There are subjectives, and then there are these. While you may believe a work fits here, and you might be right, people tend to have rather vocal, differing opinions about this subject. Please keep these off of the work's page.
While Will Smith does a fantastic job in I Am Legend, there's still that scene where he started screaming at a mannequin and held it at gunpoint (it's supposed to show that he's quite nuts). That scene was meant to play into the original ending, where the vampires/zombies are intelligent and used the mannequin as a trap. Foreshadowingminus the thing being foreshadowed can easily lead to Narm.
His puckering, contorted facial expression when he kills his dog is just disturbing. It's not sad or angry in any way, just incredibly odd.
The 1934 version of Imitation of Life: Claudette Colbert saying "I want my quack-quack" with all her usual elegance and gravitas. That's the last line of the movie, folks. It's intended to be an Ironic Echo, which only makes it worse.
In The Impossible, it's very hard to feel any sort of empathy for the characters when they are SCREAMING NON-STOP at every little occurrence. They're not very likeable or smart, either, especially the mother, who tells her clearly terrified and shell-shocked son to try to help a woman who's just gone from being near comatose to busily vomiting and choking up blood.
Also, there's a scene later on where Ewan McGregor's character manages to contact his family back home and starts to cry. He is a talented actor, but the man cannot do a crying scene without his over-the-top wailing making it sound hilarious.
The Natalie Wood vehicle Inside Daisy Clover is already campy, but tips over into outright narm at various points, none more so than the ending sequence in which Daisy is repeatedly interrupted from committing suicide by her phone ringing.
In Time has lots of dramatic moments ruined by hilariously ungraceful running, Olivia Wilde being the exception. Yeah, I know, they're running for their lives... but if your movie is going to feature a lot of dramatic shots of people running, you should probably try to cast people with a graceful stride and not put your leading lady in high heels.
Also, some people found Cillian Murphy and Olivia Wilde's death scenes to be incredibly hilarious, the former because of the really silly circumstances that lead to it and the second one due to Justin Timberlake's reaction.
Inception: Every time they cut to the falling van. Especially Arthur's expression.
Cobb talking to Mal in limbo, which is an extremely intense scene - until Cobb gets to his "all your perfection, all your imperfection" speech. It probably is the only time in the film Leonardo DiCaprio looks genuinely confused, instead of acting confused.
In Indiana Jones and the Kingdom of the Crystal Skull, there is a scene where Big Bad Irina Spalko is hanging from a tree branch over a swarm of army ants. What do the ants decide to do? Climb up over each other to get to her! Real life army ants do build structures out of each other like that, but still.
What about the 'Shia LaBeouf and monkeys' swinging scene! It was over the top and unbelievable and a distraction from the epic truck battle going on.
The Baker's Wife's death, since what is shown is her slipping from a branch and the few seconds of the camera focusing on the branch.
The Giant would probably be a lot more intimidating if her voice wasn't pitched down.
Although the Invisible Children documentary definitely had the best of intentions, and definitely touched a lot of audiences, however the one scene where the orphaned boy cries has been known to make immature high school audiences laugh, due to the strange noises he makes while crying.
The entire second half of the movie, the half featuring the adult actors, is brimming with Narm. For instance, there's Richard Thomas's (as adult Bill Denborough) laughable attempt at stuttering, and John Ritter's awkward love scenes (one of which involves macking the bloody clown itself).
"Kiss me, FAT BOY!"
"Why is it so MEAN?!"
And, of course, many people find it hard to be afraid of Tim Curry, especially when he's making terrible jokes in the background.
If you were scared of the movie during its first three-fourths, guaranteed you stopped being scared the moment IT reveals its true form...a shambling, stop-motion spider with crossed eyes.
It's a Wonderful Life is a brilliant movie, but there's the horrified way that Clarence reveals that Mary's dire fate in Pottersville is that she never married and became a librarian. Even better, George Bailey reacts as if this were the worst thing that could happen. It was supposed to be that she didn't recognize him and screamed when he tried to talk to her, but that point wasn't made that clear. Or perhaps it was supposed to be that she's ended up an Old Maid. Frank Capra admitted in later years that this scene was the one part of the movie he would change if he had the chance.
Most James Bond movies are light-hearted, but sometimes they top themselves:
The Man with the Golden Gun is Narm-laden, but particular notice must go to sticking a slide whistle into the bridge jump. Worst of all, it detracts from the power of the stunt, which was done for real. Hell of a slap in the face for the technicians and stuntmen who set it up.
Another Roger Moore Bond movie, The Spy Who Loved Me, has an opening scene so laden with narm that it's impossible to watch without laughing. It's not clear which is worse: the cuts between the action and the close-ups on Moore in a studio acting like he's in a completely different movie; or the disco soundtrack playing throughout.
Kanaga/Mr. Big's death via compressed air pellet gets bigger laughs on accident than any of the other gags in the movie can by sincerely trying. See for yourself.
Die Another Day turned what should have been a Moment of Awesome — James Bond surfing the tidal wave with the parachute — into a Narmfest, thanks to unconvincing CGI. Especially bad because there was a surfing sequence at the beginning of the film done without CGI effects that looked much better.
Dominic Greene from Quantum of Solace would've been threatening... had he not made the girliest battlecries ever when he was fighting Bond.
His uncanny resemblance to pianist/TV presenter Jools Holland is also distracting.
The scene after Mathis dies. Presumably, you're supposed to be deeply affected by Bond's shift from grief to cold professionalism; but the sudden cut to Bond chucking the corpse into the rubbish and nicking his money was more comical than anything.
In Skyfall, Raoul Silva's death scene has him taking a knife to the back. He reaction? He turns around and lets out a few gasps, like he's mildly annoyed. The rest of Javier Bardem's performance was excellently creepy, and it's possible it has a lot to do with the way this scene was cut together.
YMMV there. Some people found a lot of Silva's serious moments to be unintentionally funny due to his childish baby-talk way of speaking. But then, as said, this may be precisely why people found him creepy.
Face it, it's hard to take the final battle in Skyfall seriously due to its comparisons to the climax of the Home Alone movies.
"You are a kite dancing in a hurricane, Mr. Bond." As hard as it tries, Spectre really doesn't have quite the impact to back that line up. So it becomes this, especially since it gets repeated later in the film.
The film pouring all the drama it can into Oberhauser revealing his name is now Blofeld. Just like the reveal of the villain's identity in Star Trek Into Darkness, the theatrics are entirely for the benefit of the out-of-universe audience, as the name has never been mentioned before in this specific iteration and means absolutely nothing to the in-universe charactersnote The movie tries to pretend it has meaning, with it being Mrs. Oberhauser's maiden name, but it still amounts to nothing. And that's before you get into the fact that this moment also duplicates an important plot point from Austin Powers in Goldmember in complete seriousness, or that we are expected to believe that Oberhauser went from the son of a mountain climber to the founder and head of the world's most powerful terrorist/criminal empire with zero explanation of how he achieved this.
Oberhauser's character, period. From Christoph Waltz's over-the-top performance, to the bizarre amounts of Foe Yay that culmimates in Oberhauser drawing a heart in his breath on a glass window while Bond looks on, to the insinuation Oberhauser devoted his whole existence to elaborately ruining Bond's life just because Bond took his father's attention away for a few months during their childhood, and the result is less "scary evil mastermind" than it is a pathetic manchild with way too much time on his hands.
"It was me, James. The author of all your pain." It's not just the delivery of that line, but the fact that it also begs the question, "What, all of it?"
The opening credits sequence: Craig's films' credits had been more sober and less blatantly fanservicey with more references and foreshadowing to the plot itself. The ones for Spectre harken back to the oversexed credits of the Brosnan era, with very few moments that don't consist of naked girls or naked Bond or tentacles, sometimes all together with a love song. As pointed out by at least one reviewer, they do make one think of tentacle porn.
Madeleine telling Bond that he's "a good man" is utterly laughable—007 kills people in cold-blood for a living. He does it all for the greater good, but he's definitely not an angel. She even repeatedly calls him that earlier in the film.
Mr White also comes across as ridiculous when saying that Blofeld pushed himself too far and his actions result in killing women and children, when Quantum had been established as a terrorist organization which even tried to deprive a whole country of their water supplies.
Daniel Craig's inexplicable bellowed delivery of the line "Of course, Mr. White!" You half expect him to turn to the camera and say "Everybody got that?"
The idea that Spectre is a superior organization to Quantum is a little bit laughable given how lightly Spectre takes operational security. In Spectre Bond is able to sneak into a high-level meeting between Spectre bosses simply by showing up with a Spectre ring, whereas in Quantum of Solace Quantum bosses actually make a point of blending inside a crowd and avoiding direct contacts between each other.
Bond manages to blow up the entire bad guy base in Africa by simply shooting one exposed vent.
Bond breaks the champagne flutes when it is clear Sciarra has no interest in just talking to him. The scene serves no purpose whatsoever. Also, it does not occur to Bond that 1) glass shards on the floor are actually really dangerous, and that 2) Sciarra actually has to clean the shards up once they're done fucking.
The final scene, in which Mr. Rochester has lost his beautiful mansion and most of his fortune. He now lives alone in the country. Jane finally gets to reunite with him. It would've been a beautiful scene, had it not been for Rochester's Beard of Sorrow. It was long and completely out of nowhere, as he'd been clean-shaven (save his impressive sideburns) for the whole movie.
When Jane leaves St. John (or Sinjin as it's pronounced) to return to Rochester and shouts "I'm coming!" with all the melodrama she could muster then proceeds to stumble away into the country side.
"You... complete me" in Jerry Maguire. It doesn't help that Tom Cruise looked like he was taking a dump while he said it.
Hell, with that rictus smile of his, he looked like he was taking a dump through half the movie. The Joker from The Dark Knight was able to do the line in a way that was effective.
Depending on who you ask, both the 1973 and the 2000 version of Jesus Christ Superstar. To give some examples from both:
The entire temple scene in the 2000 version, with explosions and cages full of bombs.
'Heaven on their Minds'' in the 1973 version - Judas having a temper tantrum on top of a mountain, ending with him shouting 'listen to me!' over and over. Plus the weird gestures he makes while singing.
Jerome Pradon's accent in the 2000 version. 'YOU HAVE MAH-DAH'D ME!'
Judas's death in 1973 version. He hangs himself with his belt.
Considering Johnny Got His Gun is a genuinely horrifying movie, its narm moments are even more jarring. The most obvious is when the eponymous Johnny — who is deaf, blind and mute, and well as missing all his limbs and a substantial portion of his head — realises that the new Matron has left the blinds open in his room. He now can tell the difference between day and night, and is at least able to get even the slightest grasp on his surroundings. In the movie's defence, it's a really big thing for him, but the music and narration is so over the top you could be mistaken for believing he'd just grown his arms and legs back and been able to walk out of the hospital none the worse for his stay.
Similarly, in one of the many bizarre dream sequences, Johnny and four other soldiers are playing cards in a train station waiting to head back home. Sitting with them is a stoned Jesus - played by a youngish Sutherland - who has a bone dry sense of humour and proceeds to cheat at cards. The big pay off of the scene, that everyone at the table is, in fact, dead, is done really well, but utterly ruined by the next shot. Jesus, with much wailing and rending of cloth, is seen hanging out the window of a train, floating aimlessly by on a really bad backdrop. It just misses being a Big-Lipped Alligator Moment simply because it technically makes sense given the context, but is so weird and over the top that it falls squarely into Narm.
Really, anything involving dolphins has a hard time looking serious, let alone a cyberpunk dolphin with all sorts of weird gear attached to him, defeating Dolph Lundgren. The name "Dolph" makes it even more unintentionally funny.
Learning that the recurring, strangely shaped blood stain in Ju On 2 was a butt print could undermine the horror of the rest of the film.
To the charge of being human, [beat] when we could have been GODS, [beat] guilty!
In Jumanji, Alan (Robin Williams) is sucked into the board game. When he escapes after 25 years he is unaware of the time gap and expects to see his parents. Judy (Kirsten Dunst) tells him that everyone thought he was dead and Alan walks out the front door in dismay. After he leaves, Judy says, "Sorry".
When Caine seriously and heartfelt-ly tells Jupiter that he has more in common with a dog than he does with her, to explain why they can't be a couple. And instead of telling him that she doesn't care about things like that, or that being a genetic hybrid doesn't make him inferior no matter what people say... she says she loves dogs. It's so offbeat and out of place that it's hilarious, especially given her equally serious delivery. After Caine leaves moments later, Jupiter winces and repeats it to herself, lampshading just how awkward the line was.
Just about any time Balem switches from his slow, deliberate speaking style to Suddenly SHOUTING!. It always comes out of nowhere and sounds more petulant than threatening.
For that matter, Balem's slow manner of speech feels very affected, like he's trying to sound interesting.
Creeghan's line to Caine before Caine kills him is either really threatening or straight up hilarious.
Creeghan: You hurt me. And I'm going to make you regret it.
Laura Dern as Dr. Satler is horrifically narmy throughout the film, numerous examples include: her high school play shocked-face on seeing the Brachiosaur for the first time, her wincing sobs of joy on encountering an unwell Triceratops, smashing her arm into a massive pile of dino-shit, her goofy running - "ru-uuuuuun!!", the bizarre and slightly un-hinged "Mr Hammond, I think we're back in business!" line when she reboots the power and finally - "S'GONNA COME THROUGH THE GLAAAASSSS!". Oh and also - "Look, we'll discuss sexism in a survival situation when I get back"... just awful.
We have a T. rex.
Hammond's shrill, matronly scream when he overhears Grant shooting at the velociraptor.
Pretty much the fact that he acts younger than Tim for most of the movie.
The merciless close-up of Samuel L. Jackson's back-lit, whispy-tache mouth, munching on a cigarette repeating "Access main program, access main secuuurity."
Samuel L. Jackson narms it up pretty well with the "PLEEEASE! GOD DAMNMIT! HATE THIS HACKER CRAP!"
The English translations of the names of the islands where the action takes place are pretty comical— you expect that they'd be Spanish for something scary or at least cool, but Isla Sorna means "Sarcasm Island" and Isla Nublar means "To Cloud Island", which isn't even proper grammar. (They were probably going for "Cloudy Island", which would be deceptively innocuous.)
In the 2004 version of King Arthur, there's the point where Arthur is up on the hill, and Lancelot and the other knights ride up to help fight against the Saxons. Very awe-inspiring, except when the camera turns to Lancelot's face and shows him smirking at Arthur.
From the same film, the scene where Lancelot leaves his village. He turns back to look at a crowd of warriors watching him go, and they all scream at him.
That's supposed to be Rus, a Sarmatian battle cry. Why can't that guy speak clearly?
King Kong (1933): The sailor who gets plucked off the tree by the Brontosaurus andeaten gives a rather shrill, overwrought scream. So too does the final sailor who gets shaken off the log by Kong; his scream sounds more like someone who stubbed their toe than a death scream. Both almost make the Wilhelm scream seem understated.
The makers of the film clearly have not spent much time on the Internet. Shooting laser beams from the mouth is daft enough; making it almost identical to the famous "Shoop da Whoop" meme is just asking for trouble.
The plane crash would be an emotionally gripping scene if it weren't for the fact that nearly all Americans know what a real plane crash looks like. If anyone survived a crash that resulted in the plane being blown to a long series of mangled debris, they wouldn't be in one piece, much less running around ablaze and screaming like Looney Toons characters.
One scene in the Death Note live adaptation/spin off L: Change the World. The main scientist injects himself with a virus that causes a good three-minute death scene, gurgling all the way even when off-camera. He is finally incinerated and falls over, but pops up one last time to go "BLAAAAAGH" at his watching daughter... and then he explodes. It's supposed to be dramatic, and the music is full-blown, but it can be hysterical.
At the beginning, when all of the criminals were having heart attacks, the somewhat hammy acting of the actors coupled with the overacting of the dub cast made it funny.
Towards the end of the first movie, Light puts together a setup to get rid of Naomi, in which she kidnaps his girlfriend Shiori and shoots her while she's trying to run to her side, then killing herself. Before that final bit, our good old Magnificent Bastard friend holds poor Shiori in his arms as she dies and screams in soul-wrenching anguish. Not so bad originally, but in the English dub, he screams at Naomi, "WHY DID YOU HAVE TO KILL HER? TELL ME WHY!!" Ain't nothing but a heartaaaaache...
There is one scene in the thriller Lakeview Terrace, in which Samuel J Jackson plays a racist cop terrorizing the mixed couple next door. At one point, Patrick Wilson is sitting in his car listening to loud rap music and smoking a cigarette when Samuel's character suddenly shows up. After giving a couple of not-so-subtle threats, what little tension this scene has created is blown away by a howl of laughter when he calmly says:
"You know, you can sit out here listening to this shit all night, but when you wake up in the morning, you'll still be white."
The Langoliers and "that horrible cereal noise." To say nothing of the titular creatures.
Katsumoto's death scene in The Last Samurai was intended to be profound and dramatic, but his contorted constipation face in conjunction with the solemnity of the scene made for hearty lols all around. Bear in mind, Katsumoto had just rammed a wakizashi into his stomach. Let's see you keep a straight face during something like that.
From the film adaptation of Left Behind, the scene of Hattie entering into the plane's cockpit after the Rapture:
"Hundreds of people - MISSING!"
The Legend Of Hell House is for the most part an atmospheric and creepy haunted house movie, but it has two extremely Narmish moments:
The first is when a character is attacked by a cat, represented by an unconvincing puppet thrown at her repeatedly.
The other comes at the climax, when Roddy McDowall's character figures out that all the supernatural happenings in the house are the work of a single spirit — the house's original owner. A decent twist, but then Roddy goes on that he knows the reason the ghost is doing all this: he was short. Granted, this guy is constantly described as a giant of a man, and so it's easy to believe that this secret would be so shameful to him that he would be driven to impersonate an entire house full of ghosts. But seeing poor Roddy McDowall shouting "You weren't even five foot (sic) tall!" into the wind is just embarrassing.
Moviegoers went into hysterics after watching the trailer of Legion, during the scene where a possessed elderly woman climbs up onto the ceiling.
It wasn't so much the lady for me as the guy screaming "SHOOT IT!!!" at the top of his lungs.
In the movie itself: the Special Effect Failure with the evil ice cream man, the fact that there's a character named Jeep, Gabriel's chainsaw-mace thing, "I just want to play with your baby!"
In Les Misérables (2012), Javert's suicide has a hilariously loud and gruesome sound effect. Everyone in the theatre winced and started giggling.
Due to every line being sung, some of the dialogue can come off as a tad melodramatic. "I STOOOLE A LOAAF OF BREEAAD."
It was always funny when Russell Crowe and Hugh Jackman were acting together because the former was to some people putting in little to no effort and the latter giving it his all. Sometimes it got a bit funny when they were sharing scenes.
Solider: Who's there?
Enjolras: THE FRENCH REVOLUTION
The scene is from the book, without it it makes it seem like a bad knock-knock joke. A really bad knock-knock joke.
"My name is Jean Valjean." "And I am Javert!"... Thanks for the intro, fellas. Granted, the former was just expressing his unhappiness of being referred to by number and the latter was simply trying to get him to fear his name, but still, it's a pretty funny way to learn their names, and being sung doesn't help. It's almost like they're on a talk show.
Due to Russell Crowe's so-called singing, the introduction becomes even funnier as "AND-I'M-JA-VERT!", as if he needed to put a space between everything he sang. Be-cause you have to hy-phen-ate every-thing you say.
Lethal Weapon seemed to fall into this at time. The saxophone and trumpet scenes with Roger seem to be more unintentionally funny than it's supposed to be.
Let There Be Light (2017): When the protagonist, outspoken atheist Sol Harkens, discusses with his estranged wife, devout Christian Katy, about how his lecturing tours pay for their children, she says "Who pays the emotional bills?", like it's the deepest line ever.
In The Life and Death of Peter Sellers, the climactic recreation of Peter playing Chance the gardener in Being There is made unintentionally amusing by Geoffrey Rush's failure to get the voice right — he sounds less like Chance than he does Mr. Flibble, especially since he doesn't have much dialogue in the scene being shot.
The Reveal in the movie The Life of David Gale is like this: "She did it herself!". Um, that's pretty clear after what the reporter did...
The football scene in Little Children. Between Sarah's incredibly overenthusiastic cheering and both football teams vanishing immediately, it's more funny than emotionally moving.
The Lives of Others, which is an otherwise good movie, features a scene in which a character learns about a friend's suicide... and his immediate reaction is to sit down at the piano, brood, and play depressing music while doing his best to look tortured. It comes out of nowhere and is so over the top, you have to wonder if they shot an alternative scene where he goes to his room, puts on black eye-liner and listens to Linkin Park. Or another where he grows sideburns, wears early 19th-century clothes, and writes moody poetry in the forest.
Fun fact: They originally intended for Arwen to appear at Helm's Deep. That was the scene Éowyn was supposed to be reacting to. Considering what scene they replaced it with, one wonders if the producers wantedHo Yay in the movie.
And at the end of the next movie, Aragorn is met by a procession of elves after being crowned king. At the very front is Legolas, and again, from the way the scene is shot it looks like Aragorn is about to marry him.
During the Battle of Helm's Deep, Legolas's shield-boarding, and the running orc that seems to have come straight out of the Orc Olympics with its obvious BURNING TORCH! OF BURNING!
In The Return of the King, when Legolas finally comprehends Aragorn's plan to draw the gaze of Sauron's eye, he adds a real gem to the conversation:
The whole "people the size of children jumping on a bed while an old geezer watches and laughs" is hilarious. Even more so viathis video.
Frodo greets Aragorn and Gimli by shouting their names, but gives Legolas a look of "oh, yeah... that other guy that did... stuff..."
Who can forget Gimli's over the top wails in The Mines of Moria, it's even more jarring since in the book he just pulls his hood over his head without making a sound and in the animated version he just sadly and silently walks away.
Frodo- "THEY TOOK THE RING!" the narmiest part of the movie in my opinion.
The Nazgûl kick down the wooden wall to get into Bree, and the guy who is behind the wall somehow manages to get smashed completely flat. As in, the wall ends up completely flat on the ground, with no indication that there is a body underneath it.
Saruman starts making Gandalf spin in circles on the floor during their fight. This is seen in part from above, by the way.
And the callback to this incident when Gandalf later whacks Theoden (who has fallen under Saruman's influence) on the head and the action cuts to Isengard where Saruman crumples under the blow.
Some people consider Galadriel's "dark queen" transformation, complete with slowed down/warped voice and (possibly) overdone effects, Narm. When Galadriel was shot from the front, her arms were pointed in an awkward position, and her slightly upturned face, along with the negative colours, made her nose look like a pig's snout. It made her look like a weird scarecrow. But then it shifted to a view from the side, and suddenly she looked impressive and scary.
Denethor's death scene. Gandalf lays the beatdown on him with his staff, Shadowfax kicks him in the head right onto his son's funeral pyre, and then he catches fire and runs all the way into the courtyard, through the garden (which looks like a helipad from the top down), and off the conveniently-placed cliff of Minas Tirith.
What makes it worse/better is the cliff isn't "conveniently placed", it's a good 50-to-100 metres from the nearest building, leading to Fridge Narm when you realise Denethor must be quite the athlete as he did the 100 metre sprint, wearing armour and on fire during the cut between locations.
Bonus Narm for those who recall the parallel scene from the book. Gandalf speaks the same line in both - "So passes Denethor, son of Ecthelion". The film version has him passing in a literal "Keep to the left" sense.
Arguably, this delivery seems like it was done on purpose.
When the Black Gate is collapsing in Return of the King, there's a shot where you see Aragorn's face staring in awe. Thing is, there's another guy right behind him who looks like he's whistling; his expression screams, "Oooooooh, cool." (Around 1:03 in this video.
"A wizard should know better!AAAAAAAAAGGGGGH!!!"
In The Return of the King, when Pippin's being mind-raped by the Orthanc Palanatir, it looks like he's having either a seizure or an orgasm. His face doesn't help.
The Elvish words Frodo speaks to illuminate the Light of Ëarendil sound a little like "I need another CANDY BAR."
Speaking of Elvish: The entire conversation between Elrond and Arwen, boiling down to "you do love your daddy?" and Arwen almost collapsing in tears. This scene is written by Jackson, and is a Narm masterpiece which had been even worse had it been spoken in English. As it stands, the Elvish almost saves it, with the oddly English accentuation of the name "Frodo" in the mix.
The Fellowship's faces, especially Aragorn's, when the Balrog first arrives and the orcs scatter.
"A BALRRRROG OF MORRGOTH!"
"Legolas! What do your Elf Eyes see?" Swish your Elf Hair! Listen with your Elf Ears!
There are certain words that are impossible to take seriously. "Younglings" is one. "Man-Flesh" is another.
Some of the orcs' dialogue can often be this ("Looks like meat's BACK ON THE MENU, BOYS!")
One of the commentaries notes the oddity of this line, as it implies the Orcs have restaurants, to know what a menu is.
A lot of dialogue in these movies comes across as very narmy when it's being lifted more or less directly from the books. Some lines work well when they're written down (even if it's only because they're accommodated by the writing style in general) but end up sounding incredibly silly when spoken aloud, especially to our 21st-century ears.
This deleted scene from Fellowship comes across as very silly. Frodo's convenient placement directly underneath the trolls (almost as though someone deliberately did so there), with Sam's sheepish reaction to it cut together with Frodo's expression of anguish and terror, it almost comes of as though Sam is actively trying to scare Frodo to death.
In The Two Towers I swear Orlando Bloom runs into the frame, checks to make sure he's on his mark and then pronounces: "A red sun rises, blood has been spilled this night." And then... runs off again.
The first part of Paolo Sorrentino's Loro at times seems almost a self-parody of his previous film The Great Beauty, mostly because of the anvilicious metaphors involving random animals. The most ridiculous of the lot is when a giant rat comes out of nowhere and a garbage truck, in order to avoid it, steers and crashes, spraying Rome's beautiful night landscape with tons of garbage. The metaphor of the characters defacing Rome's great beauty with their filth couldn't be more on the nose, and if you add the bizarre CG effects like the truck floating in the air like the van from Stranger Things and more or less exploding in a geyser of trash, you have a scene that's impossible to be taken seriously, even with the intentional comedic undertones of several scenes.
Dr. Robinson's passionless declaration of love in Lost in Space: "I love you, wife."
Love Me Deadly. When McSweeney is embalming the male hooker alive. "NOOOOOOOOO! NAAAAAAAAAAAOOOOOOO, DON'T CUT MEEEE!"
Harlan Ellison had this reaction to Love Story, especially to the last scenes in which Jennifer asks Oliver to take his clothes off and get into bed with her. Ellison confessed that at other sad or tragic movies he cries openly, but felt that Love Story was manipulative and false.
Macbeth, particularly in one film adaptation. Macbeth's henchmen are invading Macduff's castle and killing his lady and children... and his youngest son, after being stabbed, staggers over to Lady Macduff and says, "He has killed me, mother." Grade ten English lit had never been so hilarious.
The immediately preceding lines from the murderer "What you egg! -stab- Young fry of treachery!" didn't help matters.
It was probably the Roman Polanski version. That moment provoked plenty of laughter, but there's also the scene in which a hapless minion is shot in the head with a crossbow. The unconvincing make-up and the fellow's perplexed, stupid expression had everyone in stitches.
It was justified in the original play. Sometimes you had to say "Oh noes, I'm dead!" because the audience in a theater production doesn't get to see the eyes close as you die. It still should have been cut in the film versions.
The witches in that version were Narmy in a disturbing Fetish Retardant way. The Orgy and prophecy scene, aside from being totally unlike the play, was both Narmy and trippy.
The scene where Banquo's ghost appears at Macbeth's banquet. Macbeth cowers in terror as the rather gruesome ghost advances... the ghost disappears; cut to the nobles staring awkwardly at Macbeth. Their expressions are hilarious.
One of the best scenes in the movie, there. Ghost appears. Macbeth cowers. Ghost bleeds from the injuries that killed him. Okay. Back to Macbeth, cowering. Cut back to ghost, spurting massive amounts of obviously fake blood from all over his body.
One film of the play ends with a closeup of every character staring at Fleance, all with overdramatic looks on their faces. One almost expected them to start saying, "Janet! Brad! Dr. Scott!"
In the Judi Dench and Ian McKellen version (sounds awesome, right?) Lady Macbeth (Dench) is angsting to herself while her husband kills King Duncan. During the scene, Lady Macbeth is supposed to give what I assume is a half wail, half groan; unfortunately and hilariously, it comes out sounding like a squeaky door opening very slowly.
The witches in this version are particularly hard to watch, especially the one that keeps drooling. They look more pathetic than scary, like old homeless women.
When Angharad asks Nux, "Who killed the world?" it's meant to be an Armor-Piercing Question, but Nux's age and the fact that he was apparently raised in Immortan Joe's warrior cult means he would have been an infant at most and probably not born yetnote probably... the timeline is rather fluid when the Unspecified Apocalypse went down. Instead, it comes across as a rather inane and senseless accusation.
I will find him. I will find him, Lara. (pause) I WILL FIND HIM!
We get a freaking Wilhelm Scream when the aircraft takes a hit and Lois falls out the hatch to her near-doom.
Given the film's odd method of giving us Superman's backstory through flashbacks, Jonathan Kent gives similar speeches in Anachronic Order.
The Jor-El hologram repeating every single plot point from the Krypton prologue, rendering an already long sequence moot. Granted, it was also there to help explain just how stagnant Krypton had become, from a civilization that went to colonize worlds far beyond their reach, to one that seemingly hasn't changed since they figured out how to clone their species.
Superman killing Zod. It's meant to be a Shoot the Dog moment for Supes but since he wasn't developed as well as other characters (as mentioned below), his famous super-code against killing isn't explicitly spelled out and it arguably turns into "just" a Big "NO!" moment. On the other hand, most people have been raised to believe Thou Shalt Not Kill - one doesn't have to profess Abrahamic faiths to believe thus - so Superman's reaction can be understood as that of a mere man not "Superman".
The Man Who Fell to Earth's highly surreal nature leads to narm when protagonist Thomas Jerome Newton, out of anger, flips over a tray of cookies that his lover Mary-Lou brings over to him, and in slow motion, no less.
Alot of the movie is narm, mainly due to all the unnecessary Mind Screw elements.
"GET OUT OF MY BRAIN! GO BACK TO WHERE YOU BELONG!"
The end of Marley & Me is supposed to be a tragic scene in which the dog dies. The way our protagonist slowly closes Marley's eyes and the ungrammatical notes his children put in his grave are over the top for some people. Others will still empathize, though.
In the relentlessly depressingMarvin's Room, Diane Keaton's character is diagnosed with Leukemia. During a trip to Disney World, she's drinking a soda when she sees blood on her straw, gets lightheaded, and passes out. The scene ends with a Point of View shot from her on the ground, as several people are looking down on her... and then Goofy enters the frame, and any drama left in the scene is washed out by giggling.
The creature murders Elizabeth in a gruesome manner, ripping her heart out, but then her hair catches fire from some candles that were knocked over and Victor has to put it out before he can embrace her dead body.
Can't forget the scene where he first creates the monster. After a hilarious "LIIIIIIIIIIIIIIIIIVE!!!!", the monster gets caught on hooks, knocked out, and dragged upwards, where we see its feet hanging. And the doctor just leaves it hanging there while he goes to collect himself!
In Matchstick Men, when Nicolas Cage's character freaks out in the pharmacy. The funniest nervous breakdown ever, and Cage has done many good/amusing ones in his career. Videos are here and here. Watch out especially for his one-line Jamaican accent.
During the finale of The Matrix, Neo kicks the Agent. He proceeds to leave his leg stiff, foot above waist level as he moves it from facing forward to facing his side, then slowly lowers it. Surely intended to be dramatic, but it came across as silly.
The way he nonchalantly says "no" sounds less like a man commanding bullets to stop and more like telling a cashier whether he wants fries with his burger.
To be fair, once New gets his God powers, stopping the bullets is probably as simple as telling a cashier whether he wants fries with his burger. If he had to do an epic "NOOOO" then it would have falling into Narm territory.
The bit where he fights the Agent off with one arm whilst looking slightly bored/stoned.
"...There is no spoon." It's supposed to be profound and philosophical, but Keanu Reeves' delivery makes it hilarious.
In Neo's climatic battle with Smith, his mighty slow-motion punch to the face is suddenly rendered hilarious by Hugo Weaving's comically distorted face on impact.
Whilst hanging on for dear life above a twenty foot drop, the building which Neo is hanging onto shakes slightly, drawing attention to the fact that the scenery was made of styrofoam. It was funnier than the scene was originally intended to be.
Agent Smith's monotone interrogation was actually hilarious due to the delivery. Until the bugs show up.
Neo and Trinity walk into a building and shed their cloaks, each carrying eight guns.
Neo referring to a major theme of the trilogy during the final battle: "Because I... choose to."
Pointed out by The Nostalgia Critic, the liberal use of the words "choice" and "purpose" in the trilogy makes lines where one of the words is shoehorned in, like "let's move with purpose", unintentionally funny.
Mega Piranha is already So Bad, It's Good, but the scene where some guy is knocked on his back and attacked by a swarm of giant piranha which he kicks out of the way takes the cake.
Menace II Society has the "Basehead" scene. It's actually a very accurate portrayal of how actual crackheads behave, and how their dealers treat them (though they usually don't kill them) but as most people are unfamiliar with such things it comes off narmy.
Minority Report is a serious, sometimes-disturbing and always-absorbing film - until you realise that the police are using vomit-inducing weapons for crowd control, and that said weapons are called sick sticks.
Or the scene with the organ. What should have been a really dramatic moment was utterly ruined by the fact that none of the keys were pushed down. Considering this is a Spielberg movie with a budget in excess of 100 million, you'd imagine they could have afforded some tape to stick them down.
The beginning of The Miracle Worker: Kate started screaming when she found that her child was blind and deaf. But it was so overdone!
HELEN! HELEN! HELEN!
This works much better on the stage, where it was originally performed.
The "Mama! Papa! SHE KNOWS!" scene was spoofed in the episode of Strangers with Candy where Jerri learns to read, including one element you don't necessarily notice if you're not looking: After yelling this line, Annie Sullivan throws up her hands and just falls right out of frame while the family joyously and obliviously group-hugs.
Mississippi Burning, given its premise of racism in Mississippi, has a pretty serious tone through most of the movie. However, when one character yells at another down a hallway with cries of "Mr. Anderson" with the cadence of Agent Smith, the dramatic tone fizzles quickly into unintentional hilarity. Fortunately, this only affects that one scene.
The Elder Gods declaring at the end, "The fate of the universe will be decided as it should be... IN MORTAL KOMBAT!!!!" just tends to unintentionally lampshade how utterly absurd the whole concept of the franchise is.
During the final battle when Shao Kahn beats down Liu Kang, he makes barking dog noises.
The Mothman Prophecies has a tense and dramatic scene where the main character receives a phone call from a mysterious stranger claiming to be near-omniscient. The character asks the caller to prove this by identifying what is sitting in his pocket. After a pause meant to build suspense, the whispery voice drawled out, "Chaaaaappppppstiiiiick" in what is supposed to be a creepy manner.
On a side note: If only Gollum had possessed that power...
Moulin Rouge! has Christian sobbing hysterically when Satine dies. Those not similarly moved (with or without hysterics) by this scene may find it amusing, especially the loud "Wa-aaaah!" noise Christian makes that sounds almost like hysterical laughter instead.
The Mummy has an intense action sequence in which a biplane carrying the heroes is attacked by a magical sandstorm. The sandstorm develops the scowling face of The Mummy, a nice effect... and then it cuts to him controlling the sandstorm by making funny faces in the desert, and the moment is lost.
This happens again in the sequel, except this time Imhotep makes his face appear on a tidal wave.
Then we get the sequel and the big, scary scorpion-demon thing with... a horribly-animated version of The Rock's face stuck upon it. Stephen Sommers (director and writer) mentioned that he was embarrassed about that. (Those scenes were completed last, with a deadline.)
There's also what should have been the big dramatic moment when Rick kills the Scorpion King, utterly ruined when Imhotep literally leaps into the shot like George Reeves as Superman for his Big "NO!" - and does it a second late...
Also in the sequel, at one point at the beginning, we see The Rock with a big goofy grin on his face, then he gets hit by a bolt of lightning and does a gesture identical to McCreary Timereary.
Jet Li was pretty much allowing Ben to kick his ass at one point. Jet Li is known for his martial artistry. Watching this scene was, for his fans, like watching your favorite basketball player forced to play against a 12-year-old while wearing clown shoes and a blindfold.
Yes, that is the line used in the theatrical version.
It gets even Narmier when her character gets tackled and bitten by said baboon when she finds it. Other movies would have played that for the absolutely bizarre, ridiculous experience that it was — Murder by Numbers decided that it was a good time for Bullock to deploy the Very Serious PTSD Flashback. (PTSD flashbacks = Dude, Not Funny!; PTSD flashbacks induced by a random baboon attack = unintentional hilarity.)
When Bullock is told her theory doesn't fit the profile of the killers, and snaps "The profile doesn't fit the profile!" It also didn't help that this absurd and meaningless line made it into a lot of the ads.
The first wedding scene in the 1993 adaptation of Shakespeare's Much Ado About Nothing. It was meant to be a shocking Tear Jerker as Claudio furiously exposes Hero's infidelity to the rest of the cast (he was actually tricked into thinking she was unfaithful), but his acting, and the scene in general is so over the top that it becomes an hilarious example of Black Comedy.
Music of the Heart is loaded with narm. It's quite unfortunate, because the true story on which it is based is genuinely inspiring. The film wastes a good source material, good casting and good music on director Wes Craven and first-time screenwriter Pamela Gray. There is a lot of chunky exposition to the camera, unnecessary embellishment of real events, and a good deal of histrionics — see whenever Roberta yells at her really nice mom or her really nice kids. The characterisation of Roberta is garishly inconsistent — an incredible feat, considering Roberta Guaspari is a real person. When Meryl Streep starts to look like a bad actress, you know the script is beyond salvation.
Vada's habit of singing "Doo Wah Diddy Diddy" fast when she's upset tends to ruin what are supposed to be emotional moments in My Girl.
In My Sister's Keeper,Cameron Diaz breaks down into hilariously awful tears and what were meant to be heart-wrenching sobs. The audience was still laughing even as her daughter dies from cancer.
The scene in The Neverending Story where the Child Empress is begging and crying for Bastian to give her a name. It's either the expressions or the repeated cries of "Bastian, PLEASE!" Though some found her quite touching; her acting would probably seem a lot more effective if not paired up with Bastian's. (Her Punctuated! For! Emphasis! "Call. My.Name." and the catch in her voice when she finally pleads "Bastian, please... save us!" had the better delivery than the rest of her lines.)
Bastian's acting... Every time we see him react to what he's reading, it's pure Narm. Every. Time.
The scene where Bastian reads about Atreyu meeting Morla. He looks up from the book and screams at the top of his lungs, creating a hilariously narmy moment.
"I'LL DO IT! I'LL SAVE YOU! I WILL DO WHAT I DREAM!" What makes this unfortunate is that the scene, with the dialogue as written, could have been a true dramatic and emotional moment on all sides. The line itself may be impossible not to Narm, but it may have been possible to deliver it with real conviction and wow even the most jaded audience with a talented actor.
Of course, there's the narmiest scene in the whole movie; when Bastian actually does cry out the name he's chosen for the Empress. His scream of her name is so unintelligible that the initial DVD release's subtitles didn't even have anything for it. For the record, he's screaming "Moon Child", but the way he screams it: "Maaaaaaaaahoon-chaaaaaaaaaa-eeyuuuuuuld!" makes it damn near impossible to understand even if you know what he's saying. It's meant to be the Big Dramatic Moment for him, but comes off like a kid randomly screaming out a window.
Oh God, Night of the Lepus, with the giant killer bunnies. Cute, fluffy giant killer bunnies.
"Ladies and gentlemen, there is a herd of killer rabbits headed this way! Roll up your windows!"
Nosferatu manages to be downright scary despite its age, but there are some downright humorous moments that were supposed to be horrifying to the original audiences all those years ago. One example of this is the scene when Thomas Hutter, the protagonist of the film, hails a "ghost carriage", which is shot at a higher speed than the rest of the film. This results in a humorous effect, as the carriage starts and stops abruptly, as in the very earliest comedy films. Another scene involves the titular vampire, who is moving to his new home across from Hutter's. He packs himself into a coffin, lays down, then magically moves the coffin lid over the coffin in a series of short, jumpy cuts (basically bad stop-motion) that make the scene more humorous than it should be. This also occurs later in the film, to the same effect.
Now You See Me: It only becomes apparent on replays, but the final scene between Dylan and Bradley may become a lot sillier when you realise that as Bradley is desperately trying to work out the Horsemen's trick to save himself from life imprisonment (while standing with his back to Dylan), Dylan is squeezing himself between the cell's bars in order to make his big reveal as the Fifth Horseman.
Or The Eye really does have "True Magic," and Dylan just teleported.
You could write a book about all the Narm in The Number 23. To start off... the main character in the eponymous book is named Fingerling. They try to write it off by claiming it's the name of the author's favorite children's book, but did no one working on the movie realize the potential hilarity of that name?
The part where Walter's wife screams, "Look at all the BEAUTIFUL TWENTY-THREES! You don't want to DISAPPOINT them, DO YOU?"
Oblivion (2013): The look on Jack's face as he's falling after the Scavs cut his line is... rather hilarious.
In the 1997 TV miniseries of The Odyssey, Odysseus throws a spear at a particularly large suitor, who promptly accelerates upward and gets pinned to a wall. Blessed by the gods, indeed.
It's more than that; not only does the spear pin said suitor through a door and not a wall, the spear manages to kill the woman said suitor had been sleeping with while trying to woo Penelope. There are several other Narmful moments, including:
Odysseus's mother, Anticlea, committing suicide by walking into the ocean. What should be a dramatic and sorrowful scene is utterly ruined by her servant promptly sitting down on the shore, rocking back and forth while patting her head with her hands, and making truly hilarious cries. As opposed to stopping Anticlea from continuing to walk into the sea.
During the same scene, Penelope takes action and tries to stop Anticlea from going through with the suicide. She runs in front of her, extends her arms, and screams "NOOOOooooOOOO!!" Supposed to be an dramatic moment, but it's really hard to take seriously.
Odysseus carrying the goat for Tiresias into the Underworld... as though said goat were a weapon he planned to use to defend himself.
Atrocious CGI effects for Scylla, which only showcases three of her heads and makes them look like Venus flytraps.
That famous scene from An Officer and a Gentleman, when Zack screams, "DON'T YOU DO IT!! I GOT NOWHERE ELSE TO GOOOO!!!!!" is meant to show the audience how much pain the character is in. Except Richard Gere is reallyoveracting in it, making the scene really REALLY funny. Go watch that scene, and wonder why Gere hasn't done any real comedies outside of those cheesy romantic ones.
The Omen trilogy has plenty of comic death sequences:
The priest's famous death by impalement in the first film. He could've saved himself with a single step to the left, rather than raising his hands and shouting "NOOOOOO!"
From the second film, the red-wearing journalist's otherwise utterly harrowing scene where a demonic raven attacks her and graphically pecks her eyes out is ruined when she then stumbles into the path of an incoming truck. Not only is the dummy unconvincing, but it seems to vault over the speeding vehicle, in defiance of physics.
Another non-death example from the second film: the number of times the name "Bugenhagen" is repeated.
Ed Wood's porn film, One Million AC/DChas a scene where a poor, helpless cavewoman is eaten by a vicious dinosaur... a scene that includes an awful hand puppet, an incredibly obvious dollar-store dinosaur toy, and a barbie doll.
A high percentage of Orphan. Seeing what is supposedly a young girl hold a knife to her young brother's genitals and say "I'll cut off your hairless little prick before you even know what it's for," and then dress up like a total ho-bag and try to seduce her father — that isn't scary or heartbreaking. It's funny.
Oh, God, The Outsiders. Matt Dillon in Dally's dramatic death scene. The cops keep on shooting at him as he crawls around on the ground gasping and choking for almost a whole minute. In the book, after he was shot, he was dead before he hit the ground.
For Trans-Tasman audiences, the presence of the Australian Hansens and their atrocious accents are enough to set off fits of laughter.
Mako's final words to Pentecost, "aishiteru, sensei" aka "I love you, teacher", can be a little jarring to native Japanese speakers, since "aishiteru" is a very unusual thing for a Japanese person to say. It would have been more natural if she left it at "Sensei..."
Though certain people consider it an ultimate Tear Jerker, the scene where Trevor is stabbed and dies in Pay It Forward is ridiculous if you know anything at all about human anatomy. Put succinctly: unless he lay there for three hours before EMTs got to him, there's no way he should have died. It's as if the director was so desperate to extract more tears from the audience that she didn't care how she was gonna do it. For this scene, rolling the eyes and yelling "Oh, bullshit!" is just as appropriate as reaching for the Kleenex.
The scene in The Movie of Patrick Suskind's Perfume in which Alan Rickman finds his daughter's dead body is rendered extreme narm by his facial expression and arm movements.
What about the ending? The utter horror of what happened is completely and utterly ruined by the dodgy slo-mo bodice-ripping two frames later. Sure, it was never going to translate very well onto the screen anyway, but they could have tried to make it look slightly less like a Renaissance-era Woodstock.
Everyone who stops taking care of Jean-Baptiste dying in increasingly spectacular fashion. Not helped by some of these deaths being played in slow motion.
Especially considering Christine calls it "so distorted, deformed, it was hardly a face"! Yes, she's a naive scared Ingenue, but there are limits!
The protagonist sings dramatically while being choked.
The dancers in the background of the "Point of No Return" scene. One Phantom of the Opera community refers to them as the "Dread Pirate Roberts dancers".
The horse in the middle of the title song: What's meant to be a tense, dramatic moment as the Phantom leads a bewitched Christine to his lair is made absolute Narm the moment the Fridge Logic hits—how and why the hell did he get a horse into the sewers under the opera house? Sure, it's supposed to be stylized and surreal, but the oh-so-pretty pony leaves people in stitches. The Paris Opera does have its own stables, and a horse figures in this scene in both the original novel and the silent film adaptation. But in this film, it's used to convey Christine down one short length of hallway and then promptly abandoned. And for bonus points, The BBC documentary Behind the Mask (about the original London staging) revealed there were plans to incorporate a horse into the stage version of the sequence, but it was dropped because it looked silly.
The title song is supposed to be scary and demonstrate the Phantom's power of suggestion, but the moving candelabras remind some people of another moving candelabra.
Also from the film, any time Christine is singing. Yes, you recorded the songs in a sound studio; but don't just LIPSYNCH! Throat muscles can move, too!
Yes, and at the end of "Think Of Me" — you don't change pitch by moving your jaw up and down!
"Clearly, Madame Giry, genius... has turned... into MADNESS." With Gerard Butler playing the Phantom, it's difficult to hear this line and not shout the obvious response. Plus, Raoul comes across as the Only Sane Man in light of the Phantom's just-revealed backstory. (In the stage version, his backstory was only recounted through dialogue.)
The dialogue after Christine kissed the Phantom is simply hilarious.
Gerard Butler is not the ideal voice of the Phantom. First, he's singing an octave low, and he's singing badly. The Phantom is meant to be an otherworldly operatic genius, but Butler can barely hit the notes at half their usual range. Wrong, bad... etc. All that remains — is the problem Lloyd Webber's casting or Joel Schumacher's direction? This review of the soundtrack album sums up the issue well.
The rest of the accent soup is no better than the Phantom's brogue. Why is Miranda Richardson talking like Pepé Le Pew?
In the very beginning of the movie an auction is being held on various memorabilia from the events of the story, including the infamous chandalier. It's lot number? 666. It's almost as they're hinting at some sort of symbolysm in the story!
Speaking of Phantom of the Opera, from the Lon Chaney silent film: The Phantom's last action before death in it is miming an invisible grenade, and then an abrupt surrender which can be interpreted as "Naw, I'm just messing with you."
The mirror scene, where he has to poke Christine on the shoulder about a dozen times before she finally notices him with appropriate levels of shock.
There are some overly melodramatic title cards in the silent film.
"Believe in my love, Raoul, and save me from that monster—oh, save me!"
When Christine sneaks up behind the Phantom to take his mask off, the anticipation is deflated a bit when she bumps against a violin hanging on the wall, leaving it swinging back and forth for the rest of the scene.
The opening scene of Pirates of the Caribbean: At World's End, with the mass hanging of the pirates and the little boy leading them in the "Hoist the Colours" song, is properly chilling — but it loses a bit of its edge when one soldier, let's call him Captain Obvious, rushes over to Beckett and tells him, "They've started to sing, sir." There are hundreds of condemned pirates, and Beckett is yards away. It's... very unlikely he wasn't already aware.
Eric Robert's crying in Pope of Greenwich Village: "THEY TOOK MY THUMB, CHAAAAARRRLLLLIIIIIIIEEEE!!!! THEY TOOK MY THUMB!!!"
The Prince of Tides is a prime source of narm. The hilarious break-down scene where Nick Nolte breaks down crying in Barbra's arms and she whispers "it was sooo hard, you've had to keep it all inside" while a single tear runs down her shiny, shiny face is a prime example of narm. The entire film is indeed one big narm-fest, where chewing the scenery is not only encouraged but required.
Predator has that infamous quote as Arnold is going down the river:
The Professional has one Narmtastic scene in an otherwise great movie: After helping Mathilda escape Stansfield and his goons by stuffing her into the air duct, Leon suddenly turns around and BELLOWS into the camera like he's turning into a werewolf.
Gary Oldman as Stansfield yelling "EVE - RY - ONE" in response to an underling questioning what he means by "everyone" when he tells him to get "everyone." His delivery is so loud and each syllable is so drawn out that it's almost impossible to take seriously.
Gary Oldman was just messing with Luc Besson to make him laugh with the "EV - REE - OOOONE!!" thing, and that take ended up being used in the film.
The 1979 film, Prophecy has a priceless moment where a terrified kid tries to flee a mutated bear... by bunny-hopping away in his bright yellow sleeping bag. The bear then punches the kid into a rock, where he EXPLODES in a shower of fluffy feathers. It sounds gory, but coupled with the dramatic music and the bear roaring, it's unintentionally hilarious.
As balls-explodingly awesome as Tom Yum Goong (a.k.a. The Protector) is, and as much as it's clearly supposed to be dramatic, the scene where a bunch of Giant Mooks put Tony Jaa's elephant in a headlock and throw it across the room is flat-out hilarious.
Okay, Psycho is a fantastically creepy movie and justly regarded as one of the greatest films ever made. That said, Anthony Perkins looks... sillyin old lady drag. Vince Vaughn looks even worse.
The Puppet Masters. How does the Julie Warner character know something is not quite right with the teenage boys? They weren't trying to look down her blouse. No, really.
In Push, the Screamers were supposed to be menacing, but they looked kind of ridiculous because of the way their faces contorted when they screamed (and because they were men with a superpower commonly attributed to women). Except at the end, when the boys' father finds his sons dead and turns out to be not only a Screamer, but also extremely powerful. Oh, Crap!.
Even the screamers at the end seemed hilarious. Every time something tries to get done in an action sequence in this movie, some Screamer shows up out of nowhere and makes his O-face, and everybody else collapses in pain. They need their own family sitcom.