People Share The Biggest "Cinema Sins" Filmmakers Should Ask Forgiveness For

The final girl runs through the woods to escape the killer who somehow manages to keep up with her despite limiting himself to a casual stroll, machete in hand. When she makes her way back to the clearing and sees her car, its chrome glinting brilliantly in the moonlight, she dives behind the steering wheel, fetches her spare keys from up top, and pops the right one into the ignition only for the engine to refuse to turn over. The car won't start, and the killer is somewhere out there.

Sounds familiar? Of course it does. Let's end this, shall we?


Every driving scene that involves talking always has the driver maintaining eye contact with the passenger for more than 10 seconds at a time. Like who does this in real life? It's incredibly dangerous. When I'm talking while driving I ALWAYS keep my eyes on the road. Looking away for a mere 3 seconds at high speed is enough to crash into something.



Computers aren't magical devices. Hacking into them isn't mashing on the keyboard for a few seconds. And even if you do if you do manage to hack in, you don't magically become god.

That being said, I love it when movies use nmap (it's a real tool and is incredibly useful even to non-hackers).



Besides high school students always looking like they are in their 20s, they always have amazing hair. Even the background extras have beautiful well done hair. I have been to high schools, it's all buns, frizz, shag and absence of any product use except for a few and goes for some teachers, too. Also, where are the kids with mild acne and wrinkled clothes?



Movies have a lot of sins regarding guns:

  • infinite ammo: an assault rifle (M4/M16) on full auto with a standard mag will empty in about 3 sec, yet movies shows them firing continuously for minutes
  • tables are not bullet proof
  • car doors are not bullet proof - at all. No special bullets needed, anything will go right through.
  • it is a lot harder to hit your target with a handgun than movies portray
  • silencers are not magic: in reality, a silencer lowers the sound of a gun shot from about 165db to around 130db - the level of a jackhammer.
  • shooting the vast majority of things will not cause them to explode. Pretty much the only thing that will explode when shot is tannerite.





"Judy, I love the way you eat your painkillers and Pringles together. I love how you wipe your nose on the sleeve of your shirt and offer it to the dog to lick. And I know we've only known each other for a month where I stalked you, stabbed you, and almost killed your 'supposedly' evil boyfriend, but I'm in love with you. Irrevocably! I know, you are, too! Don't deny yourself of this wonderful, wonderful feeling called 'love,' because honey, I love you even when you wear your panties inside out and go to work like its no big deal. Err... What I'm trying to say is that I'm the ONE. I'm the one who'll enjoy watching you turn scarlet in front of this crowd as I make a big, romantic gesture."



I may be the only one, but I am not a fan of audio in movies and their dynamic range; talking scenes are quiet while scenes with more action are way too loud. I find myself turning up my TV to hear dialogue then turning it back down so my neighbors don't complain... it's like an audio roller coaster. Ie Mad Max Fury Road.



Treating the audience like we're idiots. We don't need every little details explained to us through asinine dialogue that people would never say in real life or, worse, excessive narration. Let the story speak for itself through good pacing, world-building and implied details.



It's not a narrative trope but dogs**t camera work with a thousand cuts to make it feel more "epic."

In ye olden times, martial arts movies had a lot of quick cuts to convey speed- but these were films that lived and died on the beauty of their choreography. More and more Hollywood actions movies emulate that trope, turning action scenes into unwatchable garbage where the camera cuts to a different angle so many times in rapid succession that your brain can't process what you're even seeing!

Arguably the nadir of the trend (so far) has been this infamous clip from Taken 3: featuring 15 cuts in six seconds- for a guy jumping a fence!

Yes, the quick cuts communicate speed, but you know what also communicates speed? People moving quickly.



Hi, I'm a woman in the 1500s with perfectly curled hair, eyeliner and no body hair.

Hi, I'm a woman fighting in the zombie apocalypse but my pony tail stays perfect and I have no armpit hair despite not showering for months.

I could go on and on.




Scenes where characters go to a crowded dance club to have a conversation about their crime business, but are somehow able to hear each other without shouting and asking to repeat each other.

"WHAT?!" (ooonz oonz ooonz)
"I SAID the DRUGS are coming (oonz oonz) in TOMORROW AT THE (oonz oonz) DOCKS"
"Of course I'm bringing my Glock! But (oonz oonz) where do I meet you to pick up the drugs?!?!?!!"

"Ok, I'll see you at 3 o'clock!!!!"



Final fight, bad guy vs good guy. The first 70% of the fight the good guy is going to get his a** handed to him. He's gonna be slow, stand around waiting for the punch to hit him and generally just be a way worse fighter than he was throughout the whole movie so far.

Then suddenly he gets magical strength from somewhere and f**ks up the bad guy.

I so loved Taken when the final mastermind guy just got point blank taken out before he could even finish his first sentence.



Epic battle ensues. Male and female leads re-unite briefly in the middle of the melee.

"We have to put a stop to this! And fast!"

"I know! Too many people are dying! Time is of the essence!"

Turn to leave. One of them reaches to stop the protagonist momentarily to plant a big long kiss on them while people CONTINUE TO DIE ALL AROUND THEM AND ONLY THEY CAN STOP IT!



Whenever a family eats breakfast, there is a MASSIVE, unrealistic spread.

I'm talking like fruit salad for days, stacks upon stacks of delicious pancakes. sausage and bacon, etc...then some emo-nerd will pop down the stairs for 2 seconds, drop some dumbass line like, 'I'm late, gotta run!' and grab a lame ass piece of unbuttered toast.



Investigator: "Can you clear up that image of the finger print from the steering wheel of that car? Enhance."

Computer Tech: zooms in

Investigator: "ENHANCE"

Computer Tech: zooms in

Investigator: "ENHANCE"

Computer Tech: zooms in

clear image with no loss of resolution appears on the giant screen

Investigator: "Great. Let's run that through AFIS"

bleepbloopbleep 2 seconds later

Computer Tech: "We've got a hit."




Need blood for some ritual or pact? Let's just slice down our palms, which is an extremely annoying place to have a wound because it means you can barely use your hand anymore without pain. Oh wait, let's just forget that and let them have full use of their hand in the next fight scene.

Seriously, there are so many better places to get blood if they really need it that makes much more sense than that.



When the movie is literally too dark to see anything. I get they want to create a certain ambience, but when I'm finding it hard to find the character in the scene it's a bit much.

"I prefer marvel films, because DC films are too dark."

"Oh, too edgy for you?"

"No. I literally can't see what the f**k is going on"



I hate the age differences between the male and female love interests in some movies. One movie I recently saw had a male actor who was in his 50s, his wife 20s and they had a teenage daughter together (how does that happen...). Another had the female lead around the same age as the male, but kept saying she was too old for him and making a big deal of the (nonexistent) age difference.

Also having make up on the actors in an apocalypse/in mornings/etc. I actually really like when movies show the people in a more natural and normal way, it takes away the realism for me otherwise.



Portraying snow, ice and cold in general extremely inaccurately. It's very common even in the high budget productions, and it drives me absolutely mad! Some common stereotypes are:

- ice breaks in unnatural ways, usually ends up with the bad guys being sweeped under
- all ice is white, even on lakes and when there's no snow or frost anywhere else
- all characters can either immediately walk on ice/skate/ski like they have done that all their lives or are incredibly clumsy, yet nobody slips unless it's an important plot point (like falling in the arms of someone)
- being in a very cold enviroment doesn't affect anyone, characters faces gain zero reddish hue and sometimes even them breathing doesn't make mist, there's no wind or the wind doesn't affect anyone
- running around without a hat or gloves in general when it's supposed to be very cold
- all snow is the kind that requires minus degrees in celcius, no sleet or snow melting or mixing with dirt exists
- the snow doesn't reflect any light or sparkle the slightest, all nights are completely dark even if there's snow everywhere

etc. etc.

There are so many commonly used tropes that I'm convinced nobody in the production industry has actually seen any real snow or lived in northern parts of the world. It's 2019 already - the special effects have evolved so much it shouldn't be that hard to stay away from many inaccuracies! Every damn production needs a snow and ice supervisor.



"I have to tell you something impor....."

"Shut up! I don't have time to listen to you". And then this person runs off.

"But I was going to tell you that I didn't cheat on you with your sister. It was all an innocent misunderstanding that I'm positive will make you smile. I also wanted to tell you that the bomb is hidden inside the teddy bear and the killer is actually Joe's mom. Not Joe. And I could have easily explained all of this in less than 1 minute if we were in the real world where people actually talk to each other like adults instead of acting like some basement dwelling virgin writer whose entire outlook has been shaped by the works of other basement dwelling virgin writers thinks adults act like."




When movies depict huge cities, even the downtown areas, as being practically deserted after dark. Like, no one at all other than the protagonists. Ever been in Manhattan at 3 a.m.? That place ain't dark or quiet.

It annoyed me in Fight Club, with the demolition of the skyscrapers at the end. It made it look like the entire city was asleep when the bombs went off, when, realistically, there just had to have been collateral damage, even if they had evacuated the buildings. Unless they somehow managed to shut down several entire blocks of the city, there would've been taxis driving or parked nearby, newspapers getting delivered, drunks and homeless people wandering around, stores and restaurants being stocked for the next day...


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Unbreakable. It's a miracle.

The nation fell in love with Ellie Goulding as the starry-eyed, spunky Kimmy Schmidt who began a new life in the Big Apple after spending the better part of her adult life locked underground in a bunker.

Along the way, we met (and loved) several other inhabitants of the big city, such as Titus Andromedon, our favorite performer/Times Square costume character; Lillian Kaushtupper, the eccentric landlord of Kimmy and Titus's apartment; and of course Jacqueline Voorhees, the completely out of touch rich socialite from whom Kimmy gets her first job.

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Photo by Emma McIntyre/Getty Images for Hulu

The Handmaid's Tale, Margaret Atwood's searing novel, was written at the height of the Reagan administration and satirized political, social, and religious trends of the 1980s. It's also a hit television series on Hulu that returns on June 5.

While we still have a long way to go before we can find out what's next for June/Offred in the Republic of Gilead, we can, at the very least, regale you with some cool facts about one of the most enduring stories of the last three decades.

The Trailer for Season 3 Plays Off a Slogan from the Reagan Era

Perhaps the best thing that came out of the Super Bowl––aside from the memes haggling Maroon 5 frontman Adam Levine, that is––was the trailer for the third season of the Hulu series.

The trailer lampoons former President Ronald Regan's 1984 "Morning in America" political campaign television commercial.

"It's morning again in America," you hear over a soundtrack and images that resound with boundless optimism. Things turn dark from there. Soon the camera freezes on Elisabeth Moss's face: "Wake up, America," she says.

Margaret Atwood's Follow-Up Will Be Released Later This Year

Margaret Atwood will release a sequel to The Handmaid's Tale titled The Testaments in September 2019. The Testaments is unconnected to Hulu's adaptation and will feature the testimonials of three female narrators from Gilead.

This literary device keeps with the metafictional epilogue that follows Offred's story in the original novel. The novel ends much in the way Season 1 ends: with Offred entering the van at Nick's insistence. The epilogue explains how the events of the novel were recorded onto cassette tapes after the beginning of what scholars have come to describe as "The Gilead Period." An interview with a noted academic implies that a more equitable society, one with full rights for women and freedom of religion restored, emerged following the collapse of the Republic of Gilead.

Serena Joy Waterford Is Likely Based On A Noted Conservative Activist

As the series goes on, we learn more about Serena Joy Waterford (Yvonne Strahovski) and her beginnings.

Serena was a conservative activist who, along with her husband Fred, spearheaded the Puritan movement that ultimately gave rise to Gilead. Inspired by women whom she perceives to have "abandoned" their families in the name of female autonomy, Serena Joy delivers impassioned speeches at venues around the nation calling for policies that would place women back in the home. She even wrote a bestselling book, A Woman's Place, that served as the vessel for much of her conservative dogma and inspired many of the Commander's Wives who become her friends and neighbors.

Serena was likely based on conservative activist Phyllis Schlafly, who established herself over many years as one of the fiercest antifeminist and anti-abortion advocates in the United States. Schlafly was also a vociferous opponent of the Equal Rights Amendment, which she considered an attack against traditional gender roles.

The 1990 Film Adaptation Had a Messy Production

A film version of The Handmaid's Tale was released in 1990. It starred Natasha Richardson as Offred, Faye Dunaway as Serena Joy, Robert Duvall as Commander Waterford, Aidan Quinn as Nick, Victoria Tennant as Aunt Lydia, and Elizabeth McGovern as Moira.

The film was not well received and had a messy production. Director Volker Schlöndorff replaced original director Karel Reisz amid internal bickering over a screenplay by Harold Pinter. Schlöndorff asked for rewrites, and Pinter, who was reluctant to do them, directed him to author Margaret Atwood, who was one of several who ended up making changes to Pinter's screenplay.

Pinter told his biographer years later [as quoted in Harold Printer, p. 304] that:

It became … a hotchpotch. The whole thing fell between several shoots. I worked with Karel Reisz on it for about a year. There are big public scenes in the story and Karel wanted to do them with thousands of people. The film company wouldn't sanction that so he withdrew. At which point Volker Schlondorff came into it as director. He wanted to work with me on the script, but I said I was absolutely exhausted. I more or less said, 'Do what you like. There's the script. Why not go back to the original author if you want to fiddle about?' He did go to the original author. And then the actors came into it. I left my name on the film because there was enough there to warrant it—just about. But it's not mine'.

Star Natasha Richardson reportedly felt "cast adrift" when much of Offred's interior monologue was sacrificed as a result of cuts made to the screenplay.

The Film and TV Series Aren't The Only Adaptations of This Seminal Work

There are several different adaptations of Atwood's seminal work, including, but not limited to:

  • an audiobook read by Homeland actress Claire Danes that won the 2013 Audie Award for Fiction
  • a concept album by Canadian band Lakes of Canada
  • a radio adaptation produced in 2000 for BBC Radio 4
  • an operatic adaptation that premiered in 2000 and was the opening production of the 2004–2005 season of the Canadian Opera Company.

Elisabeth Moss, the Star of the Hulu Series, is a Scientologist

Between The West Wing, Mad Men, Top of the Lake, and The Handmaid's Tale, Elisabeth Moss has a reputation for starring in critically acclaimed television shows.

Much has been made, however, of her casting as Offred. Moss was born into the Scientologist belief system, which the German government has classified as an "anti-constitutional sect," the French government has classified as a cult, and the American government has allowed individuals to practice freely though not without considerable contention. Moss also identifies as a feminist.

Asked by a fan about the parallels between Gilead and Scientology (namely the belief that "outside forces" are inherently "evil") Moss responded:

"That's actually not true at all about Scientology. Religious freedom and tolerance and understanding the truth and equal rights for every race, religion and creed are extremely important to me. The most important things to me probably. And so Gilead and THT hit me on a very personal level."

An Episode During Season 2 Highlighted President Donald Trump's Border Crisis

Last summer, President Donald Trump and his administration created a crisis at the U.S.-Mexico border when he and Jeff Sessions, his former attorney general, announced their "zero tolerance" family separations policy. The president blamed Democrats for the policy, imploring them to "start thinking about the people devastated by Crime coming from illegal immigration."

As images and stories of children ripped away from their parents at the border began to circulate, the Season 2 episode "The Last Ceremony" showed just how timely the show really is: After Offred is raped by the Waterfords, Commander Waterford (Joseph Fiennes) allows June/Offred (Elisabeth Moss) to visit her daughter, Hannah, in an undisclosed location. June is given 10 minutes with her daughter before a guard forcibly separates them again.

The episode, written well before the crisis was initiated, premiered just as Homeland Security admitted that more than 2,300 children had been separated from their parents.

Another Episode During Season 2 Appeared to Predict Canada-U.S. Relations

The fallout between the United States and Canada during the G7 summit appeared to have reached its peak once President Donald Trump refused to sign a joint statement with America's allies and threatened to escalate a trade war between America's neighbors. He also referred to Canadian Prime Minister Justin Trudeau as "weak."

The Season 2 episode "Smart Power"––in which Canadian diplomats ban Gilead's representatives from the country and choose to stand with the women imprisoned in the totalitarian nation in a nod to the #MeToo movement––was written and premiered before the G7 blowup, but is no less prophetic.

In Season 2, Kate Bush's "This Woman's Work" Becomes an Ode to Female Resilience

"This Woman's Work," a ballad written by singer Kate Bush that is also one of the tracks on her 1989 album The Sensual World, serves as an ode to female power and resistance in the horrifying Season 2 opener, where June and the other handmaids realize they're about to be executed. The women are forced to summon strength at a moment of debilitating weakness. As the camera pans over the bleak environs of Fenway Stadium, Bush starts to sing:

Pray God you can cope
I'll stand outside
This woman's work
This woman's world
Ooooh it's hard on a man
Now his part is over
Now starts the craft of the FatherI
know you've got a little life in you left
I know you've got a lot of strength left
I know you've got a little life in you yet
I know you've got a lot of strength left
I should be crying but I just can't let it show
I should be hoping but I can't stop thinking
All the things we should've said that I never said
All the things we should have done that we never did
All the things we should have given but I didn't
Oh darling make it go
Make it go away

"It was shattering and perfect," said Bruce Miller, who created the Hulu Handmaid's Tale adaptation. "One of the things I really like about the song is that on its face, there's a bit of very interesting lyrical play. It's nice that that's going on while you're watching."

"The Handmaid's Tale" Was the First Streamed Series to Win the Best Drama Series Emmy

Hulu beat out Netflix and Amazon to become the first streaming service to win an Emmy for Best Drama. Unfortunately, because the third season doesn't premiere until June 5, it's ineligible for the 2019 Emmys. Guess we'll see the show back onstage in 2020!

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People do horrible things, and there's often nothing we can do about it. Treating people and animals kindly shouldn't be controversial, yet some individuals just don't get it.

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Submissions have been edited for clarity, context, and profanity.

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