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Movies Audiences Missed The Point Part 2. Most movies come with a unique message; commentary on social and political issues, or actual, well- known events in history. Some writers may do a more blatantly obvious job at communicating their sentiments – see Wall- E or Avatar for some environmentally- political examples – while others may be more subtle in their approach, expressing themselves under the guise of satirical or more abstract storylines. While its common to misintrepret the more metaphorical films out there, even some of the most obvious messages in cinema can, sadly, get lost in translation – with many audiences taking a completely different message from the film altogether. Whether it’s trying to emulate a clearly horrible character, displaced outrage, or other un- befitting fan responses – here are a number of films in which countless viewers have sorely missed the mark.

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We’ve already compiled a list of some well- known films that fall victim to this, but here are a handful more that completely confused audiences. Here are the 1. 5 Movies Where Audiences Completely Missed The Point – Part 2. Robocop. King of Satire, Paul Verhoeven, released his now- classic sci- fi action hit Robocop in 1.

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It was a story that focused on a half- man, half- android police officer; an experiment weapon created by mega- corporation Omni Consumer Products to clean up the chaotic streets of Detroit city. The film was chock full of violence, explosions, and carnage – a typical compilation of the mindless, “cheap thrills” that are often sought after in a usual, Hollywood popcorn flick. While going on to claim a well- renowned status in the world of cinema, many audiences sorely missed the satirical point of Verhoeven’s masterpiece – solely consuming the bloodshed and brutality it had to offer, and not the specific societal issues it was aiming to attack. Though a fast- paced entertaining film for sure, it was also an – albeit straight- faced – jab at capitalist America, corporate greed, and society’s often senseless obsession with consumerism.

The death and destruction in most scenes was also Verhoeven’s subtle mockery of many movie- goers’ fascination with violence and gore. However, with the handful of unironic sequels and spinoffs Robocop has spawned, it seemed that Verhoeven’s message was sadly lost among many. Pulp Fiction. When it comes to gratuitous violence played out with surprisingly intelligent characters, Quentin Tarantino has undoubtedly mastered the art.

One of his greatest successes in cinema was 1. Pulp Fiction, featuring exactly this – with a non- linear story revolving around criminals, heroin, and what happens when you double- cross a merciless gangster boss. Though a true Tarantino masterpiece, the movie appalled quite a number of viewers who thought Tarantino went overboard with the rampant gore and obscenities throughout the film. Former Republican Leader of the United States, Bob Dole, engaged in these criticisms himself – singling out the filmmaker, among a few others, as a promoter of “mindless violence.”However, when one takes a closer look at the film’s plot, it doesn’t celebrate the deplorable lifestyle of their criminal protagonists in any way.

If any – many of them end up dead, nearly dead, or horrifyingly violated by traumatic means. There are no “good guys” you’re meant to glorify. At the same time, Tarantino has repeatedly assured that the brutality in his films are meant to be epic, entertaining spectacles rather than subliminal, pro- violence messages – finding no correlation between such themes in his movies, and real life. The Dark Knight/The Dark Knight Rises. Christopher Nolan’s The Dark Knight and The Dark Knight Rises sparked heavy discussion among audiences in their prime, with both left and right- wing groups addressing its possible political undertones. Amidst The Dark Knight‘s blockbuster success, conservatives were all for the film’s alleged allusion to the “War on Terror; ” the struggle between Batman and the Joker as a metaphor for the global fight against terrorism. A similar political debate was introduced in 2.

The Dark Knight Rises, with many claiming that Nolan was trying to push a conservative, anti- Occupy Wall Street message – using the movie’s forefront villain Bane  as a symbol for the economic 9. America. Of course, the character heroically representing this opposing sector is none other than Batman himself, who eventually defeats his evil, supposed “populist” foe. While the theories make sense and are well argued by viewers, Nolan himself has stated that he had never intended for his movies to convey a political message in any way.

He admitted to laying out relevant societal questions to ponder on, but firmly expressed that his films were merely “telling a story”. The Blair Witch Project. The Blair Witch Project was one of the most innovative films of its time – back in an era where the genre of “found- footage” was still a ingenious, rare novelty. The low- budget faux- documentary told the haunting tale of three film students, as they ventured into the woods to capture evidence of a legendary ghostly murderer known as the “Blair Witch.”An absolutely unconventional treat (in both its production and marketing) – the movie was thus a divisive one among horror fans. Many disaparaged its “migraine- inducing,” handheld camerawork, its modest, slapdash production, and lack of any typical, box- office- horror scares.

However, the movie was never aiming for James Wan- esque terror – but rather a more realistic focus on fear, transporting audiences right into the characters’ situations with its makeshift, first- person approach and subtle, creepy imagery. Audiences were meant to find horror in the film’s atmosphere and the protagonists’ eventual descent into panic, while tapping into their fears of unknown sounds and entities that go bump in the night. Those who entered the cinema, expecting your traditional, Hollywood scary movie, were never meant to find it with this one.

Scarface. Brian de Palma’s Scarface in 1. Say hello to my little friend!” — along with one of Al Pacino’s most recognized and acclaimed roles to date. It is a story about about a Cuban refugee, Tony Montana, who starts from nothing and eventually fights his way to becoming one of the most successful and wealthy drug kingpins of Miami city, has become a much- loved masterpiece amongst directors, critics, and cinephiles alike. So much so, that Pacino’s character, Tony Montana, has been highly regarded among viewers for his desirable life of money, power, and dominating mobster charisma. However, those who look beyond Montana’s glamorous life of wealth will find that while he does wade in good fortune, his dirty decisions have spiralled him into becoming a coke- addicted, wanted criminal who eventually causes his wife to leave him, murders his best friend, and gets his sister killed. A self- made man? Indeed, though while the movie celebrates his determination – it was ultimately another moral story that showed crime definitely doesn’t pay.

Showgirls. Another Paul Verhoeven flick makes the list with his 1. Showgirls. Unlike Robocop, the film was widely and ruthlessly panned by many who viewed it, excoriating the director for producing what was then considered a kitschy mess of awful, cheesy dialogue, over- the- top acting, and needless amount of exploitative sexual content. Watch The Task HDQ on this page.

However, much like his previous sci- fi hit, many once again failed to see the glowing satirical motive behind the film – instead focusing on the tackiness of it all, and not the subject matter it was aiming to ridicule. While frequently taken at a mere face value, the film’s events are meant to be a mockery of the entertainment industry: a world where one’s morals, virtues, and integrity are thrown out the window to climb to the top; where misogyny prevails and divas abound.