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In Quarantine, a handheld camera style horror movie, at one point the cameraman is attacked by a person infected with super-rabies jumping out from the shadows. He fights back by repeatedly poking his attacker in the face with the (incredibly delicate and expensive) lens of the camera he's carrying with him, rather than swinging the camera like a club like you would expect someone in that situation to. It needs to be seen to be appreciated, and it doesn't mesh well with the rest of the movie, since after all that abuse, the camera is miraculously unharmed. This, when there are many times in the film when it malfunctioned from someone lightly swatting it.
From the first Rambo film, First Blood, sobbing Johnny Rambo recounting his traumatic 'Nam experience (making even hardass Richard Crenna's lip tremble) is either this or a Tear Jerker; the enunciation leaves something to be desired.
There's also David Caruso's screams of pain when he gets stabbed in the leg.
The part when the asshole deputy Art Galt dies has a bit of Fridge Humor: He's falling in slow motion but screaming at regular speed. So, does that mean he was squealing like a chipmunk on the way down?
From the 2008 Rambo, Rambo's facial expression after being grazed by a bullet. My god, just... you know chill. He's not living for anything if he keeps shaking the camera around like that.
That face comes built in and it's not exactly Stallone's fault either (it was caused by forceps damage when he was born), so expect some narm any time Sly yells.
"They would have RAPED her 50 times, and cut all your FUCKIN' HEADS OFF! WHO ARE YOU?! WHOUHANNYOYOU!?"
It's hard not to laugh when Rambo rams his tank into the Big Bad's helicopter in the finale of Rambo III because of Stallone's trademark idiotic battle cry.
From Red Dawn (1984), after the boys have met up with their father at the internment camp after the invasion:
The scene in Red Heat where Danko finds the drug traffickers. It starts tense enough, but then suddenly Ahnuld punches a guy in the face, rips his prosthetic leg off and uncorks it to show that he was hiding cocaine, or "cocainum" as Danko puts it, in there. Everything works against the supposed seriousness of the scene: the very idea of ripping off someone's leg with bare hands, the loud "pop" sound of the plug's removal, the bizarre bug-eyed face Danko makes when saying "Cocainum"... and for that matter the word "Cocainum" itself, which is not an actual Russian term.
The last five minutes of Requiem for a Dream. Up until then, it was pretty awesome. And then, suddenly, it... um, wasn't.
Any film that packs simultaneous fates of gangrenous arm removal, deep-South imprisonment, lobotomy, and donkey sex has veered from parable to parody.
ASS TO ASS! ASS 2 ASS!!!
The first Resident Evil movie, though positively grounded compared to its increasingly bonkers sequels, reaches its peak of silliness with the infamous wall-running, Doberman-kicking scene, complete with gratuitous slo-mo.
The action sequences in Apocalypse try just a bit too hard to be spectacular, to the point that the storyboarding feels like it was done by an overcaffeinated fourth-grader and approved by the same committee that created Poochie. Each subsequent movie then tries twice as hard to top the previous one, to the point that the action becomes impossible to take the tiniest bit seriously. RedLetterMedia's Half in the Bag analysis of the series includes several clips of Mike, Jay and Rich unable to discuss the merits of the films because they're too busy reacting to these scenes with raucous laughter.
Return to Oz: The Nome King rises up gigantic and surrounded with flames as the embodiment of pure satanic evil and power. The first line that comes out of his mouth sounds like "S'UP!!!" in a deep rumbling voice.
The scene where the Nome King reveals to Dorothy that he has the Ruby Slippers. Just the sight of seeing the Big Bad wearing female footwear is incredibly hard to take seriously.
Ricochet had a pretty strange line where the villain is breaking out of prison, he grabs a guard's gun and yells "The last time I held a gun in this hand, a young black man took his clothes off for me!" Funnily enough, this is exactly what happened.
Samara: Mommy! Rachel: I'm not your fucking mommy!
The random deer assault.
Also, the notable Special Effect Failure when the spectral Samara rises from the bathtub, composed entirely of water, with the face of Daveigh Chase (who played Samara in the previous film) badly pasted on.
It's hard to take Samara scarily once you realize that she's Lilo in disguise. Unless you found Lilo creepy... But that sequel could make Lilo less creepy.
Sheriff of Nottingham: "Cancel the kitchen scraps for lepers and orphans, no more merciful beheadings, and call off Christmas!"
Sheriff of Nottingham: <sizes up a wench> "You. My room. 10:30 tonight." <turns to another wench> "You. 10:45... and bring a friend."
And who could forget his immortal "Cut your heart out with a spoon" line?
It isn't just that Kevin Costner decided to completely eschew the barest attempt at an English accent, but his delivery is either way over the top or far too understated. An English accent might have helped remove the silliness from lines like "Azeem, the great one! I am home! Wooooaaaaooo!" or "Did I wrong you in another life, Will Scarlet?" He gives a Rousing Speech to the refugees of Sherwood Forest that sounds less convincing than an elementary school production, and can't even utter the line "Then it begins!" without dripping with narm.
CCH Pounder's death in RoboCop 3 has to be seen to be believed. She gets shot, gives a weary thumbs-up to RoboCop and friends, shouts "Go!" and then... just deflates. Words fail to describe the absurdity of this scene. It's a shame, because CCH Pounder knows how to act.
In the climax of the film, a young girl and a doctor are held up at gunpoint by the film's villain, McDaggett. RoboCop flew in through a window with a jetpack to stop him but was unsuccessful. McDaggett also has an explosive device that will detonate in twenty seconds. The unintentional humor lies in the film's PG-13 material. After McDaggett calls the doctor a "stupid slag", RoboCop calls McDaggett "chum" before incinerating his legs with the jetpack. As McDaggett falls down, Robocop grabs the woman and child, and flies out of the OCP building as it explodes in a marvelous Special Effect Failure. This caps off a film where Robo has had to fight robot ninjas. Oh, and the young girl disabled an ED-209 robot with her laptop computer.
The Old Man's cry of "BEHAVE YOURSELVES!" at the climax of RoboCop 2.
ED-209's killing of Mr. Kinney in the boardroom scene at the beginning of RoboCop (1987) is narmy in terms of the fact that it is just hilarious watching ED-209 shred him with machine gun cannons until Kinney is more lead than flesh.
Also, Murphy's death at Boddicker's hands due to the dialogue beforehand
Many scenes in the Rocky movies - particularly Mickey's death scene in Rocky III. The scene itself is effective and well-done, but when Sylvester Stallone degenerates into a blubbering wreck by the end of it, it becomes difficult not to giggle. It's in-character for Rocky, but it's a bit much.
Some of Rocky's speeches are surely meant to qualify as wise in their simplicity, but there's nothing wise about saying "youse guys" over and over.
In Rocky IV, when he is giving a big speech to his son before going to Russia, it is pure, unadulterated narm due to the fact that you can't understand half of what he's saying.
The random and hilariously out-of-place cartoon BOING! noises during the escape scene in the 2002 Rollerball remake. You almost expect Bugs Bunny to pop up onscreen.
The scene where Johnny tears up his apartment and then kills himself - "Why, Lisa, WHY, WHY?! YOU BITCH!!"
When Lisa finds his body, it makes it even better considering his gunshot wound is obvious - "Wake up, Johnny! Wake up!"
Then there's a short scene where all Johnny is supposed to do is buy some flowers. It's not sad, not funny or dramatic. It's just Johnny buying some flowers. But even such a simple and regular scene was too much for Mr. Wiseau. The results has to be seen to be believed.
(completely emotionless) "I am so happy I hav you as my best frienn, an I lov Lisa so mutch."
When Lisa and Mark ironically break up over Johnny's corpse
Lisa: "At least I still have you."
Mark: "You don't HAAAVE me!" *pouts and runs away*
Also, during his "fight" with his best friend, Mark, over Lisa: "Giddow my haus. I KILL YOU! I BREAK EBBERY PHONEnote He meant to say "fucking bone", but unfortunately, and hilariously, it came out as this IN YO BAWDY! I KILL YOO, U BASTIR!"
Romeo and Juliet: The 1976 Thames Shakespeare Collection version starring Christopher Neame and Ann Hasson has more than its fair share of narm:
During the famous balcony scene, Romeo comes across less like a romantic suitor and more like a crazed lunatic. One example, when Romeo is supposed to say the famous line "By love's light wings did I o'erperch these walls," Romeo gets a little overly enthusiastic:
Juliet:'By whose direction didst thou come to be here?
Romeo:*eyes bulge*Byyyyy LOVE'S! *starts wildly thrashing his way up the trellis while mumbling the rest of the line*
Another example of Romeo's hammy overacting, the scene after Tybalt dies and Romeo cries out "O, I am fortune's fool!" is...not very well translated to the screen:
Romeo:Ohhhh, I am fortune's *twists his mouth oddly* FOOOOUUUUUUGHHHL!!!!!!
Juliet, for her part, comes across as somewhat psychotic due to her facial expressions and line delivery in some scenes. For instance, during the scene where she's waiting for Romeo to arrive (not knowing yet about the fight between Romeo and Tybalt), Juliet waxes poetic about Romeo, and says the famous "and when he shall die, take him and cut him out in little stars, and he shall make the face of Heaven so fine..." line. The problem? Juliet's utterly psychotic expression—with bulging, unblinking eyes and wide, leering, Joker-like grin—make one worry that she might actually intend to cut Romeo out into little stars when he arrives.
And despite Juliet's nutty, psychotic over-emoting throughout the play, the famous death scene comes off as surprisingly anticlimatic: Juliet stabs herself and makes a really weird groan that makes it sound like she just saw a large bug and got grossed out.
Even the rather decent 1968 Zeffirelli version of Romeo and Juliet has some moments. Both Leonard Whiting (Romeo) and Olivia Hussey (Juliet) collapse in uncontrolled sobbing at the crucial moment of the play (Tybalt is dead and Romeo is banished). When the nurse approaches Romeo in the chapel, reduced to a sobbing wreck, her statement that Juliet is in the same situation verges on the point of overly melodramatic: Two helpless teenagers wailing at the same time!
In the 2008 horror film The Ruins, the German Greek guy started swatting at his legs and screaming, "Git zeem auf! Git zeem auf!"
In Run, Lola, Run's second run, Lola and Manni are about to be reunited after their harrowing day when Manni is abruptly hit by an ambulance while crossing the street. After everything they've done that should be heart-wrenching, but the way it was shot makes it hard not to break out in hysterical laughter.
Lola runs out into the street and yells MAAANNN—NNEEEEEEEE to try to get his attention.
Saw: When Cary Elwes has to cut off his own leg, the expression and noises he makes drives it from terrifying to narmifying. It doesn't help that Leigh Whannell is completely overacting in the same scene.
From Saw VI: The entire scene revolving around the Carousel Trap.
"LOOK AT ME! When you're killing me, you LOOK AT ME!"
It doesn't help that the first part of that line makes it seem like John has some serious ADD. He's in the middle of delivering a dramatic mini-lecture, all the while staring at the fish tank, when he suddenly seems to notice the fish.
[paraphrased] "It's not even God who decides who lives or dies. It's the fucking insurance company ... Piranha."
From Saw 3D: "Why couldn't you just SHUT THE FUCK UP?!"
In Say Anything..., Diane's dad, Jim, smiles as he swears to God that he did not steal from the elderly at the retirement home. After Diane reveals that she had found the money, the smile on Jim's face slowly fades as his eyes are wide open. Though this is meant to be a dramatic moment, that one shot of his face comes across as rather hilarious.
The prison documentary Scared Straight is so over-the-top with bellowed profanity that it's a laugh riot since the prisoners aren't actually in your face. "THEY'RE GONNA KNOCK YOU ON THE OTHER SIDE OF THAT BED AND DO BODILY HARM TO YOUR ASSHOLE! BY STICKIN' A DICK IN IT!"
Any time Tony Montana started getting crazy and possessive over his sister in Scarface (1983), Brian De Palma opted to use extreme closeups and incredibly melodramatic-sounding synth music. The result was... er... not as chilling or visually impressive as intended. It ruined what should have been an emotional moment in the death of Manny at Tony's hands.
"SAY HELLO TO MY LITTLE FRIEND!" although he pronounces it more like:
"SAY CHALLO TO MAH LEEL FRAN!"
Scream (1996): Casey's screaming when the killer sees her outside of the window outside of her house. It looks a lot like she's smiling instead of screaming. As well as when she hits him in the face with the phone knocking him out.
Screamers has a entire horde of child-looking screamers pouring out of a warehouse, chanting "Can I come with you?" while our heroes freak out and mow them down with machine guns and flamethrowers and oh my gosh who thought this was a good idea.
The ending of Se7en; Brad Pitt's repeatedly narmful readings of the lines "WHAT'S IN THE BOOOOX? OH, GOOOD!" derail any possible narrative tension.
"WHAAAAT'S IN THE BOOOOX? IN THE BOOOOX? WHAAAAT'S IN THE BOOOOX TODAAAAY?"
Ugh. That was the worst one, but his "Heeeeeeeeee's... anut-bag!" line was also was pretty Narmy.
Brad Pitt's atrocious delivery of his lines during the driving-to-the-desert scene (just before the box is delivered). It's almost like Brad didn't feel like acting that day... so he didn't. Watching Brad phone it in as Morgan Freeman and Kevin Spacey give it their all is pretty damned hilarious.
Perhaps only because the rest of the fight scene is so well done, there's a shot in Serenity's climactic River vs. the Reavers fight that is unintentionally hilarious. River's head rises into shot in slow-mo, a determined look creasing her baby face. Actually Joss Whedon seems rather fond of the narmtastic hero-bobs-up-slowly-into-fram shot. He used it in the Buffy the Vampire Slayer episode 'The Wish', to equally hilarious effect.
The premise of Seven Pounds, build up and emotional beating over the head just fails spectacularly. The main character is unlikable and delivers the Broken Aesop of the movie by killing himself. It basically boils down to the emotional equal of Tastes Like Diabetes.
This is pretty much caused by the film's cold open where Tim reports his own suicide. You know how the movie's going to end, so it's impossible for the suspense and emotion to actually get to you.
In the middle of Shark Attack 3: Megalodon, when the passengers try to escape the ship, they get eaten left and right by badly-rendered sharks that swallow people whole. One person is snatched out of the air like a grape, the shark then magically changes size to devour an entire life raft, and the guy on the jet ski just drives right into the beast's mouth. What was supposed to be a massacre ended up being a laughfest. There's even the infamous scene of a man taking a woman's life jacket who ends up jumping into the mouth of a shark.
From Sharknado: "They killed my grandfather. That's why I really hate sharks." "Now I really hate sharks too."
In Sherlock Holmes (2009), it is shown that Sherlock can take down enemies by attacking nerves in a kinda slow V.A.T.S style. At full speed, it can appear that he is slapping the enemies to incapacitation.
"It puts the lotion on its skin, or else it gets the hose again!"
Nearly all of the scenes with Buffalo Bill, if you don't find them scary, you'll find hysterical, especially the mangina dance scene.
The first Silent Night, Deadly Night has its moments. Early on, there's a scene meant to help set up the killer's childhood-trauma-filled backstory where he and his parents visit his seemingly catatonic grandfather on Christmas Eve. "Seemingly", because as soon as the parents leave him alone with the kid, the grandfather takes the opportunity to warn him hammily about the perils of Christmas...
"You scared, ain't ya? You should be! Christmas Eve is the scariest damn night of the year!"
Even sillier because you might recognize Grandpa as Old Man Peabody from Back to the Future. And while it's supposed to foreshadow a violent streak and abnormal strength, it's hard to have an eight-year-old knocking a grown man in a Santa suit to the ground with a right cross not be funny.
You know things are Narmalicious when horror films run out of holidays to have horrific murders take place on.
Even funnier is the killer's massive eyebrow twitching.
Simon Birch, The Film of the BookA Prayer for Owen Meany. There's the deer who shows up every fifteen minutes or so and who is supposed to represent the hero's mother. And Joe's mom symbolically became a deer in the first place because Simon hit a foul ball that bonked her on the head, and it killed her. Gee, would her slipping on a banana peel and getting squashed by a falling piano have just been too dramatic for you, Simon Birch?
Sin City: Four words - "He made me WAAAAAAATCH!!!!"
The Sixth Sense has the car scene, which would have been a beautiful, emotional scene if not for Colette's horrid acting. Her over the top facial expressions and crying (especially when Cole tells her about Grandma) and her delivery of "... what?" during that mentioned conversation make for high octane Narm.
The "grandma says hi" line in itself breaks the mood horribly.
Skinwalkers: when the small-town Granny turns into a low-rent post-menopausal Sarah Connor, pulls a gun the size of an aircraft carrier out her purse and starts blasting away at the skinwalkers. Be sure to have some pillows handy when you fall out of your chair laughing.
Skyline. The zombies- er, aliens- are here for our brains. Not kidding- our brains. They are impossible to take seriously after that.
Sleeping Beauty's Maleficent gives us this gem: "She shall prick her finger on the spindle of a spinning wheel... and DIE!" The rather... insignificant injury ruins the effect a bit. So does her motivation. The Mistress of All Evil decides to show up to a christening and use her frightening powers on the innocent baby... because she's salty about not being invited even though there was no reason to invite her anyway.
In Snow White: A Tale of Terror, they change the original story a bit while still using old things from the original story that hadn't been used before. There's this one scene after Lilli finally dies after eating the apple. Will suddenly pulls her out and throws her limp body over him, shaking her and yelling "BREEEEATHE!" twice.
The Social Network features two extremely emotional scenes between the two leads, showing how the cracks are forming in their relationship... revolving around a chicken.
The oft-parodied exclamation from Soylent Green, about the nature of the titular food substance. Not as Narmy as Popcultural Osmosis would lead you to believe, however; the context of the line lends more credibility to the claim in the source than it has in most of the parodies and homages. But don't be disappointed, Narm-seekers; there's more than enough Narm earlier in the film to make up for it.
Space Mutiny. David Ryder's shrill scream near the end of the movie leads Mike and the 'bots to imitate it a few times and giggle; but the most narm comes from the villain Kalgan ("take me away!"). His name sounds the same as a kind of water softener and a kind of bath product; his lines are delivered with weird pauses and mad cackling... seriously, just watch it.
Kalgan is played by John Philip Law, who virtually made his entire career out of Narm. Especially check out his rare star vehicle: The Love Machine.
The whole "space dentistry" sequence is pure uncut Narm from beginning to end. First there's Kalgan's typical hammy performance as he explains how it works, "not that you'd know anything about that". Then he shines a laser on one of Lea's teeth, and her reaction to being horrifically tortured looks like a cheerful grin. And the laser makes a drilling sound like an actual dentist's drill. Then her inept seduction of an even more inept guard to escape, complete with copious Fan Disservice. Awful.
In Spartacus, the famous bath scene between Crassus and Antoninus. Between Tony Curtis' obvious New York accent to Laurence Olivier's "I enjoy oysters... AND SNAILS", the whole thing is just ridiculous.
Sil in Species causes Narm for German watchers, since her Name's the Same as that of a brand of stain remover. (Especially since the latter has an ad slogan: "Nimmt Flecken den Schrecken!" - "Takes away the horror of stains!")
The climax of The Spongebob Squarepants Movie involves a genuinely epic rock solo on the part of Spongebob... except for the fact that it uses the words "Goofy Goober", words which, unfortunately, cannot sound cool.
Strange Days: Picture Vincent D'Onofrio as a bloodsoaked, crazy-eyed Corrupt Cop lunging towards our heroes with a gun in slow motion. That's scary. Unless, of course, he's also handcuffed to his partner's corpse and is dragging it behind him. Then it becomes hilarious.
Steel Magnolias has some sad moments, especially during Shelby's funeral. But M'Lynn's whiny, prolonged screech "Whyyyyyyyyyyyy?!" ruins the effect because it's so hilarious.
Near the end of Strangers on a Train, the police are chasing the criminal through a carnival. One police officer shouts "You there!" and fires into the crowd, hitting the operator of a carousel. The operator collapses onto his control board, causing the carousel to spin faster and faster until it flies off its axis and dramatically explodes.
"Well, I'm not going home. I'm gonna get on my boat, and I'm going up river, and I'm going to kick that son of a bitch Bison's ass so hard that the next Bison wannabe is gonna feel it! Now, who wants to go home... and who wants to go with me?"
Please, Bison just steals the show. There's the ridiculous facial expression he has when the heroes are being gassed. And there's this line:
The dying child scene from Strike Commando. It is so fantastically narmtastic that it's satirized not just by Spoony, but also the entirety of Channel Awesome during one of their fundraiser streams.
The opening of Suburbia. A mom in a station wagon picks up a blonde teenage hitchhiker and then promptly blows a tire. She gets out to phone for help and leaves her young child in the stranger's care. Suddenly, there's a random snarling dog in the distance. The kid starts to cry and calls Mommy; the teen stares dumbly ahead. Out of nowhere, we cut to a shot of the dog in the middle of mauling what's obviously a dummy in the small child's clothes; the mother, who has done nothing this whole time, ambles out of the phone booth, blankly stares for a second, and then begins OH GOD MY BABY screaming as if someone had just reminded her she was supposed to. Cut immediately to something else, somewhere else, as the plot of the movie begins. What the? So... this completely random dog teleports ten feet to maul a fake baby with no reaction from anyone involved?
In Suicide Squad, the Joker attempts to intimidate a small-time crook by puffing out his lips and saying "bluh bluh bluh".
Berkowitz:(terrified) I thought I killed you, Mr. Black Dog! How did you get in here?! LEAVE ME ALOOONE! What do you WANT?!
Harvey (voiced by John Turturro): I want you to go out and kill. Kill! Kill!! (small pause) KILLLLLLL!!!
(Berkowitz breaks down sobbing)
The original edit of Sunset Boulevard opened with a scene inside a morgue, with the assembled corpses discussing how they came to be there. The story began with the corpse of Joe Gillis recounting his murder to the others. The audience reacted with laughter and seemed unsure whether to view the rest of the film as drama or comedy. After a similar reaction during its second screening in Poughkeepsie, New York, and a third in Great Neck, the morgue opening was replaced by a shorter poolside opening.
Superman II had a deleted scene, reinstated for network TV airings, where the boy whose dad Zod dropped to the ground tries to leave the town to get help, and the Kryptonians kill him. "I said, no one leaves!" and "He was only a boy!" are definitely Narm.
The "Please Mister!"/"He's a general!"/"Please Mister General!" part that is in all versions is Narm, especially because this Midwest hick-town kid is speaking with a crisp British accent ("Put my dahddy down!"). This part of the movie was shot in Surrey, England, doubling for a Midwest U.S. small town. We later get two young black kids in Metropolis who sound a little too posh to be ersatz New Yorkers: "Huh! Syupahman didn' even DAOO nothin'!"
The deleted Tornado scene. The external twister effects aren't half bad in spite of the low budget, but leave it to this movie to make a small child getting pulled into a tornado one of the funniest goddamn things you'll ever see.
Superman Returns, when a criminal turns a gatling gun on Superman only for the bullets to bounce off of Superman's eyeballs in Slow Motion.
Well, the bullets from the gatling gun bounce of his chest, after which the criminal pulls out a handgun, walks up to Supes, and fires it point blank at his eye.
In Superman vs. the Elite, Manchester Black spends most of the movie trying to get Superman to cross the line and start killing bad guys. He finally does or so he thinks; it turns out Superman is faking it to scare the living shit out of him, and begs for his life after watching the rest of his team die horribly at the hands of, arguably, the most powerful man on Planet Earth. Unfortunately, the best reason he can come up with for why Superman shouldn't waste him right there in the street is that "You can't do this! You're Superman!" No shit, Chester; that's what the big "S" on his chest stands for, after all...
The helicopter crash in The Swarm: "OH, MY GOD! BEES! BEES! MILLIONS OF BEES!"
The 1982 filmed version of Sweeney Todd: The Demon Barber of Fleet Street (NOT the 2007 film) has a huge Narm toward the beginning, thanks to George Hearn, the MOST CAPSLOCK MAN ALIVE, bellowing a rather bizarre "GNAAAAAAAAAAAGH!" sound and burying his face in his hands when he learns his wife poisoned herself fifteen years ago. This may sound like an obvious reaction, but the actual sound is what makes it hilarious.
When Hearn's Sweeney finds out he's just killed his wife his reaction is even more hilarious. It's so far beyond Narm that to compare the two is like comparing a hang glider to a space shuttle. It ruins the moment.
Not to mention the climax of "My Friends":
"AAAAAATTT LAAAAAAAASSSSTTT, MYYYY ARRRRRRRRRRRMMM IS COMPLEEEEEEEEEETTTTE AGAAAAAAAAAIIIIIINNNN!!"
Some might say that that particular line is Narm incarnate and cannot possibly be done in an un-narmy manner. Seriously, it's a psychotic screaming to a straight-edged razor, after singing a song to that razor about how much he's looking forward to killing people with it. Many versions of Sweeney Todd exist, all of them drop into a bucket of Narm on that single line, no matter how well-done the rest of the performance may be.
"Some might say"? Er, Word of God says that the line has to be delivered like something out of Shakespeare. It's meant to be overblown.
From the 2007 film, the beggar lady's death. Every other non-incendiary killing in the movie involves unabashed use and abuse of High-Pressure Blood, but when Todd slashes the beggar's throat out, her blood just sort of... waterfalls.
The rape scene in the Swept Away remake is robbed of any power it might have thanks to two things. Firstly, the sequence doesn't even attempt to disguise the fact that both parties are still wearing their pants throughout the whole thing, and secondly the victim is being played by Madonna, whose legendary acting un-ability just makes her seem whiny and slightly annoyed during the sequence.
The Swan Princess is so full of glurge that this was inevitable. Special mention goes to Prince Derek's impassioned cry of woe when Odette dies.
"I made that vow for her. Do you hear? The vow I made was for HEEEEEEEEERRRRRRRRRRR!"
Swing Kids, starring a young Christian Bale and Robert Sean Leonard, ends with what is supposed to be a heartwrenching scene where one of the characters is taken away by the Nazi Gestapo for listening to swing music — presumably to his death in a labor camp. The phrase that the other characters yell at him to show support and cheer him on?
It's repeated over, and over, and over again. By a little boy with a very high pitched voice. Now, that was historically accurate. But it seems ridiculous here, especially since they rarely say anything in German in the movie —just HJ as the abbreviation for the Hitler Youth, the standard Sieg Heils, and this.
The scene where one character slits his wrists with shards of one of his jazz records comes off as both funny and disturbing. Same for the scene involving... the ash box. Were this film pro-Nazi, it would be a sad tale of a young man so extremely disillusioned with his country that he becomes obsessed with jazz music; he appears brainwashed into a life invested entirely in jazz, and he eventually kills himself in a tragic scene shortly after driving his friends away. That all happens in this film! It's just a sub-plot to the main "I don't wanna be a Nazi" plot.
Teeth has a couple including a very bad doctor who gets his fingers bitten off screaming "Vagina Dentata! The legends are true! VAGINA DENTATA!" and Dawn's first, supposedly abstinent, love interest tying to rape her while shouting "I haven't even jerked off since Easter!"
The Ten Commandments. The dialogue seems like it was intended to be carved into monuments, not spoken by men who were slow of tongue and speech. Cecil B. DeMille did it on purpose, but not for humor: that's just how the dialogue in Biblical epic films and 1950s theater productions works. Expected then, but funny for people who aren't used to those styles.
The acting in the film is like a silent movie or a theatrical production from the time. Again, no problem then; but some viewers are no longer used to that acting style.
The well scene:
"Who cares? He's a MAN!"
The miscasting of Edward G. Robinson, best known for playing gangsters, as the villainous Dathan... with a heavy Brooklyn accent. "Yuh see?"
From The Terminator: "Cyborgs don't feel pain. I do." (Though some think that line awesome.)
Sarah shouting, "MOVE IT, REESE! ON YOUR FEET, SOLDIER!"
The scene in the factory near the end is both scary and Narmful. It was terrifying when the Terminator walks out of the burning wreckage. It became Narm when the Terminator's torso was crawling for the gimped Sarah Conner and she was struggling to walk away... it was akin to the world's slowest and most pathetic chase.
Sarah's roommate's boyfriend (Matt) says this when the Terminator breaks into the bedroom he and his girlfriend are using:
"Don't make me bust you up, man."
Reese's face as he empties his shotgun into the terminator for the second time in the club.
Right after that, Daniel flies into a rage and attacks Eli by throwing bowling balls at him.
I AM THE THIRD REVELATION!!
There's also the classic "DRAAAAAAAAAAAAAAAINAAAAAAAGE!", in which Plainview does his best to imitate the sound of a revving motor.
Even narmier is the scene when Plainview starts slapping Eli Sunday and then pulls his hair and smears mud all over him. Eli's girly squealing only increases the narmishness.
Eli's sermon. Sure, sermons are sometimes hammy; but faith healing gets narmy when it includes throwing an invisible ball of wickedness out of a church in the most overblown way possible. ("AND IT LEEEEEEEEEFT!")
Also, when Daniel is carrying his injured son away during the mill accident, random Native American-sounding music keeps playing, getting louder and louder, and it ends up sounding more silly than dramatic.
The Thing Below. The whole movie is narmful. From bad acting to horrendous dialogue to laughable CGI, the movie is impossible to take seriously. One of the most narmful lines in the whole movie came from a scene were a woman, while hallucinating, saw her dead son, and pulled a gun on him; the son said, and in a creepy monotone to boot:
Son: Don't shoot me Mommy, I love you.
The scene in This Is England where Shaun and Combo shout at each other after Combo has beaten up Milky was pure Narm. Not only were both trying to chew the scenery, but Combo's Scouse accent also made it funnier.
In The Time Machine (2002), the first instance of the death of the hero's fiancee is acceptably melancholic; her subsequent deaths aren't.
Near the end of Titanic (1997), at the scene where the aft end of the ship is tilted out of the water. Some poor guy is hanging off the rear railing, and loses his grip, falling to his tragic, inevitable death... and then he bounces and spins off the propeller on the way down with a huge "BWONNNG" sound.
Another narmy moment near this one: People are dying all around them; Rose and Jack are climbing onto the back of the railing. Rose goes "This is where we first met!" and Jack holds her close... with a slightly confused expression.
He was probably wondering why she was thinking of something so trivial.
There's one after the ship has sunk. There's a landscape shot with survivors splashing around; we can hear them loudly but, because it's a distance shot, we can barely see them. For some reason, it looks more like they're having a giant splashfight than they're dying.
Two words: Billy. Zane. (Aka Cal.) His performance is a special kind of genius - the unintentional kind. In one scene, Cal starts shooting at Jack and Rose as the ship is sinking. As one critic put it, "Oh no! I hope he doesn't shoot them! They might drown!"
Pathetic cries for help are expected in a disaster film. But in the interlude after the stern sits vertical and before it sinks, one woman's cries are rather comical in her delivery:
"Help! Help, help! Heeelllp!"
"Hold on, Mrs. Pennyworth!" Cue sliding down the ship and flashing undergarments to everyone.
Rose's last lines to Jack are pretty narmy: "I'll never let go, Jack! I'll never let go!" Whoops, down he goes!
The sheer number of instances that Jack and Rose have the Say My Name moments.
In Tombstone, there was a certain serious scene in which the main character, Wyatt Earp, is wading through a river with gunshots just barely missing him; he's shouting "No!" as he shoots at the bad guys. This culminates in a long, slow-motion, slightly over-the-top "Nooo!" at the end. This is either awesome or hilarious.
The above scene actually took place. It was part of how his legend was established.
The incredibly sappy music that sprang up whenever Wyatt saw Josephine.
The film version of The Who's Tommy has some moments, but one that takes the cake is during the song "Christmas", where we see little Tommy just sitting there, and then hear a child's voice sing, "See me...Feel me..." It doesn't help that you have a young child singing, "Touch me...", either.
Touching the Void is a generally well-done 2003 documentary about two mountain climbers' nearly-fatal attempt to climb a mountain in the Peruvian Andes. However, one re-enacted scene pulls the viewer out of the moment. One climber is pinned with a broken leg at the bottom of a cravasse. He begins yelling "Stupid!" repeatedly. It loses its effect around the fourth yell, and there are about a dozen. Halfway through, he switches to the even-more-melodramatic "FUCK!"
There is a lot of Ho Yay in the film. If you imagine that the second ice climber is deliberately trying to murder the first climber — an interpretation lent weight by many of his actions — the whole thing becomes a comedy-thriller.
At one point, we get a long sequence wherein the injured climber is lying in a delirium, probably dying, accompanied by lots of trippy camerawork and a song by Boney M. There was a reason for the song — he was experiencing auditory hallucinations of it — but the Soundtrack Dissonance!
The instant after the scene where modified humans are introduced we cut to the leader of the RIFF group saying "We call them HYBRIDS!" and showing photos of them. The fact that they so quickly came up with a sci-fi name for them is so cliché that it's funny.
One of said hybrids during the climatic battle. He leaps three feet straight up onto a ladder in a such an accelerated, stereotypically robotic fashion that it invokes laughter rather than awe. "They must be superhuman! They're slightly better at climbing ladders!"
Tristan and Isolde, the 2006 film. Isolde and her nurse find Tristan near-dead on a beach with hypothermia, so she immediately strips to warm him up, and tells her nurse to do the same.
The Trojan Women. Talthybius (BRIAN BLESSED) tells Andromache (Vanessa Redgrave) that he has to throw her son Astyanax off a cliff. She screams inarticulately for, seriously, about five minutes as the soldiers try to grab the boy from her; she keeps twisting her body (she's really tall) in front of him as they lunge ineffectually. Plus, Astyanax is supposed to be a baby, but the kid playing him looks about eight and says nothing the whole time people are discussing his murder! Wouldn't you at least react?! Even poor Katharine Hepburn's — um, Hecuba's — constant shaking (caused by a hereditary disorder) can be amusing.
TRON: Legacy: "KEVIN FLYNN! WHERE ARE YOU NOW?" It's the needless insertion of the word now that really drives this narm home. The fact that his CGI face looks especially plastic in this shot certainly doesn't help matters.
Speaking of which, the younger Kevin Flynn's plastic face in the beginning provided some unintentional comedy.
Kevin Flynn's line in the flashbacks: "It is our DESTINY!" It sounded like he was going to tear his mask off and start eating the crowd.
Sam Flynn looks like he's having an orgasm while he's firing those turrets during the dogfight scene. Unintentional Hilarity Ensues.
"Biodigital jazz, man." That is all.
Castor/ Zuse's dance moves during the battle scene in his own club. Many viewers couldn't take the intense battle scene, let alone Michael Sheen, seriously because of this.
Intentional, I'm sure. It's hard to be that Narmy by accident, surely? I hope...
In the aftermath of the raid on the End Of Line club, in which some partygoers are brutally derezzed, we see a woman crying over some remains - pixel remains.
And for those of you who saw the trailers ad nauseam, Quorra's "Here they come."
There's one right at the beginning, when the board members flip the fuck out over, gasp, people pirating an operating system. Because that certainly hasn't been done before. Seriously, does the writer know how the internet works?
In the Brad Pitt version of Troy, Achilles can be heard screaming Hector's name for a good forty-five minutes while Hector says goodbye to his family.
Ironically, the original Hector-Achilles confrontation in the The Iliad is more Narmful than the film version.
Every time Brad makes that face when he's upset in the movie. His chin and forehead scrunch up, and his lower lip comes out a bit.
At one point, a man runs screaming as a fireball chases him down a mountain. It's something you would see in a comedy.
A particularly hilarious moment is right after the Greeks pop out of the Trojan horse: they sneak up on one of the guards and bash him on the head with a torch, knocking him unconscious and leaving one to wonder what his helmet was for.
Then they stab him. Sensible, but the execution is amusingly awkward.
At one point, Achilles screams at someone, completely seriously, "YOU SACK OF WINE!"
Mythology Gag. That was ripped clean from The Iliad. Not the same context in modern English as Hellenistic Greek, though.
Achilles basically playing hide and seek with Hector in the temple of Apollo.
All of Agamemnon's screaming.
The storm chaser crew's over-dramatic silence in Twister when Melissa asks whether there's an "F-5" category for tornadoes, as though she'd suddenly uttered the previously unpronounceable name of a dark Lovecraftian god. Even a novice storm chaser in reality would have just replied "Yup," and returned to his steak and eggs.
Throughout the movie, everyone insists that tornadoes are completely unpredictable. Yet Bill spends most of the movie predicting exactly how each tornado is going to move and when it'll appear.
The Unborn: A Jewish woman receives from her deceased Holocaust survivor grandmother a letter read aloud via voiceover (Jewish accent and all) that includes the line, "It has fallen upon you to finish what was started in Auschwitz." It Makes Sense in Context, but it's so needless and wrong that it's hilarious.
Also, when the old dude turns into that weird monster and got a ridiculous-looking pancake head. Compared to that freaking kid, that was nothing at all.
V decides to reveal his name to Evey by freestyling.
V revealing his name at all. In the book, his identity was deliberately never revealed because, to paraphrase V himself, such knowledge would be worthless and would undermine everything V's been saying. But here, in the movie, the grand reveal: V was... some guy.
At the end of the movie, after the successful bombing, where a massive crowd in Guy Fawkes masks shows up, looks right at the camera, and then unmasks.
Pretty much anything to do with Sutler, even if you haven't seen his counterpart Adam Susan in the book (but even more so after you have). Susan quietly wields his intimidating authority, allowing his position of power to speak for him. Sutler is introduced with a 30-foot-tall screen with a close-up of his face, ineffectually shouting at and insulting his underlings (while never doling out any kind of actual punishment on-screen). The height of his Narm is when he hams "we are BURIED under an avalanche of your inadequacies... MISTAH CREEDY!"
From a horror film called Vacancy. Kate Beckinsale runs away from the masked killer and jumps in the car. He runs up and dives headfirst through the sun roof to get at her. She slams down on the accelerator... and we get about fifteen seconds of her driving along, him still trying to grab her while upside down with his legs sticking out of the car roof waving about before the car smashes through a wall into another killer! It! Was! AWESOME!
Valley of the Dolls: The entire film. It reaches its ludicrous climax with the scene where Neely O'Hara rips off Helen Lawson's wig and flushes it down the toilet. It's so silly, it's hard to believe they didn't intend for it to be a comic scene.
Van Helsing: any scene involving Dracula ranting and emoting like an angsty teenager with illusions of depth, doing Bela Lugosi by way of Dominic Purcell... Especially the scene in which he rants and emotes about his inability to feel emotion.
"I FEEL... NOTHING!"
You sure could have fooled us, Drac — if you weren't such a godawful actor.
Van Helsing holding Anna's dead body, giving a pained yell to the heavens. It could have been worse — Van Helsing was meant to be naked. In fact, Hugh Jackman was naked on set — underwear was digitally added because it was later decided it would be silly to have him naked during such an emotional scene.
The ending, where Anna's face appears among the clouds and smiles down at the hero as he's cremating her. And sheds a tear.
Pretty much any time Frankenstein's monster waxes poetic. Which is to say, whenever he speaks any of his lines.
Also from Volcano, a character makes a Heroic Sacrifice when he carries an injured man on his back and jumps into a pool of lava before throwing the man to safety. It would be dramatic if the man didn't slowly sink vertically into the lava with a high-pitched scream. Since he does, it's got a Wicked-Witch-of-the-West vibe that adds unwanted unreality to the scene.
The main threat of the movie is lava... which moves at about two miles per hour, especially when it's anywhere near people. Convection Shmonvection is in effect, and the ash in the air is treated as nothing more than an inconvenience.
The hero in this film, before taking his present position in LA, was head of the FEMA Fictional Counterpart in St. Louis, Missouri. This explains almost everything this character does, from his being "always on duty" for most of the film to his refusal to even consider ordering the evacuation of LA. He's just treating the rivers of lava as if they were rivers of water that happen to set things they touch on fire — midwesterners always fight to save flooding cities before evacuating, and sometimes don't order evacuation until watercraft are required to do it. Since lava behaves very much like burning water in this film, it works out just fine.
At the end of Wanted, where Sloan, revealed to be spinning his own targets instead of accepting what the Loom of Fate tells him to kill, hands out papers to every assassin in the room, saying, "You came up... you came up... you came up..." What makes it Narmy is that he does this to every single assassin in the room. Considering that the Loom of Fate was a fucked-up Self-Fulfilling Prophecy, it was cruel to make every single member of the Brotherhood a target.
The flaming train scene from War of the Worlds is either this or so out of nowhere that it's outright terrifying.
For some viewers, every single time that Dakota Fanning screams. This is partly due to Memetic Mutation, such as the parody videos on Youtube showing nothing but that.
War Room: The entire movie is ten pounds of Narm stuffed into a five-pound bag but one scene really takes the cake: Elizabeth is walking around and raving like a complete maniac at the Devil that he can't have her marriage, husband or daughter, then stomps back into the house...and immediately stomps back out of the house and begins raving again, starting with "And another thing!" This is all played as a completely normal thing to do instead of the unhinged ramblings of a religious fanatic who is going off the deep end.
From Watchmen: "You killed my dogs!" said in an annoyed tone. Thus almost making one of the most chilling parts of the novel a joke, if not for what immediately followed it.
Dreiberg's Big "NO!" when Dr. Manhattan asplodes Rorschach, coupled with his falling to his knees dramatically. It varies between Narm and powerful.
It was very narmy in the trailer. In the context of the film, it makes more sense. Most people would react the same way.
DRAMATIC SLOW MOTION in random action scenes. For instance, Rorschach using his poor-boy flamethrower on a SWAT team before running off in dramatic slow motion while bullets whiz past him. They tried too hard to make him look like a total badass.
Dr. Manhattan's giant glowing penis is capable of turning any scene it appears in into epic Narm.
The scene that took the cake was during Silk Spectre's climactic confrontation with Ozymandias. "Adrian!! [dramatic pause...] You're such an asshole!" Yes, it was in the comic (with slightly different wording), but the actress's delivery killed it.
Silk Spectre just stands around doing nothing while Doctor Manhattan goes after Ozymandias. When Ozymandias returns to the main hall, Silk Spectre just magically appears from beside him.
There's a frequently revisited argument between Silk Spectre I and her husband that includes the line, "I used to be a hero, GOD DAMNIT!
In fact, pretty much any scene with Silk Spectre I devolved into narm.
Every. Single. Sex. Scene. The intentionality of this has been debated.
Maria berating Tony after the rumble by beating his chest and exclaiming "Killer!" over and over again is kind of hilarious.
As is the preceding scene, when the viewers and Maria overhear a random Hispanic boy tell his mother, "Bernardo está muerto!" and the mother respond, "Bernardo muerto?" Considering this moment came less than a minute after Maria received the news herself, one must wonder how her neighbors found out so quickly.
The ending. The Jets and The Sharks both helping to pick up Tony's body was supposed to imply that the gang war would finally stop; but did The Jets have to pick him up so ineptly that he slips from their grasp and falls to the floor before being caught by the Sharks?
In What Lies Beneath, some initials appear on a computer screen to show the main character who has been killed. The problem? The initials are MEF, and they're repeated endlessly, making for a hilarious scene if you read the letters out loud.
Where the Dead Go to Die has a scene where a little boy named Tommy is hallucinating about his parents. Except his mother and father have extremely cartoonish pig and sheep heads. Tommy's expression during this implies that this was supposed to be absolutely terrifying.
Made even better by the fact that the full line is "Fetch me my longsword, ho!" He's talking to his wife.
"Sword" was the brand name of most of the guns. Juliet had a "Dagger" gun... And yes, Juliet waking from her faked death just in time for Romeo to realize he goofed (it does come across in the acting) did slip from tragedy to black comedy.
She looks at him longingly for ten seconds; then he drinks the poison.
Romeo and Juliet, like many of Shakespeare's shows, can be played either way. Though you'd think a comedic version would have fewer giant explosions.
Then there's the occupational hazard of all Shakespearean adaptations relocated to relatively modern times: Elizabethan dialogue spoken in relatively modern times.
Leonardo DiCaprio: any time he opens his mouth he makes it abundantly clear that he has no idea what he's saying.
"You kiss by the book!" It's in the play, too, but the delivery of this line by Claire Danes is pure Narm.
Romeo losing it at Tybalt right before he kills him. Leo's overacting is almost painful, and it's nearly impossible to understand what the hell he's saying when he's screaming that loudly. The way he yells "EITHER THOU, OR I, OR BOTH MUST GO WITH HIM!" over and over, you half expect Tybalt to shout "STOP SAYING THAT!" And it all culminates in Romeo's hilariously overdonePrimal Scream as he unloads his gun into Tybalt.
The Swedish version didn't subtitle that. Either the translators didn't find it important enough, or they simply couldn't hear what he was shouting...
The scene where Juliet wakes up to discover Romeo's dead body is meant to be moving and tragic but is rendered hilarious by Clare Danes' terrible crying.
Mercutio crossdressing in a silver, glittery tube top and miniskirt... Then pulling Romeo's invitation to the party from the bottom of said miniskirt. After seeing that, it's impossible to take his death scene seriously.
Even more hilarious when you realize that the dude playing Mercutio is Harold Perrineau aka Michael from Lost. You'd almost expect him to scream WAAAAAAAAAAAAALT!!
Winter's Bone has a moment in which the main character must reach down into a swamp to haul up the arm of her dead father, while another woman chainsaws off his hands to prove he is dead. It may sound horrible, but the fact that they are chainsawing off a guy's hands comes off as somewhat comical.
"Here's a doobie for your walk." It's sorta meant to imply that in these backwoods mountains, drug use is very casual. However, when you combine the fact that Jennifer Lawrence's character is never seen doing drugs, that she, in fact, seems to be ashamed at what her father did for a living, and that the scene is otherwise portrayed very seriously, her suddenly being offered a joint for no other reason than that she has to walk back home just comes off a little Narmy.
The Wolfman (2010): The remake of the 1941 classic. Despite being a movie rife with dismemberment and painful transformations, all of it fails to cover up the immeasurable number of narm in every scene:
In almost every single scene is the goddamn moon, even during the daytime! Even reviewers of Spill.com noted how every scene transition is the moon. It was like the viewing audience were too stupid that to equate a full moon with every werewolf transformation. In the midst of the werewolf son and father battle, John Talbot's love-interest Gwen runs into another room to escape the battling beasts. Suddenly, right in the next scene she is already on the other side of the lawn outside the burning mansion. The scene cut looked like she managed to cover that much ground in only a few seconds, and wearing a thick Victorian dress no less!
The less than subtle over-the-top Gorn fest makes the movie seem more like a horror-comedy, than the horror-drama it was meant to aim for. Seriously, the werewolf actually completely beheads a guy hitting him once.
Whenever the wolfman starts howling. However, it's more narm charm than pure narm.
The director's decision to use a computer animated bear and deer. Also doubles as special effects failure.
The last moments between Gwen and the dying Lawrence after being shot in werewolf form by a silver bullet. The scene would have been heartrending, if Lawrence didn't die right there the moment they exchange their last words. He doesn't pass off slowly, he just turns his head and he's dead. And suddenly it's not so sad anymore.
The way the movie went nuts with the jump-scare tactic.
The guy who was told to be careful with the trigger is one of the first. When the zombies came in hordes he was about to get up the plane alongside a few more others until he tripped down and shot himself. He was warned about it.
The zombie woman who was fastened on the crashed plane is another. Just when the scene is getting intense that zombie woman just made things funny.
The grand prize goes to the zombie doctor who has a terrible look which made it look funny because of his chattering teeth mannerism. Oh my goodness! The moviegoers themselves laughed about that one. Whether or not it was meant, it still is.
Heathcliff: Is that all I've become to you, then? A pair of dirty hands? Well, have them then! * slap* Have them where they belong! *bitch-slap*
Wild Things features a scrawny goth Neve Campbell threatening somebody with her bony arm going "Don't TOUCH me!" while raised in a fist.
The "blackout" sequences in Y Tu Mamá También. Okay, we get it — things die. After the "pig picnic" scene, though, the cutaways meant to symbolize the innate tragedy of mortal existence become laughably narmtastic. By the end, it's damn near impossible to take them seriously... which ruins what could have been a powerful climax.
The Dutch film Zwartboek (Black Book in English): Carice van Houten's "When will it end?!"
When Cadbury Chocolate saves the protagonist's life. Why would someone put Product Placementin a World War II movie?
Johnny de Mol played a nutty religious resistance fighter, and his reaction to shooting a collaborator made a tense scene hilarious.
Played with in Zombieland. When Bill Murray dies due to an acute case of gunshot wound and gives off a ridiculously prolonged death rattle, Wichita can't help but laugh and say, "I'm sorry, he just gets me," referencing an earlier scene where she notes that she can't help but laugh at everything he does (although at the time it wasn't meant quite so literally). She does however gather herself enough to say "But it still is sad."