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Badmovies.org Forum  |  Movies  |  Bad Movies  |  Your Favorite Reality Flaws « previous next »
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Author Topic: Your Favorite Reality Flaws  (Read 1601 times)
WyreWizard
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« Reply #15 on: December 09, 2010, 08:42:19 AM »

another of my favorites is in Star Wars, episodes 4 through 6.  How is it the interior of the Milennium Falcon is bigger than the exterior?
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Jim H
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« Reply #16 on: December 10, 2010, 05:44:03 AM »

In Kill Bill Vol. I., Uma Thurman wakes up from being catatonic for several years. Upon awakening she soon discovers her legs are completely inoperable due to muscular entropy. Yet, her arms and upper body seem to suffer no degradation whatsoever.

Yes!!!  That only occurred to me the third time I saw that movie, which was perhaps four years after the last time I saw it.  She seems perfectly able to slam Buck's head in the hospital door, but she has to do it while dragging her legs around with her miraculously able arms.

My mom was an occupational therapist (it's similar to a physical therapist, only for more specific tasks like opening and closing doors, fine motors kills, etc).  She liked to point out how rarely they do rehab type of stuff right.  Hell, practically ANYTHING medical in films is nuts. 

But yeah, if you were in a coma for years, it would be MONTHS before you'd be walking again and weeks before you could move your arms much.

One of the more basic ones I like in films are the sounds knives make both when drawn and just moved around in the air.  They make a metal-on-metal sound, which makes ABSOLUTELY NO SENSE AT ALL.
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Skull
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« Reply #17 on: December 10, 2010, 05:24:28 PM »

In Kill Bill Vol. I., Uma Thurman wakes up from being catatonic for several years. Upon awakening she soon discovers her legs are completely inoperable due to muscular entropy. Yet, her arms and upper body seem to suffer no degradation whatsoever.

Well if she couldnt move her arms then there wouldnt be a Kill Bill Vol. II... :)

I believe Steven Seagal was in a simular situation but I dont think he could use his arms, although he had a sexy lady (reality flaw) to assist him... :)
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« Reply #18 on: December 10, 2010, 05:30:20 PM »

The Core (2003) - No specific scene, just The Core.
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Couchtr26
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« Reply #19 on: December 11, 2010, 11:47:39 PM »

The Core (2003) - No specific scene, just The Core.

Isn't the fault of most movies that dig into the earth?   Though I freely admit The Core is up there in the worst of this type. 
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« Reply #20 on: December 12, 2010, 07:31:54 AM »

When guys have big fist-fights, or Karate fights - these things can go on for 10 minutes - and afterwards there are no bloody noses, split lips, or swelled-shut eyes.  Nope, the good guys look picture perfect  Lookingup
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Flick James
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« Reply #21 on: January 27, 2011, 12:14:55 PM »

I was recently watching the first Die Hard. Always a fun movie, but there's a particular logic flaw in that movie, and it's not one of the action or effect sequences.

Theres the scene right before the bad guys shoot out all the glass so that Bruce Willis has to deal with all the shards without the benefit of shoes. The main bad guy (played by Alan Rickman) tells the bad guy underling (with the long blond hair), something in German, and the underling looks at him confused like he doesn't understand. Then head bad guy says "shoot the glass." The implication here is that he said "shoot the glass" in German first, then in English. The logic flaw here is that they are both German, persumably German being their native language. So, he says "shoot the glass" in their native language, and has to repeat it in English, not his native language, and now he gets it.

Ummm. Hello. I know it was done so that American audiences would understand it, but WTF? That makes no sense. The simple solution. Have Alan Rickman say "shoot the glass" in English, have the other guy look at him confused, then repeat it in German with a quick subtitle saying "shoot the glass." That would have actually lent an added an additional element cleverness to the script but whose logic is still quick and easy to follow, and not insult my intelligence.
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« Reply #22 on: January 27, 2011, 12:29:12 PM »

I actually respected the Will Smith I Am Legend because when he set off the explosives he had to stop to recoordinate himself because he was stunned
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« Reply #23 on: January 30, 2011, 03:32:47 PM »

One of my favorite is in Blood Feast. Fuad Ramses, running with a considerable limp (well, not even running, but gimping along), is able to outrun the cops by a considerable distance.  We see them in numerous shots to be practically right behind him, then shortly after they're at a greater distance.  Do they feel sorry for him, and want to give him a few extra paces?  TeddyR
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« Reply #24 on: January 30, 2011, 06:15:49 PM »

another of my favorites is in Star Wars, episodes 4 through 6.  How is it the interior of the Milennium Falcon is bigger than the exterior?

Time Lord science. Lookingup
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« Reply #25 on: January 30, 2011, 07:42:48 PM »

This happens in a lot of movies.

Our hero or hereon is shooting at the bad guys and hitting them all.  But miraculously all the bad guys are bad shots.  The hero or hereon can run, walk craw about with getting hit.  Or if a bullet does hit, it is never serious.

One example is Commando where Arnie is on the Island taking on the bad soldiers.

Another example is never running out of bullets.  No matter how many times our hero or hereon shuts the gun (s), they always have bullets.

Same example "Commando"

Later,

John

It's "Heroine" actually.

 And the term "heroine" isn't a drug term, it is the feminine of "hero". The drug heroin (Notice the lack of an e at the end) was developed to treat people in extreme pain and not, it was hoped, be as addictive as morphine. (HA! Well, at least they were trying...)

The drug was named heroine originally for it's heroic efforts at relieving the suffering of those in extreme pain in the old days before more common, less troublesome painkillers.

Many considered the nurses delivering injections of it to be heroines to those in extreme pain, hence the name. Later the drug dropped the e at the end to differentiate it from the feminine form of hero.

So you can call a female lead in a movie a heroine without making a drug reff, for those who care.
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66Crush
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« Reply #26 on: January 30, 2011, 11:22:47 PM »

Honestly the thing that bothers me the most are timeline errors that most people don't notice or care about. This is the curse of being nostalgic and having too good a long term memory. For example the show "Glory Daze" set in 1986 has songs from later in decade and don't even get me started on the ill-informed Motley Crue references in "Hot Tub Time Machine." Do the homework guys!
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AndyC
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« Reply #27 on: January 31, 2011, 09:11:19 AM »

One of my favorite is in Blood Feast. Fuad Ramses, running with a considerable limp (well, not even running, but gimping along), is able to outrun the cops by a considerable distance.  We see them in numerous shots to be practically right behind him, then shortly after they're at a greater distance.  Do they feel sorry for him, and want to give him a few extra paces?  TeddyR

Wow, it's like the reverse of a lumbering slasher's ability to suddenly catch up. Maybe it's the opposite phenomenon that maintains balance in the universe. TeddyR
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Flick James
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« Reply #28 on: January 31, 2011, 09:45:35 AM »

Honestly the thing that bothers me the most are timeline errors that most people don't notice or care about. This is the curse of being nostalgic and having too good a long term memory. For example the show "Glory Daze" set in 1986 has songs from later in decade and don't even get me started on the ill-informed Motley Crue references in "Hot Tub Time Machine." Do the homework guys!

Karma! Good call. I hate that. How hard is it to look up the year of a song and the year the movie is set in? I hate that too.

However, we all know why they do it. It's usually because the song they put in they want for a certain sound or thematic reason. Like putting "Brick House" in a sexually charged party scene set in the 70's, even though the film may be set two years prior to the release of the song. I can forgive it if it's a year or less, but beyond that it makes for serious pop-culture inconsistencies.

For example. I graduated high school in 1986. Now, in my junior year, '84-'85, the pop music my classmates were still listening pretty heavily included Duran Duran and Wham! and of course Aha's Take On Me was just breaking out, oh, and Depeche Mode, and a little hair band music like Ratt mixed in (but not amongst the popular kids, mind you). The following year, Duran Duran and Wham! were pretty much dead at my high school, just as most of the synth-laced new wave of it's ilk was becoming unfashionable. Hair bands and the early rap scene were starting to really set in. Within a year or two I went to a party that included both college kids and kids from my high school and they were listening to Jane's Addiction, and even mentioning Depeche Mode would have brought on waves of ridicule.

I know that most people 25 years old nowadays going to see Hot Tub Time Machine don't care about those details, but hell, I wasn't brought up in the 50's or the 60's yet I still care about that kind of thing. I saw a film recently where the scene was set in 1966 and "White Rabbit" was playing. It's not just the one-year off that bugs me, it's the fact that that song represents a cultural shift was just about to start bursting the following year when that song was released, and even then it would take a year or two before it would totally saturate America. "White Rabbit" certainly does not represent American pop culture in 1966.

Okay, wow, I've really ranted there.
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« Reply #29 on: January 31, 2011, 02:58:02 PM »

Our hero or hereon is shooting at the bad guys and hitting them all.  But miraculously all the bad guys are bad shots.  The hero or hereon can run, walk craw about with getting hit.  Or if a bullet does hit, it is never serious.

One example is Commando where Arnie is on the Island taking on the bad soldiers.

Another example is never running out of bullets.  No matter how many times our hero or hereon shuts the gun (s), they always have bullets.

Same example "Commando"

Gonna have to differ on the examples, if not the actual tropes.

In "Commando", during the island assault, Arnie was steadily discarding the weapons he brought with him as he ran them out of ammunition. He was eventually reduced to fighting with garden implements found in a tool shed before he could rearm himself with weapons taken from some of the island's defenders.

Can't argue much about the reduced effect of injuries, though. Arnie apparently took a body wound of some kind during the battle, but it never hindered him much.
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