It takes enormous amounts of time, patience, energy, and skill to create a movie, regardless of its eventual status in the public eye. A few manage to become works of art, while several others languish in a bizarre limbo, trapped between critical disapproval and financial triumph.
Films that are solely hinged on box-office hopes tend to be one-dimensional, running through their respective durations without caring much for narrative consistency or plot ingenuity. Unfortunately, are far too many movies that fit the bill, turning them into empty vessels that reverberate with painful clichés and predictable conclusions.
10 The Purge (2013) Doesn't Maintain The Path Forged By Its Brilliant Concept
The concept behind The Purge is no doubt unique—a legal crime tournament is held every year, effectively nullifying the presence of general crime and unnecessary layoffs.
The Sandin family find themselves in the middle of an emotionally complicated purge over the course of the film, but the narrative devolves into a blood-and-guts fest in order to accrue shock value. The Purge doesn't maintain the path forged by its brilliant concept, eventually trailing away into an inconclusive conclusion.
9 Once Upon A Time In Hollywood (2019) Is Too Tarantino To Be Refreshing
Quentin Tarantino's homage to '60s Hollywood, Once Upon a Time in Hollywood, received great praise from the majority of critics who watched the film.
That said, the film fails to move beyond its maker's trademarks: a fetishization of violence, particularly aimed at women, as well as controversial depictions of iconic stars of the era. Once Upon a Time in Hollywood ends with a bang, not a whimper, but that's exactly what makes it so predictable.
8 Malignant (2021) Can Only Be Described As An Amateurish SNL Sketch
James Wan's latest horror flick isn't at all terrifying; on the contrary, it's packed with cheesy dialogues and offensive gore, both of which conflict with each other to produce what can only be described as an amateurish SNL sketch.
There's nothing memorable about Malignant, from its suave detectives to its visceral villain. However, there really is something to be said for its surreal style of comedy, although it's unclear if the humor was intentional or accidental.
7 The Usual Suspects (1995) Makes Its Least Suspicious Character The Secret Villain
The cops are on the hunt for the enigmatic and elusive Keyser Söze, a dangerous criminal whose life story is nothing more than a bunch of whispered rumors. This character is said to be so ruthless and monstrous that even the most hardened criminals are scared to say his name, let alone know who/where he is at any given time.
The secret is revealed at the end of The Usual Suspects, but the fact that Keyser Söze happens to be Verbal Klint is hardly a twist—in fact, he's the least likely person to be suspected, which automatically makes him more dubious than ever.
6 The Central Message Of Love, Simon (2018) Is Drowned Out By Its Saccharine Ending
Love, Simon is queer cinema packaged in the shiniest wrapper available: a white teenager born and brought up in the lap of middle-class suburbia is forced to reckon with his sexuality. The film worked on several levels, not to mention increasing LGBTQ+ visibility in terms of popular cinema.
Unfortunately, the plot is so sparse that the story has no time to flesh each character out to completion. Further, the charm of Love, Simon's climax is drowned out by the movie's insistence on a saccharine ending.
5 The Notebook (2004) Is Overwhelmed By Romantic Tropes
The Notebook is a heartwarming rom-com, powered by stellar performances from Rachel McAdams and Ryan Gosling. It basks in its own melodrama, proving that the creators knew exactly what they were doing.
At the same time, The Notebook is overwhelmed with romantic tropes that could have easily been excised without affecting the plot, explaining the movie's mixed critical reception. That said, The Notebook has earned a permanent place in pop culture for its protagonists' charmingly romantic overtures.
4 Taken (2008) Is Painfully Obvious From Start To Finish
Liam Neeson is most definitely the right choice for a film like Taken, proving it through his character's paternal fury and spectacular combat prowess. On the other hand, there is little more to the movie than "dozens of bad guys getting beat up" by its invincible protagonist, a la Keanu Reeves' John Wick.
Unlike the latter, however, Taken is painfully obvious from start to finish; it seems more like a vehicle for Liam Neeson than its own plot. There is never any doubt about Kim Mills' final fate, removing a major thrill factor from the storyline.
3 Nothing About Eragon (2006) Screams Radical Or Original
Christopher Paolini's novel might be a mediocre attempt at replicating The Lord of the Rings, but the movie adaptation is significantly worse. Eragon's visual effects are decent, but nothing about it screams radical or original.
Critics panned the film's acting, screenplay, and overall world-building, and even stated that it was "the stuff boys' fantasies are made of." Eragon doesn't possess an essential spark necessary to all works of fantasy, one that can be fanned into a roaring flame within viewers' imagination. Besides, it's a major task to effectively suspend disbelief about a universe created in such a ramshackle manner.
2 The Prestige (2006) Puts Forth Its Final Twist Without Leaving Enough Room For Ambiguity
Christopher Nolan's thriller movies are sometimes exceptional, Memento (2000) being a prime example. The Prestige is similar in that its plot is woven into layers of camouflage, each unraveled with magical flair and incredible showmanship.
The film's revelations are usually massive surprises, especially because it believes in the unknowability of its conclusion. Nevertheless, The Prestige puts forth a twist to end all twists without relying on ambiguity to keep things interesting.
1 Maid In Manhattan (2002) Depends On Forgettable Fairy Tale Formulae
Maid in Manhattan was never meant to be a piece of arthouse genius; it satisfies its designated demographic with its simplistic storyline. Despite the onscreen chemistry shared by Ralph Fiennes and Jennifer Lopez, the film's dependence on fairy tale formulae makes it largely forgettable.
That said, one of Maid in Manhattan's positive features is Ty, played by a young Tyler Posey, who helps cement the fraying bond between his mother and the man she falls in love with (Cinderella-style).