There is no such thing as perfect filmand even a masterpiece can have its flaws, no matter how small. In some cases, the biggest problem a classic film can have is a completely miscast character who saps the audience’s enthusiasm every time they get something to do.


Sometimes it is through no fault of the actor who has to play the role. It would be reasonable to expect them to recite the dialogue they were given and perform the role in a manner previously agreed upon by themselves, the director, and the key creatives involved.



Other times it can feel like they’ve accidentally walked in from a completely different picture, and everyone else has decided to go along with it. Regardless, what remains the same is that there are more than a few phenomenal films that have been ruined by a constant on-screen annoyance.


It may not detract from the quality of the film as a whole if the positives drastically outweigh the negatives, but there’s no arguing that each of the following ten characters sticks out like a sore thumb when surrounded by so much greatness.


10 Annoying Characters Who Ruin Great Movies:


Jenny Everdeane (Gangs of New YorkMartin Scorsese, 2002)


As a passion project Martin Scorsese wanted to make for decades, the casting was just as important as the production design Gangs of New York felt as lived, authentic and compelling as possible.


Leonardo DiCaprio, Daniel Day-Lewis, Jim Broadbent, John C Reilly, Brendan Gleeson, Liam Neeson, Stephen Graham, Eddie Marsan and many more talented actors kept their promises. Cameron Diaz? Not so much. Even though her accent was on point, which it definitely wasn’t, her acting left even more to be desired.


Not only is she blown off screen and exposed as being miles out of her depth when she’s tasked with expressing emotion to one of the ensemble’s heavy hitters, but poor Jenny is poorly written, poorly performed and given very little substance to do . Every time she appears on screen, Gangs of New York noticeably suffers.





Carrie (Four weddings and a funeralMike Newell, 1994)


One of the defining romantics comedies of its time and a transatlantic cultural sensation, Four weddings and a funeral thrived despite Andie McDowell’s Carrie, who sucked the life out of the film every time she crossed paths with Hugh Grant’s bumbling Charles.


Yes, McDowell couldn’t help but wrap her laugh suit around some of the worst dialogue in movie history, and not even Laurence Olivier could have polished that verbal turd. Yet she remains the rude and self-obsessed embodiment of a red flag.


Audiences might want the two leads to end up together, but thanks to the relentless annoyance of Carrie’s mere existence, most people would be a lot happier if she just fucked instead.





Cameron Vale (ScannersDavid Cronenberg, 1981)


Nothing will be right Scanners from its place as one of the best sci-fi splatter films ever made and the film that ultimately David Cronenberg on the mainstream map, despite Stephen Lack’s Cameron Vale trying his best.


For whatever reason, the actor doesn’t seem sure how to pitch his performance, so he decides to direct it across the store. On paper, the character is painfully boring and fatally uninteresting. In practice, Lack manages to pull off an impressive performance from a terrible performance, while at the same time championing the cheap seats and wishing everyone someone would blow his head up and put the audience out of its misery.


It’s a rare trifecta for a protagonist to be obnoxious, annoying, and wooden all at once, but Lack inexplicably managed to check three boxes that no one should ever try to check in a movie that’s thankfully good enough was to rise above his terrible expectations. contributions.





Fabienne (Pulp Fiction, Quentin Tarantino, 1994)


There are few things wrong with it Pulp Fictionthe influential and innovative crime thriller that has the best chance of being remembered as Quentin Tarantino’s magnum opus if he makes good on his word and retires after his tenth and final feature film.


The characters are unforgettable; the dialogue is iconic, the soundbites are burned into the pop culture consciousness and the labyrinthine, non-linear epic cast a shadow over American independent cinema that too few filmmakers seemed interested in running away from.


Fabienne fulfills an important function Pulp Fiction as perhaps the only grounded character and the anchor that holds the wayward Butch. That said, by the time her screen time is mercifully over, the overriding feeling is that she needs to go get her own damn blueberry pancakes.





Rachel and Robbie Ferrier (War of the WorldsSteven Spielberg, 2005)


A two-on-one special based solely on the reasoning that it’s incredibly difficult to decide which fictional child next to the on-screen father is trying to outrun and survive an alien invasion Tom Cross can rightly be called the most annoying.


They both make a solid case, albeit for completely different reasons. Look, no one will risk saying that War of the Worlds ranks at Steven Spielberg’s highest level, and it’s not the best film Cruise has ever been in. However, the first hour remains one of the best standalone cinematic acts they’ve ever done, and then the problems start.


When the focus shifts to the family dynamic, it’s completely forgivable if everyone’s first thought is just to let the aliens take the kids and make life a lot easier for Cruise’s Ray Ferrier. Rachel constantly screams to an unbearable degree, while Robbie’s daddy issues run so deep that he decides to abandon his old man and younger sister and runs away. It turns out he’s very much alive in the final scene, which is a shame.





Samuel Vanek (The BabadookJennifer Kent, 2014)


It’s kind of where Noah Wiseman’s Samuel is a handful The Babadookbut damn, it doesn’t matter film easier to sit through.


One of the most important story points Modern horror classic by Jennifer Kent is that his behavior has gotten so out of control and erratic that it has exhausted her to the point where she even wonders why he can’t be like every other child his age. The character was written as such and Wiseman played it as such, so there are no issues on that front.


On the other hand, it’s exhausting as a spectator and makes the prospect of a rewatch a daunting experience. The actor clearly understood the assignment and did as he was asked, not that that makes the traumatized and tormented Samuel any less annoying.





Willie Scott (Indiana Jones and the Temple of DoomSteven Spielberg, 1984)


Steven Spielberg might not the biggest fan of Indiana Jones and the Temple of Doombut time has been kinder to the second installment in the franchise’s second installment since it first shocked the ratings board and ushered in the PG-13 era.


Ironically, time hasn’t been particularly kind to Kate Capshaw’s Willie Scott, who screams, moans and screams even more with almost every second before mixing things up with screams, whines, whimpers and screams.


Spielberg wasn’t a fan of the movie and the crowd was not a fan of Capshaw. Apparently he was, after the pair began a relationship during production, leaving them happily married since 1991. They got their happy ending, but came back to visit. Temple of Doom requires the mute button to be nearby when Scott is involved.





Frankie (Django unleashedQuentin Tarantino, 2012)


Even though he’s never shown enough skill to convince the world he’s any good at it, Quentin Tarantino has always seen himself as an actor.


Filmmakers are constantly delving into their own films, and while Tarantino was harmless in short doses in e.g Reservoir dogs And Pulp Fictionhe went in full M Night Shyamalan Django unleashed by elevating himself to monologue status while his ego threatened to run wild.


What’s worse than a limited actor forcing himself into a scene that exists for no other reason than to stroke his own self-indulgent side? A limited actor forcing himself into a scene that exists for no other reason than to flatter his own self-indulgent side, putting on a terrible accent and shattering the film’s immersion in one painful blow.





Ruby Rhod (The fifth elementLuc Besson, 1997)


The fifth element is one of the most deranged lunatics science fiction blockbusters will never exist, so in that respect Chris Tucker’s Ruby Rhod fits seamlessly into the unhinged world that Luc Besson had created.


The high terror becomes even more relevant as time passes, as the age of 24/7 influencers continues to cast an increasingly dark shadow over society, all of whom make it their life’s mission to reach the widest possible audience by being outrageous . self-centered and irrepressible in search of attention.


That doesn’t make it any more palatable, though, with the attack on the senses in a hooded and catsuit-like style, the way nails on a blackboard would look, sound and function if they were put into human – or humanoid, form in this form distilled. case – form and unleashed on an unsuspecting public.





Joey Starrett (ShaneGeorge Stevens, 1953)


Young Brandon deWilde was just 11 years old when he played the breakthrough role western Shane was released and he ended up shortlisted for ‘Best Supporting Actor’ at the Academy Awards, so perhaps a degree of leniency should be reserved.


On the other hand, one of the genre’s best films ever is consistently hamstrung by the precocious child’s unyielding hero worship of Gary Cooper’s title hero. It’s not a bad performance, considering the amount of dialogue and dramatic heavy lifting deWilde has to do, but it’s still bothersome.


Much of the story takes place through his eyes, prompting director George Stevens to continually cut to his face for reaction shots. The problem is that he only has one expression, and Joey’s cloying nature and “Bang!” Bang!” interjections get under the skin quickly, and not in a good way.





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