hot or not he is a performer.
Any story where children are the solution to problems.
“… and I would have gotten away with it, too, if it wasn’t for you meddling kids!”
Sports stories.
Slasher films.
Most Ultra-Violence.
I can’t watch anything involving torture. But I’m not sure that qualifies according to the OP. I’ve never experienced torture (fortunately), so my objection isn’t based on personal experience.
But here’s one that may qualify. I absolutely can’t stand those shows about hoarding. In my family of origin there was a lot of clutter around the house. Nothing remotely approaching hoarding (again fortunately), but a lot of stuff. Ordinary clutter makes me anxious, houses completely overtaken by junk freak me right out.
Anything dealing with PTSD or other situations where the character’s personality changes and they’re mopey/crying/“dark”/crazy all the time following stress.
I know it can be realistic, but for me, it’s just not … well, for lack of a better word, fun. Watching someone suffer from PTSD is just sad. I want my fiction to be some form of escapism, and see the characters who endure such stress manage to shake it off and rise above it (though that may not be realistic).
I’m trying to figure out how you watch “Goodfellas” and think it glamorizes mobsters.
I hate any horror movie in which it’s obvious from the beginning that the monster/psycho killer is going to survive at the end, that everybody else is going to die, and that the makers are hoping to turn this into a long-running franchise.
Also, drunks are just harmless fun-loving tipplers, and anyone who objects to their behavior are just humorless meanies and buzzkills.
I feel that way, too. I still haven’t watched The Godfather. I don’t find the Mafia cute and I don’t want to see them plugging along day to day ruining lives and killing people. I read somewhere the goombahs who saw The Godfather were so impressed that they began dressing like, talking like the actors! They now had role models to copy.
Same thing, only different: Strippers and prostitutes, whether drug-crazed pigs, silly bumblers (“it’s my first time at this”), hardworking single moms, $5000 a call girls, $10 a throw in a back alley, ho’s with hearts of gold or misunderstood runaways. I still haven’t watched Pretty Woman. Just on principal.
[quote=“Evil_Captor, post:60, topic:716988”]
I’m in complete agreement here, and thought about posting the same thing, but I decided not to because I didn’t think it was personal reason. That is, I’ve never had any personal relationship or dealing with gangsters. I just have enough common sense to know that people who commit murder and sell drugs wholesale, etc., are not people worthy of sympathy. The notion that they are is ridiculous to me, not for personal reasons but is just a matter of reason and common sense. Idolizing thugs is idiocy. So I didn’t post it.
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My father died when I was a kid, and I hate, hate, hate “heartwarming” family/children’s movies where a parent dies but either returns through supernatural means or turns out not to have been dead after all. There were several of these in the '90s, including movies that were terrible for other reasons as well, e.g. Ghost Dad, and movies that were otherwise pretty good, e.g. the 1995 A Little Princess. (The 1930s version with Shirley Temple also has the father injured but still alive, instead of actually being dead as in the book.)
I am fine with works that depict death seriously. I’m also fine with black comedies and horror that depict death not-so-seriously. But stories that rely on death not being real because otherwise it’s just :(:(
TOO SAD!!! :(:( make me sick. The message I get from such works is that it’s impossible for a child with a dead parent to have any kind of happy ending and that something I actually had to deal with as a child is so horrific that not only can it not be depicted in children’s entertainment, but other children must be reassured that such things don’t really happen if your heart is pure or your daddy loves you enough or whatever the fuck. I don’t know if children whose parents are both still alive find this sort of bullshit comforting, but it sure as hell wasn’t a comfort to me growing up.
And to get the dorky female to loosen her hair so she suddenly becomes teh hot sexbomb, which is part of his reward package. Don’t forget that part.
I hate movies where a character tells a pointless lie which then leads to more and bigger lies, then when the truth comes out, everything ends happily. Ben Stiller has done more than his share of this type of film.
Happy endings. The example I like to use is Little Shop of Horrors from the 80s. Seymore deserves the original ending where he gets what’s coming to him. Unfortunately, they go for the ‘happy ending’ which for me doesn’t fit the earlier parts of the movie.
I also hate modern horror movies that can’t just end, but have to leave room for the sequel.
Oh god. Energizer bunny villains.
Cringe comedy, bathroom-humor comedy.
Mafia movies, whether the mafia are the good guys or not (but especially if they are the good guys).
Zombies.
Pregnancy storylines where the pregnancy is really out-of-place and ignored as soon as the baby is born, or ends in miscarriage.
Seems like three common themes running throughout this thread:
People hate humiliation humor, or humor at someone’s expense.
People hate movies that glorify the mafia or thugs.
People hate gratuitous violence.
Stuff that I dislike for personal reasons?
People making fun of someone’s foreign accent, especially if that person is an immigrant.
She’s a genius student of science … [shakes hair out of bun, takes off glasses] … but also a woman!
The Godfather is not really a glorification of the mafia.
The Godfather is a tragedy, depicting the moral downfall of the protagonist Michael.
He “wins” at the end, but only by betraying and destroying all he fought for.
Somewhat similar to the message of Breaking Bad, only his ostensible motives were different (Walter White goes bad, allegedly, to earn money for his cancer treatments and to leave his family okay when he dies; Michael goes bad to save his family from being murdered off by rival crooks).
Both “win” in one way (Walter builds a lucrative criminal empire and earns a mountain of ill-gotten cash; Michael becomes the head mafioso of a feared crime family) but in the process “lose” because they destroy or alienate that which they went bad to protect in the first place.