is literally nothing. And that’s all this film is, just a bunch of random scenes that pretend to be something important but in the end were just nothing.
  • The Lord of the Rings
    • Retloclive: The Peter Jackson trilogy is absolutely incredible, but one moment that has always pissed me off occurs in The Two Towers when Grima Wormtongue was simply let go despite everything he did to ruin Rohan. At the very least, he should have been thrown in jail for his crimes. But no. Grima instead gets to run away to join up with master Saruman, and not only informs the traitorous white wizard of Theoden's plan to seek shelter at the fortress of Helm's Deep, but also informs Saruman of the weakness in the fortress' main wall. The moment the wall blows up during the Helm's Deep fight, I just didn't give a damn about the good side being in peril since it was their own goddamn faults that led to this event.
    • JediMasterDraco: The Return of the King. In the book, the great gate of Minas Tirith is smashed by a combination of the ram, Grond, and the Witch-King's magic. This is the last scene of the chapter:
      "In rode the Lord of the Nazgûl. A great black shape against the fires beyond he loomed up, grown to a vast menace of despair. In rode the Lord of the Nazgûl, under the archway that no enemy ever yet had passed, and all fled before his face. All save one. There waiting, silent and still in the space before the Gate, sat Gandalf upon Shadowfax: Shadowfax who alone among the free horses of the earth endured the terror, unmoving, steadfast as a graven image in Rath Dínen.'You cannot enter here,' said Gandalf, and the huge shadow halted. 'Go back to the abyss prepared for you! Go back! Fall into the nothingness that awaits you and your Master. Go!' The Black Rider flung back his hood, and behold! he had a kingly crown; and yet upon no head visible was it set. The red fires shone between it and the mantled shoulders vast and dark. From a mouth unseen there came a deadly laughter. 'Old fool!' he said. 'Old fool! This is my hour. Do you not know Death when you see it? Die now and curse in vain!' And with that he lifted high his sword and flames ran down the blade. And in that very moment, away behind in some courtyard of the city, a cock crowed. Shrill and clear he crowed, recking nothing of war nor of wizardry, welcoming only the morning that in the sky far above the shadows of death was coming with the dawn. And as if in answer there came from far away another note. Horns, horns, horns, in dark Mindolluin's sides they dimly echoed. Great horns of the north wildly blowing. Rohan had come at last."
      • By contrast, in the film, we just have a run-of-the-mill Zerg Rush and the Extended Edition doesn't help with Gandalf getting his ass kicked no questions asked. Yawn! This was the one scene in the books that was practically begging to be made into a movie and Peter Jackson made a mockery of it.
    • Dr Zulu 2010: For me, it has to be a scene in the theatrical version of The Return of the King where, after surrounding Saruman, they basically said let's make sure Saruman stays in his tower and never bothers anyone again. I already knew that one of my favourite moments in the book (The Scouring of the Shire) was excluded for good reasons so basically that means that Saruman, the second most important villain after Sauron, never gets his comeuppance. The fact that his death scene was removed for time constraints is more infuriating since 1. this happens early in the movie and 2. this is a major villain. I'm pretty sure we can add a little 15 minutes (or heck, removing some sequence which are filler) so we can see Saruman getting backstabbed by Grima and falling from his tower in an epic Disney Villain Death. This is why I need to find the extended cut of the movie.
    • bernardthebeanpole: Gandalf's behaviour in the Pyre of Denethor scene. Ok, he needs to stop Faramir's immolation- so he knocks Denethor back with a pole and has Shadowfax kick him into the flames (essentially sealing his death warrant.) I mean, he might not like the guy but geez...
  • ScotieRw: The mom chick from The Babadook needs to get her shit together. She's stressed out because her kid has behavior issues and her husband's dead, understandable. But at one point her kid's school wants to have a monitor monitor the boy after he brings a homemade crossbow thing to school, implying they might suspect he's misbehaving not because he's a brat but because there's something wrong with him. She takes the kid out of school because she doesn't want him to get picked on. So basically the chick thought her son's elementary social life was more important than making sure he grows up into a well functioning adult.
  • LatePocketwatch: While this Troper looks forward, eagerly, to giving Arrival another viewing his first was marred by a defiance of common sense. If the conceit of your film is translating a Starfish Language then during the aliens' debut the audience MUST be able to distinguish their vocalizations from Drone of Dread laden background music.
  • mscc93: I was unlucky to discover The Strange Thing About the Johnsons through Twitter because of the whole plot. Basically, the son has been raping the father since he was 12. One scene that does piss me off is when the son apparently busts down a door to get into the bathroom that his father is taking a bath in. Isaiah then proceeds to rape Sidney, and the scene cuts to the mother, Joan, not doing anything to help her husband. She just sits in her room mortified and just watching television. When it comes to molestation/rape, the bystander who just ignores it is just as bad as the abuser, so of course this would leave a horrible taste in my mouth.
  • Sampa CM: Who Am I, one of the so many movies Jackie Chan has participated in: now, don't get me wrong, I liked most of it, the fighting sequences, the humor, and I honestly think the Idea of an amnesiac Jackie Chan fighting to rediscover his identity is good. Why is it a DMOS Then? Simple. The ending: At the end of the movie, the villain is defeated by Jackie and arrested, but then comes this girl from the CIA, who apparently thinks he hasn't got enough punishment yet, and kicks him in the face. Seriously? Why was that necessary? The villain was already defeated and was no longer a threat... That tiny moment really pissed me off, and ruined the entire movie for me.
  • Papyru 30 While I wasn't enjoying Beauty and the Beast (2017) I didn't dislike it until Le Fou's Heel–Face Turn mostly because it's extremely rushed and the dialogue sucked.
    • Dr Zulu 2010: Having seen this movie when it comes up, I got this to say: It's filled with subplots that went nowhere; the most infamous of them being Belle the inventor. Basically, Belle made a washing machine that got destroyed by the villagers as a way to make Belle more ahead of her time. The problem, however, is that her inventor skills ended up having no payoff. Did the crew don't know how settings work? Why making her an inventor when it adds nothing to her character except... wokeness? And, as a Brucie Bonus, that one guy who said "Isn't one [girl who reads] enough?" in a time period where girls reading books and magazine for girls are prevalent is another example of Disney being woke without thinking for how it organically fits into the story.
  • abby-anne: Descendants is a cheesy, shitty, campy slap in the face to Disney's classic films in a weak attempt to cash in on the Monster High trend, but it's mostly harmless. That is, until the moment Mal slips Ben a Love Potion. Love potions are basically magical, G-Rated Date Rape drugs. So Mal’s use of it should have either been treated as her crossing the Moral Event Horizon or left her feeling horrified, guilty, and shameful. While she does feel a little bad, it’s mostly because she thinks her love is completely unrequited. The film becomes completely irredeemable once Ben reveals that he always knew about the love potion and is completely fine with it. Holy shit… this "children's film" that came out in 2015 just used Rape Portrayed as Redemption without a trace of irony. Nothing Mal does for the rest of the film makes up for this, meaning that Mal is only a hero because of an insane amount of Moral Luck. With that plot point, this movie went from harmless, tween garbage to a disturbed, less-than-worthless, morally-bankrupt piece of shit.
  • Tyrekecorrea: Power Rangers (2017) gives us a lot to complain about, but my chief complaint is that it shames the LGBT community. Case in point: putting an LGBT Power Ranger on even terms with one who has Autism is like saying that being LGBT is a disability or illness. Then there's that scene where it looked like Billy died... why would Saban allow that when David Yost, who originally played Billy, is both understood to be gay and consistently top of mind? Now people are going to think that everyone who is gay is awkward and can't function. What's the deal with Trini, for that matter? She's said to be LGBT, but it's never made clear whether she's a lesbian or bisexual. Is she neither? Is she some kind of omnigay person who has no set identity of sexual orientation? Is that what the term "queer" means in an LGBT context now? This Trini doesn't so much relate to the gay community as make it look like a bunch of freaks, and it's an awful thing to do to Thuy Trang's legacy.
  • AL 19: I honestly only watched the film Gods of Egypt for Bile Fascination, as I was curious as to how bad it was (It's definitely bad, though I don't hate as much as most people do). While there were some moments that were pretty confusing, there was one which utterly bamboozled me. And that is the moment where Ra appears to be dead after being stabbed by Set, only for the viewers to discover later that he was somehow alive this whole time. Now you could make the argument that because Ra is a god, he can't die. That would've been a decent argument... if it wasn't for one thing. See, in the beginning of the film, Set battled against his brother, Osiris, and eventually stabbed him, causing Osiris to die a moment later. He makes the exact same action to Ra much later on, and it seems as though he died. However, right after Horus tells him "There's still time", Ra opens his eyes, essentially telling the viewers, "Haha, I'm not dead, suckers." Just that moment was beyond nonsensical.
    • ManEFaces: What makes it worse is that immortality couldn't be the fallback excuse for Ra not dying because he was going to appoint Set as his successor. You don't need your son to replace you if you can't die.
  • ManEFaces: Big Fish is quite possibly the worst goddamn film Tim Burton has ever directed, and I'm taking Planet of the Apes (2001) and Dark Shadows into account in making that assessment. We're introduced to Edward Bloom, an old man who is slowly dying, and so his son Will returns to learn the true story about his father’s life because he has felt let down by a lifetime of tall tales and long absences. Instead, we must suffer through Edward’s egomaniacal rants that are assumedly supposed to be cute and charming. He bullies his listeners (and us) into accepting his demented worldview, when the only proper label for this man is that of a congenital liar. Edward’s journey through life, as he tells it, is strikingly similar to Forrest Gump’s; full of wartime heroics, small town eccentrics, and blind love for a vapid woman. Edward’s love story is arguably the most repulsive of the lot, as he falls in love at first sight, announces that will marry this woman even before speaking one word to her, and keeps her in his mind for three years until he can find her again. After he tracks her down at college, he shows up at her door and proposes marriage (again, he has never said one word to the woman). The woman, Sandra, tells him that she is already engaged, which prompts the self-absorbed ass-fucker to increase his obsessive behavior. He buys her thousands of flowers, hires a sky writer, and shouts at her window that he will indeed marry her. What I see is a man so self-obsessed that he will not accept rejection. Everyone and everything must be caught, stripped, and placed in his ever-expanding trophy case. Another example of Edward’s ego occurs when Will’s wife is discussing her recently published photos at the dinner table. Rather than ask the young woman to elaborate, Edward uses this as a springboard to bore the family further with another tale that they have heard hundreds of times. Edward simply cannot listen to someone else talk for more than five seconds without having to add his own bullshit, and simply tunes out if other egos intrude on his party. It is conceivable to spend a lifetime with this man without getting to know the real person, or having him know the real you. I have no doubt that many people watching it found a familiar point of reference, as we all know a relative who believes the dinner doesn’t truly begin until he or she enters the goddamn room. Common sense dictates that Edward is just one of those people who likes to add color to life and is merely a harmless clown, but by the end we are meant to take his stories seriously at least partially. My sympathy was with poor Will, who never knew his father because the man was too busy constructing an image to distract from the real prick beneath the lies. And my disgust also extended to Edward’s wife Sandra, as her only lines consist of enabling Edward to be such a bastard. Apparently it doesn’t bother her that Edward hasn’t uttered one word that wasn’t in service of cock-eyed fantasy. If Edward Bloom reminds you of that slightly kooky uncle you haven’t seen in years, then maybe you should give it a shot. But I’m not about to enjoy the sort of behavior from a relative that would cause me to leave the room, simply because it takes place in a movie. Ironically, this film made me think of one of Tim Burton's true masterpieces, Ed Wood, because the titular character of that film is so much like Edward Bloom. They are both avatars for Burton himself, who is quite content to indulge his own fantasies, yet seems to have no regard for his audience.
  • alienhunter: While I wasn't enjoying The ABCs of Death all that much, it was a fun film to watch with some friends and riff on the strangeness. But after P is for Pressure, I just couldn't watch anymore. It was just depressing with a woman prostituting herself out to raise money for a bike for her daughter and if that wasn't bad enough, the segment ends with the woman recording a video of her stepping on these adorable animals for this guy to get off to. After that, I just left the room and I don't care about the next segments, I'm never watching this movie ever again.
  • Nikku: Although I enjoyed the movie, one part of Austin Powers: The Spy Who Shagged Me that really irked me was how they suddenly revealed that Vanessa was a Fembot all along. As someone who loved her character in the first movie, this just came across as lousy writing and a massive kick in the face to the audience. To top it all off she's destroyed almost immediately and Austin grieves for all of 10 seconds. She then gets a brief mention, but that's it. I get that it's parodying the James Bond thing of him having a different girl in each film, but still. I'm still holding out on that fan theory that the real one was just captured and replaced.
  • Lemia: Everything, Everything was one of the most frustrating film-watching experiences I've ever had because it has so many praiseworthy things about it — a visibly biracial female lead, a teen romance that feels genuinely sweet and organic with real chemistry between the characters, and the film taking care to show how the lead isn't defined solely by her immunodeficiency disorder and can lead a meaningful life even with it — and yet all of these things are completely overshadowed by one of the most appallingly tone-deaf plot twists I've ever seen: the lead's immunodeficiency disorder was all made up by her mother who just couldn't bear to lose her to the wide, scary world! And the lead very quickly forgives her for this, in spite of her mother basically having confined her indoors and rendered her unable to lead a normal life for EIGHTEEN FREAKING YEARS with this gigantic lie! Goddammit movie, why couldn't you have been content with just being a straightforward teen romance instead of pulling this bullshit twist that creates massive Unfortunate Implications about how the lead's disability was never "real" and can just be conveniently explained away to give her a 100% happy ending?!
  • Bobg: I don't care about Victor Salva's past. He did his time and has every right to go back to making films, and I hate those who try to bring up a person's past and use it as an excuse to boycott their work when there is no connection between the two. I hate them even more when they have the gall to insult people for paying for and supporting those works. No, I don't hate Jeepers Creepers 3 for the fact that it was made by Victor Salva. I hate it for the scene where the protagonists find out what the Creeper is and the film says "Fuck you" to the audience by not telling us. We waited 14 years for the film, with it being promised for all of those years that when it came out, it would reveal the Creeper's origin. This continued when the trailer was finally released. Than the film comes out and they break their promise and tease the audience. The way they promised to reveal what it is but only let the characters learn while hiding it from the audience, and than doing a sequel tease at the end just screams "We lied. Wait several more years and you MAY find out." Well fuck you. You deliberately tease us with that scene and refuse to tell us after you promised you would. Not only does this scene break a promise, but it also makes the entire movie pointless. Since the film takes place between 1 and 2, we know he's gonna be alive at the end, so the only point to this film would be to reveal his origin, which does not happen.
  • SenorCornholio: After giving Re-Animated a re-watch, I can safely say this is the worst movie I've ever seen. There are many reasons for this, but since I'm only allowed to choose one, I guess I'll have go with Sonny's backstory. Long story short, he's the only son of Milt Appleday, whom the latter never even acknowledged as such. After Milt's death, Sonny was made president and ended up running it into the ground by making incredibly bad cartoons starring the Appleday cartoons. Not too bad on the surface, right? Well, let's start with the fact that he's apparently been below one of the rides for 30 years at this point. So, making a bunch of bad cartoons is grounds for life imprisonment? What happens if any animator doesn't have a good writing day one time? Do they get the same treatment? Even worse is the second aspect of all this: when Robin tells Jimmy more about him, we see a picture of what he looked like 30 years prior. He was, without question, around the age of 10. So you're telling me that Milt died, they made his untrained, under-aged son the president, and when he made bad cartoons, they locked him up? Before you could even call Unfortunate Implications, the movie then shows that Sonny is still the president of Appleday Studios, still has his seat in the office, and was still running the place to the ground. Not to mention, Appleday's work still has its fans, so 30 years clearly didn't have the "drive everyone away" effect that the movie seems to imply. So, is he imprisoned, or is he not? I can't tell if I'm supposed to feel angry anymore, because the movie doesn't even know what it wants to say. All it leaves me is a mix of angry and confused; at least with other bad movies I've seen, all the stuff that was shown seemed to have at least some form of purpose and had at least some kind of narrative. With this one element, nowhere more was it clear to me that the movie was written in a single draft. They didn't think through implications, they didn't know how they wanted the story to go, and they didn't even bother re-reading their script. It was just there to show off live action on Cartoon Network, nothing more.
  • Frnmmma: The Imitation Game was a decent film until they got to the part where they solved the Enigma Code. Turing realizes that if too many ships started to avoid the Germans, then suspicions would be raised, and the Nazis would change their code. So what Turing does is try to get his boss to tell as few people as possible. What the Hell, Hero? indeed. I'm pretty sure that in real life there was colateral damage because they couldn't tell everyone traveling the Atlantic about upcoming torpedoes, but this was not Turing's call to make. This made the troper immediately stop watching the film on Netflix, and when her class wanted to watch to tell them that it was a bad idea. It's one thing to have the main character to be an Insufferable Genius (though I thought that he was charming up until that point), but to have him be so arrogant that he makes military decisions about people's lives and safety is just taking it too far.
  • Retloclive: I got my enjoyment out of Ready Player One (2018) for what it is, but one moment I can't overlook is how players couldn't figure out for years until the main character, Parzival, figured it out that the solution to passing the race test for the 1st key was to just drive backwards. Really movie? No one over a couple years ever noticed something so simple? People would instantly try to break the game in any way they know how when they realize that the race can't be won the normal way, and driving backwards would easily be one of the first things people would try to pull off to make something different happen. What's even worse is that it apparently took several years to figure the 1st test out, yet the 2nd and 3rd tests, which many could argue are actually more difficult to figure out, ended up being solved within the span of one day. Oh hey, look at that. IOI actually has a group of people trying to figure out what Atari 2600 game solves the 3rd test. What the heck have you guys been doing being unable to figure out the race test all these years? Overall, this is such a mockery to people who are actual video-gamers, or even just people that have the simplest of intelligence.
    • Dr Zulu 2010: One of the worst thing about Ready Player One (both the movie and the book) is the overall nostalgia pandering who felt like they're here because they are awesome rather than for plot purpose (Is there a good reason why the final challenge in the book has to be quoting word for word Monty Python and the Holy Grail?) but the worst moment of pandering from the movies has to be the inclusion of The Iron Giant in the final battle. At first, it felt awesome to see him in a multi-million dollar budget but then you realize "wait... why is the Iron Giant here?" The original movie was an anti-gun allegory written after Brad Bird's sister got killed by her husband and yet Ernest Cline and Steven Spielberg thought he should be the important one? You can put Gigantor, Mazinger Z, Giant Robo, Gurren Lagann, the Eva-01 or Gao Gai Gar in there and they would be more fitting than the Iron Giant.
    • A Haunted Mind: For me, it's the scene where Wade is escaping from one of the stacks collapsing on top of him, and, instead of running to the side, he runs away in a straight line. I guess the name of his VR high school is the Prometheus School Of Running Away From Things.
  • polybius81: As much as Diary of a Wimpy Kid: The Long Haul was a horrible film in general, one scene stood out to me the most, the scene where Greg goes to a video game convention, to see his Idol Mac Digby, sneaks in on the stage, Mac has no idea who he is, but then his mother comes and takes him off the stage, but not before she reveals to Digby and the Public that Greg Heffley is "Diaper Hands", the lack of remorse from Digby, and even Greg's family, was just where I completely lost it, and it set up a horrible stereotype of a Gamer and Let's Player in General.
  • Mighty Mewtron: Love, Simon was ultimately an incredibly important and heartwarming movie, especially for the gay community, but one part of it makes me uncomfortable whenever I watch it. After Martin outs Simon to the entire school during the holiday break, Simon tries to talk to his friends. Abby is angry that Simon tried to set her up with Martin behind her back, a stance which is understandable, but his other friends are more frustrating. Nick is angry that Simon was keeping him away from Abby, even though Simon was being blackmailed into doing such, and Leah is mad solely because of her crush on Simon and because she thinks Simon was leading her on. None of them show any sort of sympathy towards Simon being blackmailed and outed and they leave him to go to school on his own to be harassed. Even though they made up later, their apology never felt like enough and the fact they had basically abandoned Simon during the holidays when he was outed makes it even worse. The worst part is that none of this happened in the book! (In that case, upon Simon being outed, his friends are more understanding and even go with him to a gay bar. Leah doesn't even like Simon during the time of the book, she likes Nick and most of the friend drama spurs from her jealousy towards Abby.) It felt like forced drama that just made Simon's friends Unintentionally Unsympathetic, especially for anybody who's been Forced Out of the Closet.
  • DukeNukem4ever: War for the Planet of the Apes is a great movie. However, the treatment of the human race definitely reached the lowest point here. After being reduced to the separate settlements at the beginning of the previous movie, humans prove that both species are simply trying to survive, yet the creators of this movie try to portray most of them as evil simply because they are opposing the apes. By the end of this movie, however, the whole humanity gets yet another kick in the balls - and in which way, you'd ask? Simian Flu started spreading among them again! Moreover, it somehow takes away humans' ability to speak. Whenever it truly makes them feral (as the Colonel suggests) or not (Nova is a living evidence of sick humans who still have ability to do different tasks apes can't), the very idea of bringing it back in the first place was a ridiculous and cheap attempt to have a connection to the original 1968 movie in my opinion. Worse, unless you read the supplementary material for this movie (comics and prequel novelization), you will have no idea where the virus came from, when it started to spread or who was Patient Zero. It's hard to not feel bad for humans who are simply trying to do their best in order to survive and retain their ability to talk at the same time, but for the sake of finishing them off, creators just made them act dumb and unrational for most of the movie (like the Colonel betraying the apes on the spot instead of being more pragmatic and saving them for last). The worst example here, however (and my DMoS in general), is when the Colonel, who is perfectly aware of the infection spreading across America, takes Nova's doll (that might be contaminated) he's probably never seen before away from Caesar. With his bare hands, no less. Surprise, the next time we see him, the Colonel has been infected and rendered literally speechless from the same virus his entire compound had been trying so hard to avoid. Keep in mind that before the events of this movie he ordered to kill infected soldiers of his army and then burn their belongings to stop the spread of infection. Such an Out-of-Character Moment felt really forced. I understand that this is Planet of the Apes franchise and that the apes' victory is a Foregone Conclusion, but it does not mean that humans should behave like complete idiots at the crucial moments.
  • {Skylite}: Halloween (2018)
    • The sheriff asks, knowing Myers is on the loose, "what are we gonna do, cancel Halloween?" Duh. Yes!
  • Dr Zulu 2017: While I can give The Lightning Thief some slack for introducing me to one of my favourites book series, I don't have the same level of kindness for Sea of Monsters. The biggest problem for me came from the climax. Not only they put four... fake-out... deaths in less than 30 minutes, the last one (Annabeth) was so pointless you could easily remove it and you'll only lose one minute. I mean, Tyson being shot by an arrow and falling off a cliff? Yeah, okay; I can get that. Luke and Grover eaten by Kronos? This is more of a "blink and you miss it" moment. But Annabeth stabbed and poisoned by the manticore who so happens to be ignored during the climax and the characters mourning her before remembering "That's right! We got the Golden Fleece!"? This became ridiculous!note  It didn't help that she got a major case of Chickification in the movies, basically turning one of my favourite character from the novel into basicaly the movie version of Katara.
  • Sampa CM: Here i'm listing a moment from Total Recall (1990): After watching the 2012 remake I could write books about how it's better than the original: for starers, I think Colin Farrell was a better hero than Arnold, the fact that it takes place in some colony on Earth makes it more credible than that stupid thing in Mars, that quirky black guy who turned out to be The Mole was very annoying, and the part where the villain Cohaagen suffocates in the martian atmosphere was pretty disturbing, I guess it's just too fantastic for my taste; but my DMOS is the part where Cohaagen, out of frustration because Quaid (Or Hauser, I don't know) escaped, throws a tantrum and smashes an aquarium, and we get a look of the poor fish suffocating to death. What? Why was that necessary? If you wanted to put emphasis on how evil Cohaagen was, there are better ways than venting your anger on some innocent animals.
  • Dr Zulu 2010: While I enjoyed Bohemian Rhapsody, I will admit that it is far from the Best Picture nominee it was. My biggest issue with this movie regards on of its many, many, many historical inaccuracies. Now, I can get why they played songs in time periods that came before or after the songs original release. I can get why they have Freddie break up with Paul before the Live Aid event. I can get why they have Freddie finding out that he got Aids before the Live Aid event. I can get why Roger Taylor still has his 70s haircut during the 80s. But what I can't get is how they must have Queen broke up when Freddie was giving the $4 million offer for his solo album. First of all, and that's the most obvious of all, Queen never broke up; Freddie has reluctently accepted the offer as long as it was a side-project in real life and he and the other members have toured and wrote songs during his solo project. Second, it's rather hypocritical of Roger Taylor and Brian May to repriment Freddie for agreeing a solo album when, in the real world, both of them has made solo albums before Freddie. And third, one of the songs they played during Live Aid, Radio Gaga, was made in 1984, somewhere during the "Breakup" making its presence in the movie into a plot hole (Granted, removing Radio Gaga would have been a problem since it's this song that serves as a segue way into his famous "Ay-Oh" vocalization).
  • A Haunted Mind: While Pixels is a horrendous film on its own, the moment where I stopped watching was when Adam Sandler's character "friend" did an atrocious cover of Tears for Fears' "Everybody Wants To Rule The World". Putting classic 80's games in an awful movie is bad enough, but ruining one of the best songs of the 80's, from one of the best bands of the 80's, is simply inexcusable. (And, yes, I know I'm overreacting; I'm just having a visceral reaction to the defilement of a fantastic song.)
    • Sampa CM: Personally I don't think the film is that bad, I only watched it for the references to the old video games, however, I have to admit that it's filled to the brim with errors and incongruences, as well as Adam Sandler's generic style of comedy. And out of those incongruencies, there was one in particular that left me scratching my head the most: during the final battle, Ludlow, he friend who has had an obsession for twenty years with a fictional character called Lady Lisa, stays back fighting aliens while Adam Sandlers and his other friends go on board of the mother ship. One of those aliens is none other than Ludlow's wet dream, Lady Lisa. She attacks Ludlow but he's unable to bring himself to fight back, so what does he do? He actually confesses his love for her and, in a stange twist, it's enough to make Lady Lisa pull a Heel–Face Turn. What? Am I missing something here? If Lady Lisa is a video game character, I think things should have been more complicated than that. It's parts like this that make you wonder "Are they even trying?"
    • Aj Wargo: In my opinion, Pixels could have been better in more competent hands who actually bothered to treat the concept with respect. Want an example? At one point, it’s mentioned that a character used cheat codes while playing PAC-Man. This is just plain stupid. Everyone knows that PAC-Man has absolutely no cheat codes in it! Heck, no arcade machine anywhere has actual game-enhancing cheat codes- unless you count the second cave code in Bubble Bobble, but that’s it! And they mention this character did so during a sporting event, too! How on earth do you do that when millions of people are watching? Whomever thought of this utter Voodoo Shark should be given a stern lesson in how arcade games actually work!
  • Almighty King Prawn: The scene in It's a Very Merry Muppet Christmas Movie where Scooter, a character that is implied in other Muppet works to be in high school, is half-naked and cage dancing. I don't even think I need to explain what is wrong with that scene and how creepy it is. Even if he wasn't underage it would still be a horrifying, unfunny example of Parental Bonus gone wrong.
  • Akaun 6899: Quite honestly, I couldn't get into RoboCop (1987). It's a cool idea, but none of the characters were interesting or likable, and the violence was ridiculously over-the-top. There's one particular scene that just went too far in that regard. When the titular Cop stops two thugs from Attempted Rape, he shoots one of them, who was using the would-be victim as a Human Shield, and the bullet hits his crotch. Asshole Victim or not, ouch. I'm not saying that the guy didn't deserve punishment, I'm just saying that "you don't shoot a guy in the dick!"
  • D Corp 123: Roger Moore had always been the goofiest Bond, for better or for worse. As many amazing moments his films had, they also had a lot of really bad moments that didn't fit the franchise very well, from the slide whistle sound effect that ruined an otherwise great Car Chase, to Bond's infamous trip to space. But for me the biggest Jump the Shark moment in James Bond history had to be the clown scene in Octopussy. As goofy as these films get, at least Bond has some sort of integrity, but this feels entirely unfitting of his character. Bond is supposed to be this brutal spy, not someone who gets dressed as a clown. It wasn't even that good of a joke, either it was a sign that the writers had started to run out of ideas, or that Roger Moore's goofiness got way out of hand. The fact that this came after his most traditional Bond film (For Your Eyes Only) made it hurt even more.
  • eirigfi: I am not the right demographic for Bratz, but since I enjoyed one of their other movies, I decided to give it a watch. It's the worst! One scene really did it for me though. Our "characters" are in detention arguing who's fault it is. One of them states it's Meredith's fault for "breaking them up". No. 1. There was no indicator that the girls could't hang out after school. 2. I can't care for this moment because it happens not even half way in the movie. 3. There is no way they spent two freaking years without contact with each other. And guess what, the movie actually gets worse from there.
  • Wild Mass Guessing: Oldboy (2003) is a very dark film which I don't mind, apart from the scene when his love interest is in the toilet and he breaks down the door to attempt to rape her, and even though she stops him his actions are portrayed sympathetically and as an understandable result of him being locked up, which is wrong.
  • Genius In The Lamp: The Joe Besser era is not looked too kindly upon by fans of The Three Stooges. However, a few of the Besser shorts (A Merry Mix-Up, Oil's Well That Ends Well, Muscle Up a Little Closer) have their merits. The same cannot be said for Horsing Around, the tedious and unfunny sequel to Hoofs and Goofs. It completely disregards the previous short’s plot point that the boys' sister being a horse was All Just a Dream. The plot centers around Moe, Larry, & Joe looking for the father of their "sister's" baby colt. The short suffers from an implausible plot, a nonexistent budget, stagnant pacing, and a complete lack of enthusiasm from everyone involved - even Emil Sitka uncharacteristically phones in his part. This and Sweet And Hot are regarded by Stooge fandom as the worst Stooge shorts, but at least Sweet And Hot is weird enough to be memorable (and to even fall at times into So Bad, It's Good territory); Horsing Around doesn't even muster up the energy to reach that level.
  • Supreme-X15: Spider-Man 3 is seen as the weakest of the original Spider-Man Trilogy and I can understand why. There were numerous problems, like a slow plot, very few actions scenes, too many villains to keep track of, and some bad characterization. However, I could tolerate these issues, because I'm a Spider-Man fan, and I try to see the positive side of some of the worst things the Spider-Man franchise has wrought over the years. Hell, I'm even willing to consider The Amazing Spider-Man 2 a somewhat entertaining movie, despite it's flaws. But, Spider-Man 3 has a scene I can't help but cringe at it every time I see or even think about it. The Jazz club... I really hate the Jazz club scene, alright! Of the things Emo Peter did throughout SM3 note , I remember distinctly cringing so much when I first saw the scene of Peter dancing and upstaging Mary Jane in the club that I turned away in embarrassment, because I did not remember Peter doing anything like this anywhere that I could think of, regardless of if he's wearing the Symbiote. Him dancing around and flirting with Gwen in front MJ was way too embarrassing to watch, and felt so out of place. To this day, still don't like it. I don't care if has reached some kind of meme status over the years, I do not understand the purpose of this scene, and I do not care!
  • Maths Angelic Version: When it comes to Hallmark Channel's Christmas movies, they're usually guilty pleasures at best and Tastes Like Diabetes at worst... and then there is A Gift of Miracles, which outright infuriated me when it started pushing its "everything happens for a reason" aesop. That message is already a Pet-Peeve Trope of mine, and this film's use of it is particularly gross because the fact that Darcy's mother was killed by a Drunk Driver when Darcy was an infant plays a big role in the story. Thus the "everything happens for a reason" moral just leads to a disgusting case of Glurge — apparently some "greater power" decided it was necessary to kill an innocent woman in a senseless accident, leaving her husband widowed and forcing her daughter to grow up without her mother, just so that said daughter could eventually go on that "meaningful" quest to visit various people who knew her. Wonderful. Merry Christmas, everyone!
  • Bolt_DMC: Hands down, one of the best and funniest movies of all time is the Marx Brothers film Duck Soup. The jokes and routines are especially funny and the added subtext of "war is idiotic" gives the film an appealing depth. Groucho is also at his best here — except for one wisecrack that is nowadays extremely cringeworthy for its lack of political correctness towards African-Americans: "My father was a little headstrong, my mother was a little armstrong. The Headstrongs married the Armstrongs, and that's why d***s were born." It's a reference to a popular song of the time, but frankly the joke's not even particularly Fair for Its Day, and it makes one wonder what the writers were thinking. Ignore that one ugly moment, and the film is perfection.
  • Nightbreeze: The 2015 indie film, The D Train, was okay, and I liked it enough, but there were a few things I didn't like. At around the end of the film, Dan's life has hit rock-bottom. Oliver has publicly revealed their affair at the high school reunion, thus straining Dan's relationship with his wife, the company he works at is close to bankruptcy due to Dan's lies, and the only person who actually seems to like him is his son's girlfriend. And then, the ending happens. After Dan and Oliver part ways, Dan writes a preachy Facebook post about everything he's "learned" throughout the course of the movie, and a montage is shown. Dan's life has been turning around, and he's doing excercise, having some family bonding with his wife and son, and hires actual investors to deal business with his company. The problem is, Dan has received absolutely no consequences for his actions, which includes cheating on his wife, taking adavantage of his old, technologically-inept boss, nearly driving his company to shambles, and lying to everyone around him. He's even somewhat rewarded for everything he's done, and he comes off as a Designated Hero so the film can have a happy ending.
  • CapriciousSalmon: In the Heights was a really great film adaptation despite all the changes, and as a Hispanic girl who grew up in similar circumstances, I related so much to Nina Rosario. Although, there is one change I dislike, and that's about why she left Stanford. In the musical, Nina flunked out because she had to work two jobs to pay for school. Obviously, the musical took place in 2007, and now, Stanford is pretty good in the financial aid department. In the movie, it's changed to Nina leaving because of the racism she received as a Hispanic. I actually didn't mind that change because different time periods are a factor, but my DMOS comes from one incident pointed at in particular. When her roommate thought her pearl necklace went missing, her and her family accused Nina of stealing it, and Nina was searched by the housing department. Only, it turns out the roommate had it all along and just lost it. As somebody who dorms at college, I didn't find the incident all that ostracizing, outside of Nina not getting an apology, since they're super ambiguous if Nina herself was searched or simply her belongings. There's also the fact that if your roommate's possession - especially something as expensive and valuable as a pearl necklace - goes missing, you are usually the first person blamed, because technically speaking, you're the only people who's supposed to have direct access to that person's belongings. And stuff like boundary crossing happens all the time at school, so I could buy the parents assuming Nina, a stranger living with their daughter, did it. I also didn't like the fact Nina still decides to return to Stanford at the end, since Benny brings up she could easily go somewhere closer to home where she likely won't be racially profiled and her dad won't have to sell his company (and Benny can keep his job). NYC is a big town, and if she got into Stanford, presumably on a full ride, I'd assume she could get into somewhere like Columbia or NYU, and still be the one to make it out. In the movie she wants to become an immigration lawyer, and since lawyers are usually state-accredited, it'd be a lot cheaper just to stay in NYC, wouldn't it?
  • Mighty Mewtron: Sex Ed went from being So Okay, It's Average to actually making me angry after I watched the scene with the prostitute. Eddie impulsively tries to hook up with a street walker so he can have sex, but they both get arrested. Then we see that the female prostitute has a large erection. On it's own, it's a lazy transphobic joke, but the following scene is the real DMOS, as Eddie keeps referring to the prostitute as "he" and even "it" and JT refers to this moment as Eddie lowering his standards too much, calling out Eddie for not being able to "tell." For a movie that's trying to be sex-positive, it's strange that it'd push the idea that trans sex workers are disgusting. It's especially gross since this movie came out in 2014, so it doesn't even have the excuse of other movies coming out during a "different time," as trans rights were becoming a more mainstream topic by that time. This movie should have known better than to use such a lazy, gross, and dehumanizing punchline.

Alternative Title(s): Film


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