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Bad movies with good premises

Bad movies with good premises
There's something uniquely painful about watching a film that should have been great and thinking to yourself "how did they mess this up?" This feeling only grows more intense when you stop to consider the millions, if not hundreds of millions, of dollars they cost to produce. That's a lot of money down the pipes, and it should've resulted in some legendary movies.

Great ideas get lost under bad execution in Hollywood more often than we'd like to think, and it can happen for any number of reasons. Maybe a director with too much power got carried away in pursuit of their vision, or a screenwriter couldn't handle the concept, or a studio meddled too much and sullied a great idea — whatever the reason, these movies all have one thing in common: they blew it. If a film's basic idea is a fresh glass of milk, then these movies spilled it all over the carpet. Get ready to read up on some of the worst movies with the best premises.

Off the rim

Off the rim
Pacific Rim: Uprising's reason was extraordinary. It proposed a straightforward, however terrifying, though: imagine a scenario where the kaiju hivemind (controlled by outsiders called the Precursors) could penetrate human personalities and pit us — and, by augmentation, our Jaeger robots — against each other. The motion picture even had a big establishment with which to actualize this possibly establishment bringing forth thought: Newt, who'd floated (mind-connected) with a kaiju in the last film, abandoning him powerless against a Precursor takeover in Uprising. While the motion picture grabbed this opportunity, that is one of only a handful couple of things it got appropriate, with the vast majority of whatever is left of the story hindered by uneven quality and a troublesome screenplay. 

Take, for instance, the idea itself: while the film turns Newt into the Precursors' emissary, it bafflingly transforms him into a gooey, outright blockhead science fiction miscreant simultaneously. This removes all the weight from the huge curve (the uncover that he's a slave to the Precursors) and transforms the last 50% of the motion picture into an entire joke. While the movie at first advantages with great camerawork and heading from executive Steven S. DeKnight, as it goes on, it depends on similarly static, uninteresting cinematography. So also, the film's written work drops off past the midpoint, shunning keen winds and pacing for tossing out random jokes and crazy story curveballs, to be "lol so arbitrary." Uprising had the commence however required a totally improved second half to nail the execution.

Well, they got part of the title right...

Well, they got part of the title right...
At first glance, Sucker Punch is a motion picture about young ladies utilizing their creative energies to fight off madness while they sort out an escape from a psychological haven. Underneath that beautiful veneer, be that as it may, it's in reality only two hours of Zack Snyder requesting nubile performing artists to dance around appealing, yet clear, CGI situations. There's almost certain that the film's central idea is intriguing; it's a commence that is overflowing with strain, anguish, and force. However, it neglects to profit by these three essential fixings and instead depends on playing up its amazing CGI display — and its female leads' scanty outfits. 

While misuse movies can be engaging and certainly fill a need in silver screen, Sucker Punch shouldn't have been one, for two reasons: to begin with, it's PG-13, which means it probably never had enough breathing space to do what Snyder appeared to need. Second, it shouldn't have depended on its attractive angles to convey such a sharp introduce. Had Sucker Punch put any genuine character improvement in its leads, they would've been far beyond well-proportioned cardboard patterns. The young ladies' creative ability arrangements, which incorporate battles against mammoth samurais, zombie Nazis, and mythical serpents, would've had a lot more efficient. Instead, all we got was a horrendously shallow, stunning inauspicious two-hour unmentionables business stuffed to the gills with untouchable enhancements.

Not the happiest place on Earth

Not the happiest place on Earth
Disney's Tomorrowland donned a basic, yet phenomenal, idea: consider the possibility that the canniest people on Earth constructed a mystery world only for themselves, one covered up on display of our own existence, however just apparent to those wearing an original stick. 

It's one of the wealthiest science fiction premises Disney's at any point had, straight up there with any semblance of Tron. Unfortunately, chief Brad Bird and screenwriter David Lindelof never took advantage of the idea's maximum capacity. Instead, they chose to understand the supreme shallowest conceivable elucidation. 

Tomorrowland is a motion picture that, at its center, wound up being about Britt Robertson reminding George Clooney that what's to come isn't an inevitable reality. Couple that worn out lesson with a subsequent good about the significance of regarding nature, and you've adequately summed up Tomorrowland's two significant topics. That is just about everything to this motion picture, sadly. The entire "why have keen individuals spurned us" point, fascinating as it seems to be, is just quickly investigated using Hugh Laurie's character, and that is the primary time the film even remotely takes advantage of its own account potential. 

Couple the squandered start with whimsical incorporations like a Keegan-Michael Key android who shoots silly laser firearms and a bath escape case that dispatches with the power of a ballistic rocket, and you have a formula for a PG-appraised, family-accommodating disappointment. If at any time there was a squandered entirely idea, it's this one. This could've been the following Matrix.

Martha, Martha, Martha

Martha, Martha, Martha

This film is effectively one of the saddest cases of an awful motion picture with a decent introduce. Warner Bros. took their coolest thought ever, Batman going up against Superman, and demolished it. It was superbly straightforward: bring the two most significant, most notorious superheroes in western culture and set them against each other. It should've been wonderful… yet on account of shallow composition and a misguidedly dull tone, it wasn't. 

A large portion of the motion picture's issues backpedals to the weak screenplay. The first demonstration of the film is close perfect, however when Batman's dodgy inspirations for acting like a furious young person become possibly the most critical factor, the motion picture begins to come apart. Rather than having Lex Luthor unmistakably control the world's stupidest virtuoso, Bruce Wayne, for what reason not have Luthor really help him in his campaign against Supes using a collaborate between Wayne Enterprises and Lex Corp.? That could've effortlessly prompted a legitimate Batman/Superman standoff — one that didn't rotate around both legends tenaciously declining to talk out their disparities until one yelled his mother's name. Furthermore, what was up with Lex seizing Superman's mom in any case, all while he paraded photos of her choked, bound, and crying? C'mon that is merely dull, particularly for a motion picture about caped superheroes. Yeesh.

Squad goals

Squad goals
A motion picture featuring only the poor folks, including the Joker and Harley Quinn? Energizing! Or then again, in any event, it would've been, had Warner Bros. Furthermore, David Ayer not copped out and transformed they're hostile to Justice League into a shoddy gathering motion picture loaded with would-be legends. The main character to remain a miscreant all through the length of this motion picture was the Joker, and even his objectives were inspired by empathy. Concerning every other person, from Killer Croc to Deadshot to Harley Quinn, every single one of them began as kind of great and boisterous, however by the end, all individuals from the main Squad were only C-review semi saints. The motion picture took its gutsy idea's executioner guide and transformed it into a toothless superhuman outfit enterprise, powered by somewhat edgier-than-normal great folks (and ladies).

Notwithstanding for those few who will ignore the film's double-crossing of its own introduce, there aren't a ton of silver linings in Suicide Squad. The film's tone is a wreck, the plot is worn out "spare the world for the umpteenth time" tripe, and the film under-uses it's just genuinely unique component — its questionable interpretation of the Joker. Had Jared Leto's rendition of the character got more time to sparkle in the film's showy cut, perhaps the vast majority wouldn't have kept in touch with him off as a no good hoodlum. Maybe Warner Bros. can give penance for all these right to life transgressions in Suicide Squad 2.

Now all of us hate sand

Now all of us hate sand

It's not hard to envision George Lucas' lift pitch for Attack of the Clones: the divinely selected individual starts his tumble to the Dark Side while a shrouded adversary erects another armed force with which to battle his manikin war. It's an introduce overflowing with political interest, personal stakes, and galactic-sized clash. Had Lucas had a genuine maker, or a little-armed force of genuine makers, to give him some essential oversight, we might've seen an adaptation of Episode II that satisfied that Shakespearean idea's potential. Attack of the Clones was set to have everything: tempting sentiment, planet-sized fights, lacking elbow room duels, and so on. It had the establishments of true to living legend. What we got, be that as it may, was no place close unbelievable. 

Star Wars Episode II: Attack of the Clones, while scattered with beautiful spots like Obi-Wan versus Jango Fett, the clone armed force, and the Geonosis successions, is a cluttered botch up until the point when the film's last demonstration kicks into the high rigging. Its plot is muddied with excessively long, inadequately composed sentimental connections amongst Anakin and Padme, dull political work, and ridiculous activity beats that fill no need other than separating the tedium. Every one of these issues come down to the screenplay, pretty much — had the foundations been retooled to fuse better discourse and a more tightly story structure, the exciting activity would've felt legitimized. Oh dear, what we have is yet an untidy diagram of what may have been.


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