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10 Great Movies Ruined By One Scene

Charmaine Blake




Films in general are essentially a grandiose sum of all its parts, a combination of beats upon beats that result in a short experience that transports audiences deep into world of the filmmaker. When a filmmaker puts his heart and soul into every scene of a film, the final product would undeniably be something fantastic.

The films on this list are just that, they are extremely close to films one would consider “masterpieces”. However, they do share a common flaw – these films all feature a single scene, a scene with a jarring loophole, a scene which sticks out like a sore thumb compared to the rest of the film, a lazy scene. These are 10 great films ruined by that one scene.

10. Taxi Driver – Senator Palantine taking the cab

Taxi Driver is perhaps the most notable film to come out of the counterculture New Hollywood era. It’s the film that also, more importantly, cemented Martin Scorsese and Robert de Niro as two legends in the history of cinema. It’s an undeniably great character study film, capturing masterfully the theme of loneliness, dejection, the zeitgeist of the period like no other film of the movement. It’s pure perfect storytelling from start to finish.

Fortunately, the scene in question didn’t strictly speaking “ruin” the film, neither did it remove the film’s status in cinematic history. It’s most certainly not as bad as the other scenes on the list but it does raise some eyebrows. The scene is when Senator Palantine, a major character in the film’s story and Travis (the protagonist)’s medium to project his growing disdain of the world upon, sat in Travis’s taxicab, where a short interaction occurs between the two of them which ultimately drove the story forward.

What’s particularly irking about this scene is how perfect the film is without that scene. It presents severe logic issues to the audience. Scorsese undeniably took a lot of time and effort to capture the grittiness of New York for the purposes of the film, so the question is – In a world undeniably plagued by crime and whatnot, why would an established senator and also presidential candidate, ride in a New York Taxicab in the middle of a night?

The argument can be made that Palantine is an individual that for all intents and purposes, wishes to connect with the general populace, but there certainly exist safer and more effective ways to do so then to ride in a taxicab, and a hailed one at that.

9. Chungking Express – Cop 663 talking to belongings

1994 was a fantastic year for cinema, with the emergence of instant classics like Forrest Gump, Clerks, Pulp Fiction and Shawshank Redemption. As for world cinema, acclaimed filmmaker Wong Kar-Wai’s quiet masterpiece Chungking Express took critics by storm with his inventive manipulation of narrative and perspective. The film chronicles two policemen as they cope with love and the lack thereof, ultimately offering a mature and melancholic outlook on the subject.

The entire film from start to finish, even the film’s singular terrible scene perfectly captures the mood and feel of 90s Hong Kong, almost as well as Taxi Driver did for 70s New York, almost making the fundamental flaws of that one scene unapparent upon a first viewing due to it technically fitting thematically and stylistically.

The scene occurs during the twilight of Tony Leung and Faye Wong’s idealistic “love story”, where Leung’s character, Cop 663 speaks to his belongings. Though the scene is undeniably perfect in the sense that it does capture the film’s overall optimism and it also provides a medium for Leung’s thoughts, the scene is literally a grown man having conversations with a myriad of his own belongings, including a variety of stuffed toys.

If one were to let this scene stand on its own, taking away the sheer brilliance of the film it came from, this scene would be absolutely ridiculous and juvenile, seeming like a scene straight out of a student production and not the work of a soon-to-be modern day auteur.

8. Whiplash – Andrew losing the sheets


Whiplash was a film that garnered little hype during its conception, a no-name director with a cast littered with B-listers wasn’t exactly the recipe for a masterpiece, with the only thing it had going for being its script and the relatively decent short film it was based on.

What came out from this humble beginning is a film considered by almost every critic and audience member alike as one of the greatest films of the 21st century, sitting at an impressive 8.5 on iMDB after more than half a million votes. The film depicts a story of a budding musician that would stop at nothing in his pursuit for greatness. In his path is his mentor, a sadistic band instructor which would put Full Metal Jacket’s Sergeant Hartman to shame.

The scene is, contrary to popular belief, not the infamous dinner table scene, for that scene does do its job of reinforcing Neiman’s character and his growing detachment with his personal life, and also feature well written, entertaining back-and-forth dialogue. The scene that made it onto the list however, is the one where Neiman loses his sheets before one of his first recitals. That scene is poorly acted, poorly paced, with almost no closure whatsoever to the plot element it presents.

Just consider how Neiman’s partner, Carl, reacted to this scene. He literally screamed his lines out with little regard for pacing and beats. Additionally, the whole execution of the scene, how Neiman placed the sheets behind him, went to buy a drink at the vending machine, turned around, only to find that they magically disappeared into thin air is questionable to say the least.

Though it was set up that Neiman was the one who instigated the disappearance of the sheets, as this incident was what led him to replace Carl at the recital, the way information was presented to the audience and also Miles Teller’s performance does contradict that ideal and essentially ruined the perfection of Whiplash’s storytelling.

7. Saving Private Ryan – Opening Scene at the Graveyard

It’s almost criminal how Saving Private Ryan lost the Best Picture award at the 1999 Academy Awards. Steven Spielberg’s 3-hour epic set the standard, unbeaten up until today as the quintessential war film, capturing the horrors of war in all its grittiness.

The Omaha Beach sequence at the beginning of the film is considered by many to be one of the greatest scenes of all time, encapsulating the idea of war and the causes of PTSD, with Spielberg’s masterful manipulation of perspective and sound effectively portraying on screen the chaos which happened 50 years’ prior on the beaches of Normandy.

Which is why it’s incredibly perplexing as to Spielberg’s decision not to open the film with such powerful imagery, a scene that would set the tone for the rest of the film, but instead he chose to open with an incredibly bland sequence at a graveyard, depicting elderly soldiers reminiscing near the graves of their fallen comrades.

Though it’s no denying that that scene isn’t strictly speaking bad, but it certainly shouldn’t be something one should open their film with, considering the powerhouse of a scene that immediately followed it. Additionally, the scene at the graveyard did in fact, carry on in the film’s epilogue, which it then provided a fitting conclusion to the whole experience, something profound for audiences to reflect upon, which adds to the initial confusion as to why Spielberg decided to include it in the beginning in the first place, only to continue that scene after 3 hours.

6. Psycho – Psychiatric Evaluation

Alfred Hitchcock is one of the greatest filmmakers of all time, with his work inspiring many others to follow in his footsteps. Today’s masters of cinema partially owe their storytelling ability to Hitchcock’s flair for crafting suspense. Psycho is perhaps his most notable work, and considered by many to be his magnum opus. It is a film that paints an incredible story of tension, constantly subverting audience expectation and providing an experience filled with intrigue, with the ending packing such a powerful punch that would leave most audiences speechless. Or at least the scene immediately preceding the ending.

Much like how Saving Private Ryan wasted the opportunity to start the film off with a bang, Psycho failed to end an otherwise perfect film with a bang. Though it’s understandable considering the historical context of the era when it came to cinema and the censors that govern it, it’s hard to fathom that arguably the greatest filmmaker of all time couldn’t think of a better solution to the problem. The Psychiatric Evaluation scene is essentially 5 minutes of exposition. Exposition that is unnecessary and provides ultimately useless information to audiences.

The scene evaluates the damaged psyche of the film’s antagonist and gives justification to their actions. Adding onto the fact, the way the scene is shot and presented feels like a monologue in a stageplay, with the psychiatrist facing the camera for the most part, just short of looking directly at the lens, telling audiences information that doesn’t contribute to the story in any way, shape or form, providing connections that would be better off leaving us to decipher on our own.

The scene also provides unnecessary complications, adding science and actual psychology into the mix, and though it does add to the story’s realism, it confuse audiences more than it enlightens.

What makes this whole scene more pathetic in the context of the film is that unlike most other scenes on this list, this scene doesn’t drive the story neither does it tie up any loose ends, the film would’ve functioned completely fine without the scene, but unfortunately, this fact is not the same the other way round.









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New Movie News

Madonna to direct movie based on life of ballerina Michaela DePrince



MGM announces the singer will direct Taking Flight, the story of DePrinces journey from war orphan in Sierra Leone to world-class ballerina

Madonna is to return to the movies after a seven-year absence to direct Taking Flight, a feature film based on the life of Michaela DePrince, a war orphan from Sierra Leone who became a leading ballerina.

According to Deadline, Hollywood studio MGM has been developing the project since 2015 when it acquired the rights to DePrinces memoir, co-written with her adoptive mother, Elaine.

Michaelas journey resonated with me deeply as both an artist and an activist who understands adversity, Madonna said. We have a unique opportunity to shed light on Sierra Leone, and let Michaela be the voice for all the orphaned children she grew up beside. I am honoured to bring her story to life.

Ballet dancer Michaela DePrince in Johannesburg, in 2012. Photograph: Gallo Images/Rex/Shutterstock

DePrince, 23, lost both of her parents in Sierra Leones civil war when she was three years old. The following year, she was adopted by a New Jersey couple and brought to the US, where she developed a passion for ballet. She was one of the stars of 2011 documentary First Position, about young ballet hopefuls, and is a soloist with the Dutch National Ballet and Opera. She also appeared in Beyoncs music video album, Lemonade.

We were immediately awestruck by Michaelas journey and know Madonnas vision and passion for the material will deliver a film that inspires audiences everywhere, said producer Leslie Morgenstein.

No cast or released date has yet been finalised. Camilla Blackett, writer of the comedy series Fresh Off the Boat, will write the screenplay.

Madonna is the bestselling female recording artist of all time but her movie career has been more chequered, especially behind the camera. Her 2008 feature debut, Filth and Wisdom, was described by the Guardians Peter Bradshaw as a dumb and tacky comedy-drama about three people sharing a flat in a quaintly conceived London. Its follow-up, 2011s WE, in which Andrea Riseborough played Wallis Simpson, was also critically panned, with Bradshaw describing it as one long humourless and necrophiliac swoon at the Windsors supposed tragi-romantic glamour.

Madonna wrote, produced and narrated 2008 documentary I Am Because We Are, about children in Malawi orphaned by the Aids epidemic. She has adopted four children from Malawi, including twin girls in 2017.

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‘Black Panther’ Hits $1 Billion Mark In Worldwide Box Office Numbers



“Black Panther” has surpassed $1 billion at the worldwide box office, challenging industry norms about films with black casts. 

The Marvel blockbuster passed the major benchmark on Friday, Forbes reports.

The film is now the United States’ ninth highest-grossing film of all time, and had the second-largest four-day domestic opening weekend. “Black Panther” brought in $242 million in the U.S. over Presidents Day weekend, behind the $288 million “Star Wars: The Force Awakens” made when it opened in 2015. 

The international success of “Black Panther” has challenged the myth that films with predominately black casts don’t sell  and it helps unravel “unwritten Hollywood rules,” Jeff Bock, a senior analyst at entertainment research firm Exhibitor Relations, told The New York Times.

“I think about it like a wall crumbling,” Bock said. “In terms of ‘Black Panther,’ no studio can say again, ’Oh, black movies don’t travel, overseas interest will be minimal.’”

Stars of the film, including Chadwick Boseman, Lupita Nyong’o and Danai Gurira, have spoken out about the importance of representation in the movie. “Black Panther,” which is set in the fictional country of Wakanda, shows the possibilities of an African society untouched by colonialism and gender inequity. 

“I think there’s a thirst for these images,” Boseman told NBC. “There’s a real thirst for black superheroes.” 

Marvel Studios President Kevin Feige confirmed this week that a “Black Panther” sequel is in the works. Feige told Entertainment Weekly that there was “nothing specific to reveal” about the next movie but added that “we absolutely will do that.”


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Keegan-Michael Key’s reaction to Jordan Peele’s Oscar win will make you emotional



Find yourself a friend who loves you this much.

Jordan Peele had a historic moment last night when he won the Academy Award for Best Original Screenplay for his debut solo film, Get Out. 

He became the first African-American screenwriter to win this category—and no one was prouder of him than his old Key and Peele partner, Keegan-Michael Key.

Key and Peele were the creators of the aptly titled sketch comedy series that ran on Comedy Central for five seasons, from 2012 to 2015.

Key was absolutely thrilled to see his “partner in laughs” snag his first Oscar.

Just look at that ecstatic jump!