That was kind of the point of the ending: to be ridiculously anticlimactic. That's one of the many things that made it funny, as well as Monty Python funny in general: Absolute Nonsense.
Teabing being the leader? Just...what the actual fuck? Maybe I'm missing something, but to me this revelation just seems thrown in for the sheer 'what the hell' value.
Angels and Demons:
The Camerlengo being the guy who hired the assassin to brand and murder the Preferiti. Again, it makes no sense. He loved his dad, the Pope. The Pope is said to have been in favour of science and religion joining together, and the Camerlengo even gives a speech to the Cardinals during Conclave that science and religion aren't enemy forces. So yeah obviously that speech was a clever ruse, but it still makes no sense.
If any Dan Brown fans can explain who 2 to me, I'd be very grateful since they always baffle me.
Also Castlevania: Lords of Shadow [SUB]of the Colossus[/SUB]
Gabriel, who spent the whole game fighting the forces of evil and even defeated Satan, suddenly becomes Dracula. What the FUCK is up with that?
Ha, that plot twist made me love Panty and Stocking (Mostly Stocking) a bit more.
But if you want a even more pointless last minute twist, watch Mars of Destruction. Hilariously awful plot twist for an even more hilariously awful anime.
Dan Brown is a shit writer basically. He got popular because of the apparent "scandal" of the story line in "Da Vinci Code" which was really already old hat as evidenced by the authors of "The Holy Blood and the Holy Grail" suing him for supposed copyright infringement. His only other claim to being a decent author is his thriller pacing. Once while looking up advice on how to get published I found an article by Dan Brown basically saying "Write a cookie-cutter formulaic piece of crap and the publishers will eat it up" which unfortunately is probably true.
I have read all of his books (I'm a book addict and turn to the newsstand when I don't have access to a real bookstore) and they are frightfully similar. He reuses the "trusted mentor turns out to be the bad guy" twist in at least three of his novels and his "bad guys" in Angels and Demons and The Lost Symbol don't fall very far from that mark either. In The Lost Symbol, most fresh in my memory, he goes to quite some length to obscure the true identity of the bad guy similar as you note with Angels and Demons.
Dan Brown is a shit writer basically. He got popular because of the apparent "scandal" of the story line in "Da Vinci Code" which was really already old hat as evidenced by the authors of "The Holy Blood and the Holy Grail" suing him for supposed copyright infringement. His only other claim to being a decent author is his thriller pacing. Once while looking up advice on how to get published I found an article by Dan Brown basically saying "Write a cookie-cutter formulaic piece of crap and the publishers will eat it up" which unfortunately is probably true.
I have read all of his books (I'm a book addict and turn to the newsstand when I don't have access to a real bookstore) and they are frightfully similar. He reuses the "trusted mentor turns out to be the bad guy" twist in at least three of his novels and his "bad guys" in Angels and Demons and The Lost Symbol don't fall very far from that mark either. In The Lost Symbol, most fresh in my memory, he goes to quite some length to obscure the true identity of the bad guy similar as you note with Angels and Demons.
Maybe I don't know much about literature (I should due to studying English at A-level) but I never pegged Dan Brown as a bad writer, exactly. Sure there's many better ones out there, but his books are always enjoyable.
I just wish he'd understand the concept of 'foreshadowing'. If you're gonna reveal an ally to be the villain, Brown should have left some clues in there. Currently it comes off as just the villain turning round suddenly and going "oh btw, i'm the person your fighting against after all." There's zero build-up to it, he might as well have turned Langdon evil!
they start the movie off where if you die in the dream you wake up, half way through they are in a state where if they die in the dream they die for real (also his wife went to limbo from dying from a dream)
The sedative they all took so that they could go down to the otherwise unreachable third dream level causes their heavily sedated subconscious to go into limbo. It's like the sedative is so strong that if you die in the dream you essentially go into a coma in real life. Saito 'dies' and goes to limbo, and after Cobb confesses to Ariadne about Mal he goes down there to find him, risking having to confront Mal again.
Who says they didn't have the drug then? As far as i can tell, that's just left unexplained. It was before the events of the film take place. They shouldn't have to explain everything. The film functions perfectly well without telling you why they were in limbo back then. Fill in the gaps for yourself - Previous mission, things went wrong, stuck in limbo.
Mal and Cobb went into limbo(with the required sedative. "Why WOULDN'T they be able to use it?" is the real question.) They did it, essentially, just for fun. Seriously, there's quite a few shots of them just sitting on the floor of a house somewhere, getting ready to "limbo" voluntarily, under no duress whatsoever. Where did you get the whole "job gone wrong" thing? Anyway, eventually Cobb becomes concerned that they will never leave because Mal has become convinced that Limbo is reality. He performs inception, they leave, she commits suicide, etc, etc. At any point after that, Mal is dead, and she is only appearing as Cobb's incredibly powerful subconscious.
The REAL plot hole of Inception(though not really a twist) is that Cobb's creations are still there in Limbo when...you know...the Asian guy shows up, even though it's not Cobb's dream AND he wasn't the architect for the dream.
It had everything, a pretty girl with magic in her blood, more blood, guts, gore, zombies, other types of resurrection, a nefarious plot and a happy ending...
well, until it turned out the the good guy you were rooting for was just as bad as the other guy, destroyed the world and then helped the first bad guy do the thing he wanted to do from the start. Bwuh?
Alright, so here's the rundown. Two angel sisters fight ghosts to try to get back into heaven. The two beat the main bad guy and re-seal hell together. Then, in the last MINUTE Of the anime, one of the sisters slices up the other with the simple explanation "Sorry, I'm really a demon."
That was kind of the point of the ending: to be ridiculously anticlimactic. That's one of the many things that made it funny, as well as Monty Python funny in general: Absolute Nonsense.
But yeah, that one really was a great big... WTF for me?
Was the Planet Earth all along? Were there two planets with apes and humans on them? Was that Earth in the future? Were there always apes? Seriously, what the hell was going on in that ending?
It ruined an already terrible movie. I was quite disappointed by Burton on this one.
As for me, Piranha 3D's plot twist which was.... stop glaring at me accusingly alright? I enjoyed the piranha's and the boobs in that movie and I have the right to!!! I know there isn't much of a plot at all but it was dumb fun!!! I'm mentioning this one because it's all I can think of off the top of my head!... anyway, it was knowingly stupid for the sake of being stupid and so it probably shouldn't matter that it didn't make sense but still:
The piranha that were attacking were actually the babies of much larger piranha adults? What sense does that make?
Anyway, if I can think of a better plot twist then that, I'll come back. However since someone else beat me to Planet of the Apes, this is the next best thing for now.
It's one thing to provide a twist; it's another to make it seem plausible.
Good example:
Disgaea. A character re-named "Midboss" by the main character turns out to be the main character's father. It may seem over done, but the delivery was spectacular. It doesn't seem too far out, either.
Bad example:
Chrono Cross. The game is so over complicated due to twists, it can literally be described as Echer. Metal Gear may have been bad, but Chrono Cross takes the cake. A futuristic city sent back in time to counter the appearance of a prehistoric city sent forwards. Lavos divided into six dragons, which helped you a great deal beforehand. Alternate realities. Three children which suspiciously look like the characters from Chrono Trigger giving out story explanations. Mind you, Chrono Cross isn't a BAD game, but you need a few things to get through the story, including a textbook or two and a college professor.
Quite. My College Professor was missing so it took a lot of work to make sense of it at times.
Twists, no matter how weird and unusual, can be very good providing you don't see them coming. But not if you weren't at least given the info to have had an idea that it could happen. Twists just for the sake of it really are dumb.
its apparent that Victor Reznov wasn't with you all those missions past the prison escape, as he was just a figment of your imagination due to brainwashing, which makes me wonder, how the hell did all those people get shot when we were on missions, did I shoot them? Was it someone else I was projecting Reznov on? Was it magic? None of these questions were answered at the end.
Maybe I don't know much about literature (I should due to studying English at A-level) but I never pegged Dan Brown as a bad writer, exactly. Sure there's many better ones out there, but his books are always enjoyable.
I just wish he'd understand the concept of 'foreshadowing'. If you're gonna reveal an ally to be the villain, Brown should have left some clues in there. Currently it comes off as just the villain turning round suddenly and going "oh btw, i'm the person your fighting against after all." There's zero build-up to it, he might as well have turned Langdon evil!
I said once, and can not fully remember my own quote, that "It is to the everlasting dismay of literary connoisseurs that the unwashed masses seem to enjoy bad writing", I may very well be embellishing my choice of vocabulary. Essentially Brown writes with an addicting pace, you can tear right through one of his novels and hardly blink an eye, but that is about the only good thing he has going for him. The dialog is bad, the characters are two dimensional, and even the often interesting subjects of his novels are parred down to a gradeschool level of intellect. He makes for good mass consumption and newsstand fodder but that's about it.
Note that my highest level of education, on paper, is a highschool diploma and perhaps my all time favourite authors are Douglas Adams and Philip K. Dick. So I'm not exactly a pretentious lit. snob (but maybe I am, not sure).
OT: I was going to mention the ending of Lost, but it wasn't really nonsensical, only unsatisfying.
They kind of went for that old "they are all in the afterlife" cliché, even if only to explain the supposedly "alternate" timeline. I found that explanation unsatisfying because it wasn't related to the unique properties of the island; it is something that apparently happens to everyone after they die, not only to those special people.
That was a cliche? how? what other show/movie was INSANE enough to have done that before? i thought it was great, the ending. considering how many million loose ends that show had, they did a fair job. it wasn't perfect, but it was good.
OT: I was gonna say Modern Warfare 2, but then realized that "making sense" wasn't one of it's priorities anyway.
So.........Mass Effect 2
Ok, so you waste the obligatory "big Twist" to show that the collectors have been making making a human-reaper, instead of something that would have actually helped the plot along, (like, say a WAY FOR THE REAPERS TO COME)..... that's fine, it's more shocking or whatever.
But at least explain WHY it's there? or why it's human-shaped and not Turian or asari? or what the PLAN is? don't just say "ZOMG HUMAN-REAPER! KILL IT! KILL IT WITH FIRE!"
Not cool Bioware. Your can do better than that.
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